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It is 100% safe, pain free and 17 00:01:03,160 --> 00:01:06,000 hands free so you can sit back and watch some telly. 18 00:01:06,320 --> 00:01:09,800 Or my guilty secret is I use it as an excuse for a little 19 00:01:09,800 --> 00:01:12,520 meditation whilst letting my mask do its job. 20 00:01:13,080 --> 00:01:16,200 So if you're ready to invest in your skin's future, head to the 21 00:01:16,200 --> 00:01:20,520 link in my Instagram bio and use my discount code Style DNA for 22 00:01:20,520 --> 00:01:23,640 15% off. Your skin will thank you too. 23 00:01:25,280 --> 00:01:28,680 Today, I'm going on a style journey with creative Director 24 00:01:28,680 --> 00:01:31,520 Lucinda Chambers. Lucinda has worked in the 25 00:01:31,520 --> 00:01:33,640 fashion industry for more than three decades. 26 00:01:34,040 --> 00:01:37,880 As Fashion Director of British Vogue for 25 years, Lucinda has 27 00:01:37,880 --> 00:01:40,720 shaped the face of fashion and inspired the wardrobes of 28 00:01:40,720 --> 00:01:43,600 millions of women. She's worked as a creative 29 00:01:43,600 --> 00:01:46,960 consultant and stylist across High Street and luxury brands 30 00:01:47,240 --> 00:01:51,440 from Prada and Money to H&M, River Island and Warehouse. 31 00:01:52,000 --> 00:01:55,920 Lucinda is Co founder of both the luxury label Coalville and 32 00:01:55,920 --> 00:01:58,680 the revolutionary shopping platform Collagory. 33 00:01:59,280 --> 00:02:03,200 Hello and welcome, Lucinda. Hello, Amanda. 34 00:02:03,200 --> 00:02:04,960 Thanks. For inviting me. 35 00:02:04,960 --> 00:02:10,199 Gosh, it's we've been in each other's universes for very long 36 00:02:10,199 --> 00:02:16,520 time, 3 decades, yes. And I have to say one of my all 37 00:02:16,520 --> 00:02:20,560 time favorite images was when you collaborated with 38 00:02:20,600 --> 00:02:26,160 photographer Javier Valronat. If I got that right and you 39 00:02:26,160 --> 00:02:31,280 created that image of Linda Evangelista wearing Wakeley the 40 00:02:31,600 --> 00:02:33,760 the beautiful. Well, I thought it was beautiful 41 00:02:34,240 --> 00:02:38,760 white silk gazar oversized shirt and then the white skirt. 42 00:02:38,760 --> 00:02:42,720 And then you threw a, a beautiful cream coat around the 43 00:02:42,720 --> 00:02:46,160 shoulders and it was in this sort of magical, mystical 44 00:02:46,480 --> 00:02:48,840 setting. What? 45 00:02:49,680 --> 00:02:53,960 How did you create that that set that that story? 46 00:02:54,240 --> 00:02:58,360 I think for me it's never just about the clothes, it's about 47 00:02:58,360 --> 00:03:01,200 the narrative of the personality. 48 00:03:01,680 --> 00:03:05,960 And Linda was well is an extraordinary model in the fact 49 00:03:05,960 --> 00:03:10,040 that and they're quite rare actually, that you give them a 50 00:03:10,040 --> 00:03:14,680 personality and the clothes help you tell that story of who that 51 00:03:14,680 --> 00:03:17,960 person is. So it could be that you're 52 00:03:17,960 --> 00:03:22,520 thinking about a woman who's leaving her husband. 53 00:03:22,520 --> 00:03:24,960 She can't decide. She's a bit of a recluse. 54 00:03:26,240 --> 00:03:30,000 She goes to a sort of island and it happens to be a coat story, 55 00:03:30,000 --> 00:03:34,040 you know, So it for me, it was always about who that character 56 00:03:34,040 --> 00:03:35,640 is. And I think with that particular 57 00:03:35,640 --> 00:03:40,760 shoot that you're talking about, Amanda, that was about a 58 00:03:40,760 --> 00:03:47,400 Hollywood star off off camera. So I wanted to capture all those 59 00:03:47,440 --> 00:03:51,480 off moments where they looked as if they were about to go on set. 60 00:03:51,480 --> 00:03:54,640 They were as glamorous as they could possibly be, but they 61 00:03:54,640 --> 00:03:56,560 weren't acting in a glamorous way. 62 00:03:56,560 --> 00:04:01,120 So we had, I remember the set was full of kind of old ropes 63 00:04:01,120 --> 00:04:05,880 and backstage, but she looked extraordinary within that which 64 00:04:05,880 --> 00:04:08,440 happens. You know, you walk off off the 65 00:04:08,440 --> 00:04:11,680 theatre, you know, stage left and you find yourself in the 66 00:04:11,680 --> 00:04:13,320 wings. You know, you're a Hollywood 67 00:04:13,320 --> 00:04:16,320 actress and you find yourself in a car parking lot. 68 00:04:16,680 --> 00:04:20,120 And I love that juxtaposition. So I do remember that shoot. 69 00:04:20,640 --> 00:04:24,840 And, you know, we worked with incredible set designers and you 70 00:04:24,840 --> 00:04:28,440 know who really helped, you know, form your dreams and make 71 00:04:28,440 --> 00:04:32,040 those come true in a way. Because it looked like it was I, 72 00:04:32,040 --> 00:04:37,600 I don't know, some sort of, you know, very off the beaten track. 73 00:04:37,600 --> 00:04:42,720 Those the the sort of those mist rising, the brickwork, the rope. 74 00:04:43,080 --> 00:04:46,280 The rawness, I think that was the thing I, you know, it was 75 00:04:46,280 --> 00:04:49,920 the rawness of the setting with the beauty of the clothes, one 76 00:04:49,920 --> 00:04:51,480 of which was yours, which is wonderful. 77 00:04:51,800 --> 00:04:54,600 But I think, you know, there's another one I did with Linda, 78 00:04:55,880 --> 00:04:58,000 which actually I think was my first Vogue cover, which was 79 00:04:58,320 --> 00:05:00,840 with Peter Lindbergh. And it was her as a New York 80 00:05:00,840 --> 00:05:04,800 taxi driver. And we did it in Clark and well, 81 00:05:04,800 --> 00:05:08,920 with lots of mist and with a New York taxi because the budget 82 00:05:08,920 --> 00:05:10,320 wouldn't allow us to go to New York. 83 00:05:10,320 --> 00:05:14,440 So we recreated that. And I think that was part of, 84 00:05:15,320 --> 00:05:19,160 you know, such excitement to create something that felt 85 00:05:19,160 --> 00:05:21,280 really authentic. You had to believe. 86 00:05:21,880 --> 00:05:25,400 I always felt you had to believe in that woman wearing those 87 00:05:25,400 --> 00:05:29,960 clothes in that situation, however fantastical those 88 00:05:29,960 --> 00:05:35,160 clothes were and however extreme the situation was, that there 89 00:05:35,160 --> 00:05:39,360 has to be a kind of belief that she is that character. 90 00:05:39,440 --> 00:05:42,600 Yes, so that it's not it doesn't become theatre, it doesn't 91 00:05:42,600 --> 00:05:45,800 become costume exactly I. Mean, even though I love costume 92 00:05:45,800 --> 00:05:50,240 and theatre. I was trawling through my design 93 00:05:50,240 --> 00:05:52,640 studio at the weekend and look what I came up. 94 00:05:52,640 --> 00:05:56,160 With Oh my gosh. And that was one of such happy 95 00:05:56,320 --> 00:05:59,160 this was this was early days Wakeley. 96 00:05:59,560 --> 00:06:00,160 Right. Can you? 97 00:06:00,440 --> 00:06:03,800 Can you tell me about this, 'cause I was, I remember being 98 00:06:03,800 --> 00:06:06,800 so thrilled. Oh, and when this came out 99 00:06:06,800 --> 00:06:10,120 because I just, I love a white shirt. 100 00:06:10,120 --> 00:06:12,880 Yes, and I know you. Do and you absolutely the most 101 00:06:12,880 --> 00:06:16,400 brilliant white shirts 'cause they were always with such 102 00:06:16,400 --> 00:06:18,320 volume so they were very easy to photograph. 103 00:06:18,960 --> 00:06:20,720 Because they had editorial. Actually, weren't they? 104 00:06:20,720 --> 00:06:23,520 Yes, 'cause they had shape and form and texture. 105 00:06:24,000 --> 00:06:25,560 Yeah. So they were a dreamed 106 00:06:25,560 --> 00:06:27,800 photograph. I still wish, I wish I had them, 107 00:06:27,800 --> 00:06:30,000 but you know, when a white shirt goes, it goes. 108 00:06:30,560 --> 00:06:32,920 But tell me about this. Well, this is this, this one 109 00:06:33,160 --> 00:06:35,280 I've got in front of me. I I love that you picked that 110 00:06:35,280 --> 00:06:38,960 one up because this was in Colorado white. 111 00:06:38,960 --> 00:06:42,080 We went on a white water rafting trip, not that you'd know from 112 00:06:42,080 --> 00:06:44,920 this picture with a fabulous photographer called Sheila 113 00:06:44,920 --> 00:06:49,000 Metzner. And I was six months pregnant 114 00:06:49,720 --> 00:06:52,240 and my baby was in the wrong position. 115 00:06:52,240 --> 00:06:56,360 I remember going to the doctor the day before with my husband 116 00:06:56,360 --> 00:06:59,160 to have a scan and he said, well, your baby's in breech 117 00:06:59,160 --> 00:07:00,760 position, but you're not going anywhere. 118 00:07:01,160 --> 00:07:03,960 And my husband said she's going whitewater rafting tomorrow. 119 00:07:04,280 --> 00:07:07,720 And I think the doctor just thought that was a joke and sort 120 00:07:07,720 --> 00:07:10,040 of moved on. It wasn't a joke. 121 00:07:10,120 --> 00:07:13,280 And actually I'd always have been. 122 00:07:14,080 --> 00:07:17,800 I mean, part of the wonderful thing about my career is travel, 123 00:07:17,840 --> 00:07:20,840 you know, traveling and all the extraordinary places that we've 124 00:07:21,240 --> 00:07:24,920 been to. But this was in Colorado and you 125 00:07:24,920 --> 00:07:28,000 had to start the whitewash rafting trip at the beginning 126 00:07:28,360 --> 00:07:31,440 and finish it. There was no getting off and 127 00:07:31,440 --> 00:07:32,880 there were no, you know, you had to. 128 00:07:32,920 --> 00:07:35,840 Everything was sustainable. You had to pee and poo. 129 00:07:35,840 --> 00:07:37,640 Sorry to get into that. Was it early morning? 130 00:07:38,320 --> 00:07:42,120 You know, use your bucket and we went down the river and this was 131 00:07:42,120 --> 00:07:44,200 one of the pictures that came out of that. 132 00:07:44,200 --> 00:07:47,320 And you had suitcases full? Yes, of clothes. 133 00:07:47,320 --> 00:07:51,200 We had a raft. We had a a boat that was full of 134 00:07:51,200 --> 00:07:54,680 the suitcases. And Fabienne, the model started 135 00:07:54,680 --> 00:07:56,880 with that beautiful long hair that you can see. 136 00:07:57,400 --> 00:08:00,680 And then halfway through we cast all off and we did another story 137 00:08:00,800 --> 00:08:03,440 with a Harold crotch. So it was a but it was a 138 00:08:03,440 --> 00:08:05,880 fantastic trip. I mean took Sam McKnight, who 139 00:08:05,880 --> 00:08:07,560 was I? Was going to say, was that Sam? 140 00:08:07,560 --> 00:08:09,120 Yeah. Brilliant. 141 00:08:09,240 --> 00:08:13,360 Yeah, absolutely brilliant. I mean, some real adventures 142 00:08:13,360 --> 00:08:14,680 over the time. Adventures. 143 00:08:14,680 --> 00:08:15,640 Yeah. Well, what? 144 00:08:15,640 --> 00:08:20,240 Is there one particular trip that stands out to you to this 145 00:08:20,240 --> 00:08:21,080 day? I. 146 00:08:21,080 --> 00:08:26,360 Think the most extreme place I've ever been to is Ladakh, 147 00:08:26,360 --> 00:08:28,280 which is the northern most part of India. 148 00:08:28,280 --> 00:08:31,960 Yeah, and it was, it was my first ever trip. 149 00:08:32,840 --> 00:08:35,320 And I don't think so. You choose Ladakh I. 150 00:08:35,520 --> 00:08:37,240 Read about it in National Geographic. 151 00:08:38,200 --> 00:08:39,640 And I thought, I've got to go there. 152 00:08:39,640 --> 00:08:44,320 And it's a really inaccessible place, pretty inaccessible to 153 00:08:44,320 --> 00:08:46,440 this day. It's surrounded by the 154 00:08:46,440 --> 00:08:49,160 Himalayas. It's desert, but surrounded by 155 00:08:49,160 --> 00:08:53,640 the Himalayas. And I was told it was quite OK 156 00:08:53,640 --> 00:08:55,720 to get in. It was hard to get out, but that 157 00:08:55,720 --> 00:08:58,720 just didn't determine. Anyway, I asked Patrick 158 00:08:58,720 --> 00:09:03,160 Demarchelier to come and the model Cindy Crawford and I said 159 00:09:03,160 --> 00:09:06,000 to them and always said to their agents, there's no hotels. 160 00:09:06,320 --> 00:09:08,360 We're staying in a tent. I thought they thought that was 161 00:09:08,360 --> 00:09:10,560 a joke. So when we got there, Patrick 162 00:09:10,560 --> 00:09:14,000 was was the hotel and I was like, no, it's a tent and it was 163 00:09:14,000 --> 00:09:15,920 a tent. We stayed there for 10 days. 164 00:09:16,560 --> 00:09:22,280 But it was great and it was fantastic and it was so 165 00:09:23,280 --> 00:09:28,120 beautiful. And I think we all felt that it 166 00:09:28,120 --> 00:09:31,640 was the most incredible trip of a lifetime. 167 00:09:31,640 --> 00:09:34,520 Where, you know, we didn't shower for 10 days. 168 00:09:34,520 --> 00:09:37,240 There's no running water. Obviously we were in tents, but 169 00:09:37,240 --> 00:09:40,720 nobody minded because in those days, you know, and I know I 170 00:09:40,720 --> 00:09:43,400 sound like a sort of old culture, people had the time to 171 00:09:43,400 --> 00:09:47,200 do those big trips. But Ladakh and then actually we 172 00:09:47,200 --> 00:09:50,040 couldn't get out. We had three seats on the 173 00:09:50,040 --> 00:09:53,160 military airplane. And I made everybody draw burnt 174 00:09:53,160 --> 00:09:55,360 matchsticks to who'd get the seat on the right. 175 00:09:55,600 --> 00:09:58,160 Now I would say, Cindy, you have the seat. 176 00:09:58,360 --> 00:10:01,760 Patrick, you have the seat, but I was like 18. 177 00:10:01,760 --> 00:10:04,880 I was just like fair's Fair got to pull the matchsticks and I 178 00:10:04,880 --> 00:10:06,600 think and Cindy didn't get the seat. 179 00:10:07,080 --> 00:10:10,400 Patrick luckily did. So we were pushing Land Rovers 180 00:10:10,400 --> 00:10:11,800 through the Himalayas for three days. 181 00:10:12,480 --> 00:10:15,320 Wow. But I think, you know, Would I 182 00:10:15,320 --> 00:10:16,320 do that again? No. 183 00:10:16,600 --> 00:10:17,840 But. But I think back to the 184 00:10:17,840 --> 00:10:22,280 logistics of that and thinking of trunks full of clothes. 185 00:10:22,320 --> 00:10:29,280 We did and knowing you hats and and no steamer, no hair washing. 186 00:10:29,280 --> 00:10:34,160 No, I mean no, just, you know, barely enough water probably to 187 00:10:35,040 --> 00:10:36,560 get to. Get the make up off and on. 188 00:10:36,560 --> 00:10:37,960 I don't think we even bother to see that. 189 00:10:38,360 --> 00:10:42,680 I know. But you just, I like adventure 190 00:10:42,680 --> 00:10:46,280 and I just, I'm quite an optimistic person, so I always 191 00:10:46,280 --> 00:10:50,200 think people are going to come along on the ride with me 192 00:10:50,200 --> 00:10:52,800 because who doesn't want to go to Ladakh? 193 00:10:52,800 --> 00:10:55,480 Do you know what I mean? Well, they clearly did, but were 194 00:10:55,520 --> 00:11:00,080 were there, have you ever had any complete disasters of, of 195 00:11:00,080 --> 00:11:02,960 shoots because you're such an optimistic person and you just 196 00:11:02,960 --> 00:11:05,320 sort of take people along with you? 197 00:11:05,560 --> 00:11:09,520 We've had stuff happen, but I've never not come back with the 198 00:11:09,520 --> 00:11:11,640 picture. But I mean, yes, I remember 199 00:11:11,640 --> 00:11:13,960 going on a trip with Mario and we were shooting in this 200 00:11:13,960 --> 00:11:18,440 incredible location and it was in just outside Miami and there 201 00:11:18,440 --> 00:11:20,840 was a hurricane and it and everything was flattened. 202 00:11:21,560 --> 00:11:26,400 But I always think but, but you know, the photographers I work 203 00:11:26,400 --> 00:11:30,600 with were all incredibly resourceful and positive and, 204 00:11:31,240 --> 00:11:34,800 and actually, and I don't know whether this is true of, you 205 00:11:34,800 --> 00:11:40,400 know, shoots relationships, anything really, that good 206 00:11:40,400 --> 00:11:44,080 things happen out of bad situations. 207 00:11:44,960 --> 00:11:48,160 You know, there's no such thing as a crisis. 208 00:11:48,160 --> 00:11:51,560 It's a sort of opportunity, I think, and I always think 209 00:11:51,560 --> 00:11:55,480 everything for a reason. So, you know, there has been, 210 00:11:55,480 --> 00:11:59,000 you know, I've been in Saint Barts where with Kate Moss where 211 00:11:59,280 --> 00:12:02,080 half the clothes turned up and none of the hair and makeup 212 00:12:02,080 --> 00:12:04,440 turned turned up. So we all turned out our 213 00:12:04,440 --> 00:12:06,040 handbags. I don't wear very much makeup, 214 00:12:06,040 --> 00:12:08,960 so there was little joy for me. But, you know, somebody had a 215 00:12:08,960 --> 00:12:12,600 mascara and we were sort of spitting on that and Sam, you 216 00:12:12,600 --> 00:12:15,000 know, got a pencil and cheesy weasel the hair and, you know, 217 00:12:15,000 --> 00:12:18,040 so you can always make make something. 218 00:12:18,120 --> 00:12:20,320 Don't. I've been in that situation in 219 00:12:20,320 --> 00:12:25,360 Marrakech, yes, on a shoot. But tell me, in Miami, when the 220 00:12:25,360 --> 00:12:29,400 hurricane flattened everything, what did you do? 221 00:12:29,400 --> 00:12:31,760 Did you? Did you in that instance, turn 222 00:12:31,760 --> 00:12:34,920 around and go home? No, gosh, no, you wouldn't have 223 00:12:34,920 --> 00:12:38,840 the budget to do that. No, we just thought on our feet 224 00:12:38,840 --> 00:12:41,840 really quickly and I actually I can think of the pictures now. 225 00:12:41,840 --> 00:12:44,720 We, we just made the most of what was there. 226 00:12:44,720 --> 00:12:46,440 So I think we kind of painted a wall. 227 00:12:47,160 --> 00:12:49,120 There was some bits of wood lying around. 228 00:12:49,440 --> 00:12:53,440 We got them up to, you know, and it was it, it was beautiful, the 229 00:12:53,440 --> 00:12:56,400 shoot, I think. And there was a coverage of it. 230 00:12:56,400 --> 00:13:00,240 And yeah, you, you, you always, you always get it done by Hook 231 00:13:00,240 --> 00:13:04,400 or by Cook, but you just, I think you have to kind of let go 232 00:13:04,400 --> 00:13:07,680 of your original plan. So you have to think in a 233 00:13:07,680 --> 00:13:11,320 fertile way, I guess, and look around you and use what you've 234 00:13:11,800 --> 00:13:14,600 got to play with, yeah. I mean, it's true creativity, 235 00:13:14,600 --> 00:13:15,680 isn't it? But. 236 00:13:15,720 --> 00:13:17,880 But exciting, Yeah. I don't think you could. 237 00:13:18,000 --> 00:13:19,600 You. You just haven't got time to 238 00:13:19,600 --> 00:13:20,960 think this is disaster because it's not. 239 00:13:20,960 --> 00:13:22,760 It's fashion. It's a Yeah, You know, it's a 240 00:13:22,760 --> 00:13:23,720 fashion shoot. We'll make. 241 00:13:23,840 --> 00:13:24,760 We'll make it work. Yes. 242 00:13:24,800 --> 00:13:26,360 And at the end of the day, yeah, it's fashion. 243 00:13:26,360 --> 00:13:27,160 Yeah. Yeah. 244 00:13:27,160 --> 00:13:28,600 It's not life order. Yeah. 245 00:13:29,960 --> 00:13:33,880 And now in your I I've read somewhere that in your many 246 00:13:33,880 --> 00:13:37,520 years at Vogue and then you had an interlude at Elle. 247 00:13:37,960 --> 00:13:41,080 I mean, you must have done thousands of shoots, quite 248 00:13:41,080 --> 00:13:46,360 literally. And is it true that you've never 249 00:13:46,360 --> 00:13:50,440 kept the magazines that your shoots appeared in? 250 00:13:51,960 --> 00:13:56,000 It is true. Oh my God, Did you keep a diary? 251 00:13:56,160 --> 00:13:58,320 No. Did you keep the scrapbook? 252 00:13:58,360 --> 00:14:01,520 I was going to say, did you? So what does the scrapbook look 253 00:14:01,520 --> 00:14:04,280 like? It's very higgly Piggly and I 254 00:14:04,280 --> 00:14:07,920 only kept it for a few years simply because my mother made it 255 00:14:07,920 --> 00:14:09,240 for me because she was a bookbinder. 256 00:14:09,880 --> 00:14:13,120 So I put in old polo. Oil, I was going to say. 257 00:14:13,400 --> 00:14:17,120 My first kind of letter that was addressed to me at Vogue, I 258 00:14:17,120 --> 00:14:19,160 think is in there. I actually haven't looked at it 259 00:14:19,160 --> 00:14:23,160 for a long time. I think I was always looking to 260 00:14:23,160 --> 00:14:26,280 the next thing. I don't think I'm kind of a 261 00:14:26,280 --> 00:14:31,480 restless personality, but I know that I don't look back, you 262 00:14:31,480 --> 00:14:36,840 know, So I probably was quite sanguine and thinking, you know, 263 00:14:36,840 --> 00:14:39,920 that if ever the time came and it did, you know, where I 264 00:14:39,920 --> 00:14:43,720 wouldn't work at Vogue, I could probably find all those 265 00:14:43,720 --> 00:14:45,640 magazines. And of course you you can't 266 00:14:45,640 --> 00:14:49,760 probably now, but I don't I'm not very nostalgic. 267 00:14:49,760 --> 00:14:53,160 I mean, when I see a picture that you just showed me, I, you 268 00:14:53,160 --> 00:14:56,960 know, it just evokes something so wonderful and magical. 269 00:14:57,560 --> 00:15:00,640 And you know, sometimes I see somebody post it on Instagram 270 00:15:01,240 --> 00:15:05,320 and I love that and I love having a flashback, but I don't 271 00:15:05,320 --> 00:15:08,240 need to pour over my old work. Yes, because it's. 272 00:15:08,240 --> 00:15:09,880 Because I'm looking forward. It's the next. 273 00:15:09,920 --> 00:15:11,800 But I mean, I love I, you know, I love. 274 00:15:12,280 --> 00:15:13,880 I love it when somebody else brings it up. 275 00:15:13,880 --> 00:15:17,200 And, you know, they're always, they're always, I am glad to 276 00:15:17,200 --> 00:15:19,600 say, really happy memories. Yeah. 277 00:15:20,080 --> 00:15:25,200 Because you've now gone on to create Colville, can you just 278 00:15:25,640 --> 00:15:29,160 run me through how that transpired? 279 00:15:29,840 --> 00:15:35,520 Well, Colville is our brand that we have in, it's based in Milan 280 00:15:36,040 --> 00:15:40,760 and Molly Malloy, who's my partner in that and I worked at 281 00:15:40,760 --> 00:15:44,920 Money for many years together and I actually asked her to come 282 00:15:44,920 --> 00:15:47,880 to Milan and live there and work at Money. 283 00:15:47,880 --> 00:15:55,080 And I think when Money sort of when we left Money, we really 284 00:15:55,240 --> 00:15:56,880 wanted to carry on working together. 285 00:15:57,400 --> 00:16:00,320 So Molly was like this, and I think I'm going to start this 286 00:16:00,840 --> 00:16:03,360 clothing company, you know, would you be on board? 287 00:16:03,360 --> 00:16:06,280 And I was like, absolutely. And then actually at the same 288 00:16:06,280 --> 00:16:11,400 time, probably exactly the same time, Serena and I had the idea 289 00:16:11,400 --> 00:16:15,080 of collagery. So we had the same idea about, 290 00:16:16,040 --> 00:16:18,400 we had a different idea about doing a different thing, 291 00:16:18,400 --> 00:16:20,800 collagery, which is completely different. 292 00:16:20,800 --> 00:16:25,320 And I, I do think, gosh, you know, there are these two very 293 00:16:25,320 --> 00:16:28,600 different things in my life. But but what I also realized is 294 00:16:28,600 --> 00:16:30,720 I've always had two things running along. 295 00:16:31,720 --> 00:16:35,360 In tandem and with with Colville, did you go out and get 296 00:16:35,360 --> 00:16:39,840 backing for it because it's a very complex time in retail and 297 00:16:39,840 --> 00:16:44,000 fashion right now, Yes. And we actually we we. 298 00:16:44,000 --> 00:16:48,480 Took, we took the sketches and the swatches and everything to 299 00:16:48,480 --> 00:16:52,920 matches because we knew Ruth Chapman who owned matches at the 300 00:16:52,920 --> 00:16:56,040 time, and actually Natalie Kingham, who is her fashion 301 00:16:56,040 --> 00:16:59,840 director. And we took them to them and 302 00:17:00,440 --> 00:17:03,320 they were in the Shard and naturally said I love it. 303 00:17:03,520 --> 00:17:07,640 And she bought it off off the page amazing, which was 304 00:17:07,640 --> 00:17:10,280 fantastic. I mean, Molly and I had spent, 305 00:17:10,280 --> 00:17:13,960 you know, 11 years at Marnie and even though Coval is very, very 306 00:17:13,960 --> 00:17:17,319 different from Marnie, a very different aesthetic and 307 00:17:17,880 --> 00:17:23,720 different kind of a different way of working, you know, our 308 00:17:23,720 --> 00:17:26,400 attention is very much on sustainability, about working 309 00:17:26,400 --> 00:17:30,640 with women's groups and artisans all around the world. 310 00:17:31,080 --> 00:17:37,320 It's a very different beast. And yes, it's not easy and it's 311 00:17:37,520 --> 00:17:42,080 a challenge always, but it's one that's very close to our hearts. 312 00:17:42,080 --> 00:17:47,120 So, and I think, you know, I think for many years there are a 313 00:17:47,120 --> 00:17:50,160 lot of, you know, men designers out there who are, you know, 314 00:17:50,280 --> 00:17:53,840 some of them who are brilliant. But I think Molly and I, you 315 00:17:53,840 --> 00:17:58,880 know, we are different ages, but we, you know, we love very 316 00:17:59,000 --> 00:18:01,800 similar things, which is print and color and the way 317 00:18:01,800 --> 00:18:05,400 something's made and made to last and, and beautifully made. 318 00:18:05,880 --> 00:18:07,400 And that's really important to us. 319 00:18:08,440 --> 00:18:10,680 Do you? Did you get caught up in the 320 00:18:10,680 --> 00:18:15,600 whole matches administration? No, no, we were very lucky. 321 00:18:15,600 --> 00:18:18,000 We didn't know. Thank goodness for that. 322 00:18:19,640 --> 00:18:22,520 But I know a lot of designers have suffered and yeah, yeah. 323 00:18:22,640 --> 00:18:25,400 Yeah, it's a, it's a fairly miserable time out there, I 324 00:18:25,400 --> 00:18:28,880 think. But then you created collagery. 325 00:18:29,080 --> 00:18:32,720 We did as well on your side. Well, I don't know which is the 326 00:18:32,720 --> 00:18:34,960 side hustle actually. Well, they're probably both get. 327 00:18:34,960 --> 00:18:37,040 Eaten collagery is definitely my day job. 328 00:18:37,040 --> 00:18:40,240 Yes. So tell me, tell me about that. 329 00:18:40,600 --> 00:18:44,800 Well, Sweet and I worked together for many years at 330 00:18:45,480 --> 00:18:47,520 Vogue. Serena was executive fashion 331 00:18:47,520 --> 00:18:51,480 director and I was fashion director and Serena's like half 332 00:18:51,480 --> 00:18:54,080 my age. So just for those who don't 333 00:18:54,080 --> 00:18:56,560 know, Executive Fashion Director means what? 334 00:18:56,800 --> 00:19:00,000 Well, it's she was very much on the brand side. 335 00:19:00,000 --> 00:19:03,600 I mean, she was really the interface of where the sort of 336 00:19:03,600 --> 00:19:07,160 commerce of Vogue met the creativity of Vogue. 337 00:19:07,520 --> 00:19:12,880 So she sat opposite me. She was very plugged into the 338 00:19:12,880 --> 00:19:15,800 brands, the designers, what their needs were, what their 339 00:19:15,800 --> 00:19:18,480 objectives were in a commercial sense. 340 00:19:18,680 --> 00:19:21,280 So advertisers, yes. So she was really, there was the 341 00:19:21,320 --> 00:19:24,920 advertising department. Yeah, there was Serena and then 342 00:19:24,920 --> 00:19:27,560 there was me, you know, obviously with a lot of people 343 00:19:27,560 --> 00:19:31,680 in between. But so she would always tell me 344 00:19:31,680 --> 00:19:38,240 what brands, you know, you know, if they wanted something from 345 00:19:38,240 --> 00:19:41,960 Vogue or, you know, wanted a bigger part to play or how we 346 00:19:41,960 --> 00:19:44,960 could work with them closer. So it was a very much, she was 347 00:19:44,960 --> 00:19:49,720 the interface between advertising on me and and you 348 00:19:49,720 --> 00:19:54,520 know, worked very closely with PRS all the time and was 349 00:19:54,520 --> 00:19:57,960 brilliant and we got on incredibly well. 350 00:19:59,240 --> 00:20:05,000 And when we both left Vogue, I left slightly before Serena. 351 00:20:05,600 --> 00:20:08,760 We were actually having a cup of coffee and we were thinking 352 00:20:10,440 --> 00:20:13,200 where would we go now? I mean, we were very, very 353 00:20:13,200 --> 00:20:15,080 privileged. Vogue, you know, we. 354 00:20:15,600 --> 00:20:19,000 If you sat there on receive mode, which I always was, you 355 00:20:19,000 --> 00:20:22,920 know, new brands, new photographers, new models, old 356 00:20:22,920 --> 00:20:26,720 brands, wonderful brands, wonderful designers, you know, 357 00:20:26,720 --> 00:20:31,520 you got, you got so much information, which I loved when 358 00:20:31,520 --> 00:20:35,200 we met for coffee, we were saying I wonder where we would 359 00:20:36,000 --> 00:20:40,000 get that information from now. And also I'd always loved the 360 00:20:40,000 --> 00:20:42,640 high streets. It was, I'd always been a big 361 00:20:42,640 --> 00:20:48,160 fan of, you know, accessible clothes and, and sharing those 362 00:20:48,160 --> 00:20:50,040 sort of fines. You know, I was the one who was 363 00:20:50,040 --> 00:20:52,520 trotting up and down Oxford Street and I'd come back in my 364 00:20:52,520 --> 00:20:54,320 lunch hour and people go, what'd you get? 365 00:20:54,320 --> 00:20:56,880 What'd you get? Got this pair of shoes from 366 00:20:56,880 --> 00:20:59,920 Zara. They're fantastic, you know, and 367 00:20:59,920 --> 00:21:02,520 then I'd see sort of like six people wearing them. 368 00:21:02,520 --> 00:21:05,560 And, and I love that. Not to bend anybody to my will, 369 00:21:05,560 --> 00:21:09,000 but I just, I'm a big sharer, you know, I like doing the work 370 00:21:09,080 --> 00:21:10,680 and making the sort of shortcuts. 371 00:21:11,240 --> 00:21:13,680 You're a big inspirer though too, so. 372 00:21:14,280 --> 00:21:15,840 Well, that's, that would be very nice. 373 00:21:15,880 --> 00:21:19,560 But yeah, I just, I just want to share what what I found 374 00:21:19,560 --> 00:21:23,920 basically. And so we were thinking so, so, 375 00:21:23,920 --> 00:21:26,960 you know, I was thinking, well, if you need this and I need 376 00:21:26,960 --> 00:21:29,800 this, we're very different ages. We've got very different styles 377 00:21:30,120 --> 00:21:34,360 and tastes. Then there must be a million 378 00:21:34,800 --> 00:21:38,680 women out there and actually now a growing number of men who also 379 00:21:39,160 --> 00:21:41,280 need this. It's a real shortcut. 380 00:21:41,760 --> 00:21:45,120 We like to think that it's a shortcut to style that we do all 381 00:21:45,120 --> 00:21:47,720 the hard work for you. We see everything that's out 382 00:21:47,720 --> 00:21:53,880 there. We edit it, we curate it, and we 383 00:21:53,880 --> 00:21:57,360 give a shout out to Discovery Brands, I think. 384 00:21:58,080 --> 00:22:00,040 Yeah. And so we we thought this is too 385 00:22:00,040 --> 00:22:05,200 good an idea not not to do it. I think I just love it. 386 00:22:05,200 --> 00:22:08,480 I, I think it's a brilliant idea and I think it's got a real 387 00:22:08,480 --> 00:22:13,000 space in the market, particularly with, you know, if 388 00:22:13,000 --> 00:22:16,520 you, if you think of the sort of Netaporte, I, I think of it as a 389 00:22:16,520 --> 00:22:22,040 sort of luxury hypermarket. There's no edit in there at all. 390 00:22:22,160 --> 00:22:30,040 And to, to have some a, a, a destination for product with 391 00:22:30,040 --> 00:22:35,520 your eye and your taste level and you're picking from it. 392 00:22:35,520 --> 00:22:40,600 You know, it may be Zara home or all the way through to something 393 00:22:40,600 --> 00:22:45,480 that's beautifully handcrafted and cost thousands of pounds all 394 00:22:45,480 --> 00:22:49,600 the way through. I just, I, I love the way it's 395 00:22:49,600 --> 00:22:52,520 all put together. It's so inspiring. 396 00:22:52,880 --> 00:22:57,560 And I, I think in my years as a, as a designer, I sort of, a lot 397 00:22:57,560 --> 00:23:02,200 of people want a little bit of help because they may be 398 00:23:02,280 --> 00:23:07,840 incredibly busy with careers or. Families, absolutely whatever or 399 00:23:07,840 --> 00:23:11,480 just it's not how they're they roll, they roll. 400 00:23:11,600 --> 00:23:15,680 No, I totally get that And I think I think most people need 401 00:23:15,680 --> 00:23:18,120 help. I mean, I do and I don't think 402 00:23:18,120 --> 00:23:20,680 I'm weird and wonderful. I think everybody either 403 00:23:20,680 --> 00:23:25,040 they're, you know, time poor or they're not very inspired or 404 00:23:25,040 --> 00:23:28,800 they're stuck in a watch or any of the above really. 405 00:23:28,800 --> 00:23:34,040 And I think just to I think that was the real not a challenge 406 00:23:34,040 --> 00:23:40,680 because it was wonderful to start something where, you know, 407 00:23:40,920 --> 00:23:45,640 a bath mat from Zara would look very, very happy alongside a 408 00:23:45,640 --> 00:23:52,440 beautiful Gucci handbag. And how to build a website that 409 00:23:53,360 --> 00:23:57,520 didn't feel anxiety inducing, felt beautiful, felt as close to 410 00:23:57,520 --> 00:24:01,640 a magazine as you could possibly get, but with that incredibly 411 00:24:01,640 --> 00:24:06,280 bored price range. So and also taking you on a 412 00:24:06,280 --> 00:24:08,120 journey. I don't know, Amanda, if you're 413 00:24:08,120 --> 00:24:12,280 like me, but you know, I think I want in a very practical way, or 414 00:24:12,280 --> 00:24:16,400 I need a pair of black sandals, but I might end up by buying a 415 00:24:16,400 --> 00:24:18,880 lamp change. But that journey has got to be a 416 00:24:18,880 --> 00:24:22,560 wonderful one. And that sort of segue and, and 417 00:24:22,560 --> 00:24:24,400 I feel that's what we do at collage. 418 00:24:24,400 --> 00:24:28,120 We take you on a journey that can be either inspirational or 419 00:24:28,120 --> 00:24:31,440 it can be very practical. It can be lots of different 420 00:24:31,440 --> 00:24:34,800 things, whatever you're in the mood for, but the thing that it 421 00:24:34,800 --> 00:24:37,840 doesn't have is any anxiety attached to it. 422 00:24:38,040 --> 00:24:41,240 So whatever your price point, you know, whether you can not 423 00:24:41,240 --> 00:24:43,720 report that or whether, you know, I mean, people have said, 424 00:24:44,960 --> 00:24:48,000 you know, that they've shot Zara for the first time or they've 425 00:24:48,000 --> 00:24:51,040 invested in a bag that they normally probably wouldn't. 426 00:24:51,040 --> 00:24:55,360 But you know, I think I think that's the beauty of collagerie 427 00:24:55,360 --> 00:25:00,800 is that everything sits alongside in a very uplifting 428 00:25:01,400 --> 00:25:03,200 edit. And actually one of the first 429 00:25:03,200 --> 00:25:06,480 things that we thought about was something called in the mood, 430 00:25:06,480 --> 00:25:08,560 which we still do. And I really enjoy working on 431 00:25:08,560 --> 00:25:10,480 it. Which is it? 432 00:25:10,520 --> 00:25:14,080 We can do something like a thin blue line and it could be a thin 433 00:25:14,080 --> 00:25:17,840 blue line as a hair clip, a thin blue line in a lampshade, a thin 434 00:25:17,840 --> 00:25:20,840 blue line in a rug. You know, it can be really off 435 00:25:20,840 --> 00:25:23,440 piece, but it just takes you on this journey and I. 436 00:25:23,440 --> 00:25:25,840 But that's, that's lovely. And and you've, I mean, you've 437 00:25:25,840 --> 00:25:28,360 always been the arch storyteller. 438 00:25:28,520 --> 00:25:31,160 And, but this is a different type of storytelling. 439 00:25:31,160 --> 00:25:35,560 And it's, it's, I suppose it's a commercial storytelling. 440 00:25:35,720 --> 00:25:39,160 Well, it's interesting to say that because, you know, from a 441 00:25:39,280 --> 00:25:43,640 creative point of view and a kind of as a woman who loves to 442 00:25:44,080 --> 00:25:47,480 see what's out there and really likes, I really love products 443 00:25:47,480 --> 00:25:50,400 and I love clothes and I love stuff for the home. 444 00:25:51,160 --> 00:25:55,320 But commercially it made sense because, you know, Serena saw 445 00:25:55,400 --> 00:25:59,680 this at the sort of tail end of her time at Vogue was that, you 446 00:25:59,680 --> 00:26:03,320 know, a lot of brands were pushing their commercial spend 447 00:26:03,760 --> 00:26:07,200 into digital. So commercially it made sense 448 00:26:07,880 --> 00:26:10,400 and creatively it made sense. So it was a real kind of 449 00:26:10,400 --> 00:26:15,360 marrying of I think our two strengths into this, into this 450 00:26:15,600 --> 00:26:19,280 website. I mean, bravo, really, good luck 451 00:26:19,280 --> 00:26:24,680 with it, continued good luck. But I want to talk about your 452 00:26:24,680 --> 00:26:28,400 personal style today. And we've got this fantastic CV 453 00:26:28,400 --> 00:26:34,640 and career to date and so we're going on a style journey. 454 00:26:35,920 --> 00:26:38,960 When you got out of bed this morning, how did you decide what 455 00:26:38,960 --> 00:26:43,280 you were going to put on? Well, I'm a fan of a plan. 456 00:26:44,520 --> 00:26:45,600 I am. I do. 457 00:26:45,600 --> 00:26:49,080 Yes, I do like a plan. And actually when I found an 458 00:26:49,080 --> 00:26:53,800 outfit that I feel good in, I repeat it. 459 00:26:54,000 --> 00:26:57,760 I'm totally rinse and repeat. So I have worn this combo 460 00:26:57,760 --> 00:27:01,360 before, but this morning I felt optimistic, which is why I've 461 00:27:01,360 --> 00:27:04,400 got gold sandals on and it's pouring with rain outside. 462 00:27:04,920 --> 00:27:07,160 But I don't care because I did hear that the weather forecast 463 00:27:07,160 --> 00:27:10,160 is going to pick up, so I'm channelling that I'm manifesting 464 00:27:10,160 --> 00:27:12,160 the sun. And will you take a little 465 00:27:12,160 --> 00:27:16,120 wardrobe selfie of yourself once you've you just it's I wouldn't 466 00:27:16,120 --> 00:27:17,880 go that. Far, but it's a good idea. 467 00:27:18,120 --> 00:27:20,480 I should do that. Yeah, that's a tip. 468 00:27:20,920 --> 00:27:24,240 That's a tip from the top. No, I, I love doing that 'cause 469 00:27:24,400 --> 00:27:26,840 otherwise it's just, yes, there's too many things going on 470 00:27:26,840 --> 00:27:28,920 and, and you know. Particularly with the 471 00:27:28,920 --> 00:27:30,520 accessories of which I wear a lot. 472 00:27:30,520 --> 00:27:32,760 So I'm gonna, yeah, I'm gonna do that. 473 00:27:33,440 --> 00:27:35,200 But you grew up in London? I did. 474 00:27:36,240 --> 00:27:39,280 Would you say you were exposed to fashion from a young age? 475 00:27:39,280 --> 00:27:42,000 No, not at all. But my mother loves clothes. 476 00:27:42,000 --> 00:27:44,720 Creative. She was, although she would 477 00:27:44,720 --> 00:27:47,320 never say that. She she would never have said 478 00:27:47,320 --> 00:27:48,960 that she was creative, but I think she really was. 479 00:27:49,400 --> 00:27:51,920 She was mad about clothes. My father was as well, actually. 480 00:27:52,400 --> 00:27:55,600 But my mother was an amazing seamstress. 481 00:27:55,600 --> 00:27:57,920 She taught sewing. So she taught me. 482 00:27:57,920 --> 00:27:59,640 Did she teach you? Yes, yes, yes. 483 00:27:59,800 --> 00:28:04,160 And I love sewing. I love sewing now and it's a. 484 00:28:04,240 --> 00:28:06,200 Wonderful gift, actually, isn't it? 485 00:28:06,240 --> 00:28:07,960 Yes. And also just to mend things, 486 00:28:07,960 --> 00:28:11,600 you know, I, you know, and cut things up and make something 487 00:28:11,600 --> 00:28:13,760 else out of something. I really like, enjoy doing that. 488 00:28:14,200 --> 00:28:17,400 Yes. And I can remember most of her 489 00:28:17,400 --> 00:28:20,120 clothes. She, she, she really loved 490 00:28:20,120 --> 00:28:24,560 clothes. We would go to Harrods, not 491 00:28:24,560 --> 00:28:28,000 because we could afford anything there, but we'd go to look, look 492 00:28:28,000 --> 00:28:30,240 and learn. She would always carry a tape 493 00:28:30,240 --> 00:28:32,560 measure in her pocket, which I still do. 494 00:28:33,000 --> 00:28:34,520 And we're trying all the clothes. 495 00:28:34,840 --> 00:28:38,080 We would measure them and then we would go and buy the fabric 496 00:28:38,080 --> 00:28:41,080 and we would copy something like a cloak or, you know, and I 497 00:28:41,080 --> 00:28:43,120 remember all my outfits as a child. 498 00:28:43,520 --> 00:28:45,280 Lovely, and where were you buying your fabrics from? 499 00:28:45,760 --> 00:28:47,320 Peter Jones. It was then, yeah. 500 00:28:48,520 --> 00:28:51,760 I mean, lastly, I'd go to like Berwick St. to all those, all 501 00:28:51,760 --> 00:28:55,400 those fabric houses there or the cloth shop I love in Busch Bell 502 00:28:55,440 --> 00:28:58,200 Road. But I think in those days it was 503 00:28:58,200 --> 00:29:00,000 Peter Jones. Yeah, it was. 504 00:29:00,400 --> 00:29:02,560 Do you? Remember the moment that you. 505 00:29:03,240 --> 00:29:08,120 First, put on something that made you feel transformed. 506 00:29:08,320 --> 00:29:12,840 My mother made me a red snakeskin mini dress with a huge 507 00:29:13,240 --> 00:29:20,040 stonking great zip and it was short and I remember I had these 508 00:29:20,040 --> 00:29:23,280 black shiny shoes with a stonking great buckle on them 509 00:29:24,080 --> 00:29:26,720 and I just and I wore it with like a skinny polar neck sweater 510 00:29:26,720 --> 00:29:29,280 underneath. I was probably about six or 511 00:29:29,280 --> 00:29:31,320 seven. And so that I just felt. 512 00:29:31,520 --> 00:29:32,560 Really. Great. 513 00:29:32,720 --> 00:29:34,920 Late 60s, yeah. Yeah. 514 00:29:35,160 --> 00:29:40,320 What do you think was your light bulb moment in terms of fashion? 515 00:29:40,800 --> 00:29:46,000 When I left art college, I was making Perspex jewelry and I was 516 00:29:46,520 --> 00:29:50,520 selling it in Camden Market in Stockney, naked in Camden 517 00:29:51,360 --> 00:29:52,920 Liberty. And I had a stall in Camden. 518 00:29:53,000 --> 00:29:57,120 And this was a real light bulb because it changed everything 519 00:29:57,120 --> 00:30:01,280 for me. And a pair was used in a free 520 00:30:01,280 --> 00:30:04,200 magazine called Miss London, which was handed out on the 521 00:30:04,200 --> 00:30:07,200 Tube. And I, it was like a sort of 522 00:30:07,200 --> 00:30:11,280 magic thing that happened that I mean, because we weren't, I 523 00:30:11,280 --> 00:30:14,880 wasn't a magazine reader. I wasn't a fashion, you know, I 524 00:30:14,880 --> 00:30:17,720 made my clothes, but I didn't think that I could have a Korean 525 00:30:17,720 --> 00:30:18,920 fashion. I didn't know what that would 526 00:30:18,920 --> 00:30:20,680 look like. I didn't know that was a 527 00:30:20,680 --> 00:30:24,640 possibility. But when I saw these earrings in 528 00:30:24,640 --> 00:30:27,880 this magazine, I couldn't believe that I had touched them. 529 00:30:27,880 --> 00:30:29,840 I couldn't believe, let alone made them with a Black and 530 00:30:29,840 --> 00:30:32,240 Decker in my bedroom. But I couldn't believe that I 531 00:30:32,240 --> 00:30:34,880 touched them. And then they were on a model 532 00:30:34,880 --> 00:30:40,720 that to me was like, it was just like something otherworldly and 533 00:30:40,840 --> 00:30:46,360 unobtainable and, and just so, so exciting. 534 00:30:46,480 --> 00:30:50,880 And then I thought, so they left my bedroom and they ended up in 535 00:30:50,880 --> 00:30:53,080 this magazine. What's that process? 536 00:30:53,640 --> 00:30:56,280 And that was a light bulb because I thought I've got to 537 00:30:56,280 --> 00:30:59,040 know what that process is because I didn't believe that 538 00:30:59,040 --> 00:31:01,520 there was. I just thought it was magic and 539 00:31:01,520 --> 00:31:01,800 were. You. 540 00:31:01,840 --> 00:31:05,640 Wearing those Perspex earrings a lot yourself, Yes. 541 00:31:05,640 --> 00:31:08,160 What was your style like at that time? 542 00:31:08,160 --> 00:31:10,040 All sort of punky. They were kind of, they were 543 00:31:10,040 --> 00:31:12,480 kind of fluorescent. The earrings were all kind of 544 00:31:12,480 --> 00:31:15,720 fluorescent. Jaggy, Zigzag, very Bowie esque. 545 00:31:16,320 --> 00:31:19,120 Kind of lots of colors. My hair was multi colored. 546 00:31:20,160 --> 00:31:23,560 I made all my clothes out of furnishing fabrics. 547 00:31:25,360 --> 00:31:29,320 I mean, I looked a bit freaky. I mean, I wasn't like I wasn't. 548 00:31:29,440 --> 00:31:33,080 I was a kind of probably romantic punk, I think less of 549 00:31:33,080 --> 00:31:38,280 an aggressive one, more romantic and rebellious and, you know, 550 00:31:38,280 --> 00:31:43,160 just loved experimenting with fabrics and patterns and texture 551 00:31:43,160 --> 00:31:47,640 and haircuts and makeup and yeah, my mother always try, try 552 00:31:47,640 --> 00:31:48,600 everything out. Try everything out. 553 00:31:48,880 --> 00:31:53,080 And I mean, you were at Conde Nast Vogue for the best part of 554 00:31:53,240 --> 00:31:58,120 three decades, weren't you? Or, and and more actually, how 555 00:31:58,120 --> 00:32:02,680 would you describe your style evolution from first walking 556 00:32:02,680 --> 00:32:07,560 through the door of Vogue house? When I first worked through went 557 00:32:07,560 --> 00:32:10,000 through the door of Vogue House, I thought everybody would look 558 00:32:10,440 --> 00:32:13,200 extreme and exciting and extraordinary. 559 00:32:13,200 --> 00:32:18,320 So I think I cobbled, I made. I remember I made an outfit for 560 00:32:18,320 --> 00:32:19,280 your. First day, yeah. 561 00:32:19,680 --> 00:32:21,200 And it was. And I was, bear in mind, I 562 00:32:21,200 --> 00:32:23,120 wasn't in the fashion as secretary to the Petri Cash 563 00:32:23,160 --> 00:32:25,080 woman. And it was a Tutu. 564 00:32:25,600 --> 00:32:29,200 I looked a bit like a kind of moist dancer on acid, sort of 565 00:32:29,200 --> 00:32:30,760 me. And it was a Tutu. 566 00:32:31,040 --> 00:32:33,880 And I remember I'd hadn't got time to completely finish off, 567 00:32:34,200 --> 00:32:37,040 but I made all these petals and I stuck them in the waistband of 568 00:32:37,040 --> 00:32:39,240 the Tutu. And then I had ribbons going up 569 00:32:39,240 --> 00:32:43,440 my legs and Oh yeah, I mean something crazy. 570 00:32:43,440 --> 00:32:45,960 And I remember all the leaves dropped off. 571 00:32:45,960 --> 00:32:49,040 So I was there with my bottom hanging out at the end of the 572 00:32:49,040 --> 00:32:53,600 day, but and everybody was in sweater dresses and I just was 573 00:32:53,600 --> 00:32:55,800 like. And how did you feel in? 574 00:32:55,800 --> 00:32:58,560 Life Tutu. Oh, I think I started the day 575 00:32:58,560 --> 00:33:00,560 feeling pretty good. I probably ended it feeling a 576 00:33:00,560 --> 00:33:05,400 bit of a clown and a bit and a bit stupid, but I just thought 577 00:33:05,400 --> 00:33:09,120 that, you know, they'd expect something, not that anybody 578 00:33:09,120 --> 00:33:11,360 looked at me and they didn't. And do you still find yourself 579 00:33:11,360 --> 00:33:14,480 experimenting with clothes? I don't experiment. 580 00:33:14,480 --> 00:33:19,360 I mean, I love buying clothes and I love, I mean not that I 581 00:33:19,360 --> 00:33:23,000 buy a lot, but I I like experimenting with color, I 582 00:33:23,000 --> 00:33:28,080 think, and shape and print, but less with the kind of 583 00:33:28,080 --> 00:33:32,360 extremeness I think. And do you use vintage shopping 584 00:33:32,440 --> 00:33:35,280 as an excuse to experiment with those things? 585 00:33:35,280 --> 00:33:38,160 That's a really good point to answer, yes, because I think I 586 00:33:38,160 --> 00:33:41,160 do love vintage shopping less so now. 587 00:33:41,160 --> 00:33:44,720 I used to be a big vintage shopper just to find that thing 588 00:33:44,720 --> 00:33:49,600 that nobody else had or that was so, you know, individual. 589 00:33:50,360 --> 00:33:53,040 And also I love sewing myself. So I love buying something 590 00:33:53,040 --> 00:33:55,400 vintage and then, you know, maybe a dress and then cutting a 591 00:33:55,400 --> 00:33:57,800 shop and make it into a skirt or, you know, something like 592 00:33:57,800 --> 00:34:00,240 that. But so I like doing things to 593 00:34:00,240 --> 00:34:02,800 things. Where are your favorite vintage 594 00:34:02,920 --> 00:34:04,560 haunts? Oh Bush Bellow Rd. 595 00:34:04,560 --> 00:34:07,640 Still, Yeah, and I go to a lot of I go to Car Boots at the 596 00:34:07,640 --> 00:34:10,199 weekend and I often find something, but I look more for 597 00:34:10,199 --> 00:34:12,840 housey things at Car Boots. I've got to ask you about your 598 00:34:12,840 --> 00:34:15,199 wedding dress. I haven't seen any pictures of 599 00:34:15,199 --> 00:34:17,600 it, I have to admit. Tell me about it. 600 00:34:18,280 --> 00:34:21,840 It's actually a coat. And it was a funny story because 601 00:34:21,840 --> 00:34:25,880 I went to a beautiful vintage shop back in the day called 602 00:34:25,880 --> 00:34:32,400 Marilyn Garrett in Pimlico. And she had this Peloponnese 603 00:34:34,440 --> 00:34:40,719 Navy blue, very long sleeveless, gold embroidered. 604 00:34:40,719 --> 00:34:43,880 Sounds flashy, but it's not. It was dull gold embroidered, 605 00:34:44,760 --> 00:34:49,560 long vest, beautiful. And it was a fortune and and I 606 00:34:49,560 --> 00:34:51,120 said man, and that's, that's beautiful. 607 00:34:51,120 --> 00:34:55,719 And she said, yes, it's actually going to a museum in Greece. 608 00:34:56,239 --> 00:34:59,400 And I said how wonderful. And it just sounded so romantic. 609 00:34:59,400 --> 00:35:01,880 And I tried it on and it fitted like a glove. 610 00:35:02,360 --> 00:35:08,000 Anyway, Fast forward maybe five years later and I got engaged to 611 00:35:08,000 --> 00:35:12,880 Simon and I went back to Marilyn and I said, do you remember that 612 00:35:12,880 --> 00:35:14,920 beautiful rest? And I said, have you got 613 00:35:14,920 --> 00:35:17,400 anything vaguely like it? And she said, it's come back 614 00:35:17,400 --> 00:35:20,240 from the museum Anyway, So I bought it. 615 00:35:20,240 --> 00:35:23,440 And when I said to my mother I was getting married in Navy blue 616 00:35:23,640 --> 00:35:25,480 wool, she did think that was a little bit odd. 617 00:35:25,960 --> 00:35:27,520 But it's beautiful. It's beautiful. 618 00:35:27,520 --> 00:35:30,920 And I wear it sometimes to, you know, my 50th birthday party or 619 00:35:31,560 --> 00:35:33,560 and it's a lovely thing. It's a beautiful thing. 620 00:35:33,560 --> 00:35:36,760 And what did you wear it with? I wore it with a very dull gold, 621 00:35:37,920 --> 00:35:41,880 beautiful sort of long with tiny puff sleeve dress underneath. 622 00:35:42,600 --> 00:35:44,040 Are you? Obviously through the years 623 00:35:44,040 --> 00:35:47,680 you've collaborated with so many inspirational designers. 624 00:35:48,720 --> 00:35:53,520 I wondered if working closely with these designers ever had an 625 00:35:53,520 --> 00:35:55,680 impact on your personal style? Oh. 626 00:35:55,680 --> 00:36:00,840 Hugely, hugely. Funnily enough, I've only ever 627 00:36:00,840 --> 00:36:03,720 worked with women designers. Not because that was a sort of 628 00:36:03,720 --> 00:36:05,600 choice, because you, you know, it's often don't have a choice 629 00:36:05,600 --> 00:36:08,160 no matter. But you know, the first designer 630 00:36:08,160 --> 00:36:09,960 I worked with with was Michio Pardo. 631 00:36:10,440 --> 00:36:13,120 And I was a Prada for 10 years, a massive influence. 632 00:36:13,480 --> 00:36:19,960 She saw fashion and women with such intelligence. 633 00:36:20,400 --> 00:36:23,520 I think with her. And also when Comde Gasol came 634 00:36:23,520 --> 00:36:28,600 to town, you know, I've never dressed in a sort of sexy way or 635 00:36:28,600 --> 00:36:32,160 kind of bling way because I just don't have my face isn't sexy. 636 00:36:32,160 --> 00:36:34,360 So I've I've never gone in that direction. 637 00:36:35,040 --> 00:36:40,200 And designers like Nietzsche or Ray Caracubo, Women designers. 638 00:36:41,240 --> 00:36:46,320 They gave you a. Freedom to dress intelligently. 639 00:36:47,120 --> 00:36:52,480 And I think I was so they were so revolutionary because you 640 00:36:52,480 --> 00:36:55,680 didn't have to be that showy, sexy person. 641 00:36:55,680 --> 00:36:58,720 You didn't have to. They gave you permission. 642 00:36:58,720 --> 00:37:01,360 I mean, actually when I think of somebody like Christopher Kane 643 00:37:01,360 --> 00:37:06,560 as well, I think what all these amazing designers do is give you 644 00:37:06,560 --> 00:37:09,480 permission to look at something differently or to dress 645 00:37:09,480 --> 00:37:10,880 differently. And I know that sounds a bit 646 00:37:10,880 --> 00:37:14,680 weird about because why can't you give yourself permission? 647 00:37:15,280 --> 00:37:23,400 But in a way, we all want to look, you know, OK and confident 648 00:37:23,480 --> 00:37:26,880 and, and when they give you a different vision and when they 649 00:37:26,880 --> 00:37:31,080 put on a different vision, my God, it makes you fly, you know, 650 00:37:31,120 --> 00:37:34,600 and for Mutia, you know, I worked for Prada for 10 years 651 00:37:34,600 --> 00:37:38,480 and, and at the time then, you know, halfway through, she 652 00:37:38,480 --> 00:37:42,480 decided to launch Mew Mew. And what she was doing was very 653 00:37:42,480 --> 00:37:46,440 different. And it was, and I still wear the 654 00:37:46,440 --> 00:37:49,160 things that I have to this day and they haven't changed. 655 00:37:49,160 --> 00:37:51,440 There was a kind of longevity about it that was wonderful. 656 00:37:51,720 --> 00:37:53,440 The same with Comte de Gaston as well. 657 00:37:53,840 --> 00:37:57,880 What was the process of actually working with Moocha? 658 00:37:58,680 --> 00:38:02,880 Well, it was interesting because I worked on the first ever part 659 00:38:02,880 --> 00:38:04,600 of show. I remember going around Vogue 660 00:38:04,600 --> 00:38:05,760 saying has anybody heard of parter? 661 00:38:06,520 --> 00:38:08,840 And I think one person said, I think they do luggage. 662 00:38:09,560 --> 00:38:11,680 So I thought, oh, luggage leather factory, that's 663 00:38:11,680 --> 00:38:16,320 interesting and worked on the first show and stayed with her 664 00:38:16,600 --> 00:38:21,240 and there was literally kind of three of us, knitwear designer, 665 00:38:21,240 --> 00:38:26,080 me and Moocha. And the process was really, you 666 00:38:26,080 --> 00:38:28,840 know, working on the designs as well as actually, you know, 667 00:38:28,840 --> 00:38:31,000 choosing the models that go into the show and everything. 668 00:38:31,360 --> 00:38:36,200 So I really learnt how to put a show together on Prada's watch, 669 00:38:36,200 --> 00:38:39,800 which was incredibly amazing now I think about it. 670 00:38:39,840 --> 00:38:42,800 And what a an incredible journey. 671 00:38:42,960 --> 00:38:45,400 It was a journey. I mean, I've done a couple of 672 00:38:45,400 --> 00:38:48,560 shows before for John Rocha, which was wonderful. 673 00:38:48,560 --> 00:38:53,760 And so I kind of vaguely knew, but not really, you know, to 674 00:38:53,760 --> 00:38:56,840 that from from the beginning to the end of the design process 675 00:38:56,840 --> 00:38:58,440 right to the end of actually showing. 676 00:38:58,440 --> 00:39:00,960 I was, I was going to say, because, you know, it wasn't 677 00:39:00,960 --> 00:39:04,760 just the show then then you would go into the next season 678 00:39:04,760 --> 00:39:06,280 with Moocha. Yes. 679 00:39:06,640 --> 00:39:09,880 And, you know, you were there to kind of, you know, a lot of 680 00:39:09,880 --> 00:39:12,360 designers and it's, this was true of, you know, Consuelo, who 681 00:39:12,360 --> 00:39:15,520 was Armani and Jill Sander. You know, a lot of designers 682 00:39:15,520 --> 00:39:20,200 work in a very isolated way, you know, and I always thought it 683 00:39:20,200 --> 00:39:24,960 was my job to kind of come in with ideas, with inspiration, 684 00:39:25,560 --> 00:39:31,520 you know, and have a kind of window on the outside world of 685 00:39:31,520 --> 00:39:34,640 what was happening, but also to find things that hadn't been 686 00:39:34,640 --> 00:39:37,720 done or, you know, that was that was my job. 687 00:39:37,720 --> 00:39:42,440 And it's always your job, I think, to to inspire and kind of 688 00:39:42,440 --> 00:39:45,480 delight and bring something fresh to the table every time. 689 00:39:46,200 --> 00:39:48,640 Yeah, True. Now I know this is going to be a 690 00:39:48,640 --> 00:39:51,440 very challenging question for you, for someone with such 691 00:39:51,440 --> 00:39:56,080 eclectic taste, but if you could only dress in two brands, one 692 00:39:56,080 --> 00:40:00,240 designer, 1 High Street, which two brands would those be? 693 00:40:00,240 --> 00:40:07,040 And Oh my gosh, well, it would actually not so difficult, 694 00:40:07,040 --> 00:40:09,320 although I do, I love, I do love as you watch so many of us. 695 00:40:10,000 --> 00:40:14,320 It would probably it probably would be Coalville because we 696 00:40:14,320 --> 00:40:20,120 design with, you know, a woman in mind that's often us and it 697 00:40:20,120 --> 00:40:23,960 would probably bizarre because of the choice you. 698 00:40:23,960 --> 00:40:27,680 Seem, unsurprisingly, so very confident. 699 00:40:28,280 --> 00:40:30,760 Do you think clothes are part of that confidence? 700 00:40:31,360 --> 00:40:37,400 Yes, I do. I do, I think I, but I do 701 00:40:37,400 --> 00:40:42,120 understand the anxiety of clothes because we all have 702 00:40:42,120 --> 00:40:46,480 that, you know, and, and, and it's not to say that I wake up 703 00:40:46,480 --> 00:40:48,520 every day and put something on and feel fabulous. 704 00:40:48,520 --> 00:40:51,040 I don't. And often you've just got to try 705 00:40:51,040 --> 00:40:52,760 things out and they don't work at the end of the day. 706 00:40:52,760 --> 00:40:55,320 And you think that wasn't quite right or whatever, but you have 707 00:40:55,320 --> 00:40:59,200 to get dressed every day. And I think isn't it great if 708 00:40:59,360 --> 00:41:02,840 that can be a source of pleasure rather than anxiety? 709 00:41:03,080 --> 00:41:05,080 But it's taken me a long time to work that out. 710 00:41:05,520 --> 00:41:08,040 You know, I did some research about this because I did some, I 711 00:41:08,040 --> 00:41:11,400 did a study for with Imperial College about interviews. 712 00:41:11,880 --> 00:41:14,840 You know, people make up their mind, I think it's something 713 00:41:14,840 --> 00:41:19,640 within the 1st 24 seconds and that's so unfair in a way. 714 00:41:19,640 --> 00:41:23,280 And of course it's kind of how you come across and you know 715 00:41:23,520 --> 00:41:26,160 your manners and you know your attitude. 716 00:41:26,800 --> 00:41:29,920 And yes, clothes can give you incredible confidence and they 717 00:41:29,920 --> 00:41:32,120 can also give you incredible anxiety. 718 00:41:32,960 --> 00:41:35,960 So I understand people who just want to be comfortable and get 719 00:41:35,960 --> 00:41:37,280 by. I totally get that. 720 00:41:37,640 --> 00:41:41,360 But I also think that they can be magical and have powers of 721 00:41:41,360 --> 00:41:43,760 transformation. And I mean, we feel like 722 00:41:43,760 --> 00:41:46,000 $1,000,000. Yes, we can message through 723 00:41:46,080 --> 00:41:47,160 through. Our clothes and. 724 00:41:47,840 --> 00:41:51,000 What do you reach for when you want to feel empowered, for 725 00:41:51,000 --> 00:41:52,560 example? Probably a pair of earrings. 726 00:41:53,080 --> 00:41:56,080 Would you say age as a consideration to how you're 727 00:41:56,080 --> 00:41:59,080 dressing? No, I don't think so. 728 00:41:59,080 --> 00:42:04,800 I mean, but not consciously. What's sexy for Lucinda Chambers 729 00:42:05,240 --> 00:42:08,040 what I. Find sexy is people who look 730 00:42:08,440 --> 00:42:09,800 like they're really in their skin. 731 00:42:10,920 --> 00:42:14,840 I probably find men sexy who really don't look as if they 732 00:42:14,840 --> 00:42:17,880 bother and look as if they're wearing kind of French workwear 733 00:42:17,880 --> 00:42:21,040 and they've worn out forever. Whereas I think actually I find 734 00:42:21,080 --> 00:42:22,880 women sexy in a completely different way. 735 00:42:23,440 --> 00:42:28,040 Like just looking really comfortable and cool, I suppose, 736 00:42:28,920 --> 00:42:32,280 and a little bit edgy and a little bit different. 737 00:42:32,280 --> 00:42:34,920 Yeah, yeah. Would you say you've got a style 738 00:42:34,920 --> 00:42:38,960 icon? Probably Tilda Swinton, both off 739 00:42:38,960 --> 00:42:41,520 screen and on. I always think she looks 740 00:42:41,520 --> 00:42:46,360 incredible on screen in those films that she's done where she 741 00:42:46,360 --> 00:42:49,640 dresses in an extraordinary way and I'm sure she has a huge 742 00:42:49,640 --> 00:42:51,200 hand. Well I know she has a huge hand 743 00:42:51,200 --> 00:42:56,120 in what she wears, but also I just think she looks like she 744 00:42:56,120 --> 00:43:04,600 loves fashion and enjoys it and looks so unusual and looks so 745 00:43:04,600 --> 00:43:08,480 intelligent. In all your years at Vogue, I 746 00:43:08,600 --> 00:43:12,600 mean, you must have had to dress some extraordinary characters. 747 00:43:12,880 --> 00:43:16,560 Wonderful variety of musicians and actors and artists. 748 00:43:16,560 --> 00:43:21,760 No incredible privilege, really, to have that access. 749 00:43:21,880 --> 00:43:25,520 Yeah. And any really tricky times when 750 00:43:25,520 --> 00:43:29,640 you just couldn't get that person into the look that you 751 00:43:29,640 --> 00:43:33,360 wanted. Well, there's only one tricky 752 00:43:33,360 --> 00:43:36,760 time where the look wasn't there and it was when we were shooting 753 00:43:36,760 --> 00:43:40,680 Emma Watson and none of the clothes turned up. 754 00:43:40,680 --> 00:43:43,640 We were on the Eurostar. They had all got stolen from the 755 00:43:43,640 --> 00:43:45,440 train and we were in on the last train coming in. 756 00:43:45,720 --> 00:43:48,160 It's about midnight. We went into the luggage van of 757 00:43:48,160 --> 00:43:50,920 the Eurostar. All the all the suitcases have 758 00:43:50,920 --> 00:43:54,000 been stolen. So we had literally nothing to 759 00:43:54,000 --> 00:43:55,600 dress her in. And again, it was a bit of a 760 00:43:55,600 --> 00:43:58,480 sort of scramble. I think I borrowed a hat from 761 00:43:58,480 --> 00:44:01,240 the assistant and I took the sweater off my back and 762 00:44:02,000 --> 00:44:03,560 scrambled around for perhaps sunglasses. 763 00:44:03,680 --> 00:44:06,200 She wasn't a happy Bunny. No, that did not go down well. 764 00:44:06,640 --> 00:44:10,520 No, it did not go down well. You know, she was young and she 765 00:44:10,520 --> 00:44:14,120 was really excited. It was her first Vogue shoot, 766 00:44:14,640 --> 00:44:17,600 and I think she was really disappointed, obviously. 767 00:44:17,640 --> 00:44:19,560 Yeah. I mean, I think we did manage to 768 00:44:19,560 --> 00:44:23,440 get a dress from like, a fabulous Chanel thing in the end 769 00:44:23,920 --> 00:44:25,800 for the cover. But yeah, the rest of it was 770 00:44:25,800 --> 00:44:28,400 very patch, patch and scratch. Boom. 771 00:44:28,840 --> 00:44:32,960 And talking about worst fashion moments, would you say you've 772 00:44:33,160 --> 00:44:37,400 had one particular one personally that you look back on 773 00:44:37,400 --> 00:44:40,120 and you think, what was I thinking? 774 00:44:40,840 --> 00:44:43,120 I don't. I don't think I can remember 775 00:44:43,120 --> 00:44:46,920 one, but I do. But I do remember dressing. 776 00:44:47,160 --> 00:44:50,840 I had a phase of all purple, purpley purple underwear, purple 777 00:44:50,840 --> 00:44:53,640 eyeshadow, purple hair, purple glasses, purple. 778 00:44:54,200 --> 00:44:55,600 I can't wear The Color Purple now. 779 00:44:55,920 --> 00:44:58,640 Not that I was having such a miserable time at that time. 780 00:44:59,120 --> 00:45:00,560 But it's too much. You traumatized. 781 00:45:00,560 --> 00:45:03,240 Yourself, I, I traumatized. I was in purple. 782 00:45:03,240 --> 00:45:03,680 Trauma. Yeah. 783 00:45:04,240 --> 00:45:07,080 Most people are traumatized by their school uniform colour but. 784 00:45:07,200 --> 00:45:10,120 That I love my school. Uniform that was a a self 785 00:45:10,120 --> 00:45:15,720 induced yeah, just too much is exercise and fitness an 786 00:45:15,720 --> 00:45:17,400 important part of no. Who you are? 787 00:45:18,800 --> 00:45:22,080 I wish it was. No, no, I know. 788 00:45:22,080 --> 00:45:25,640 I've got to. What's your approach to your own 789 00:45:25,640 --> 00:45:30,360 hair and makeup? Makeup I I wish I was good at 790 00:45:30,360 --> 00:45:32,960 it. So I'm and I'm not even though 791 00:45:32,960 --> 00:45:34,880 actually I worked in the beauty department for five years. 792 00:45:35,240 --> 00:45:40,400 I really am into and very curious about beauty brands. 793 00:45:40,800 --> 00:45:46,000 So I do take care of my skin and I love discovering new brands at 794 00:45:46,000 --> 00:45:50,280 the moment there's a wonderful new brand called see to skin and 795 00:45:50,280 --> 00:45:52,440 it's a small brand it's beautiful absolutely 796 00:45:52,440 --> 00:45:53,600 everything's grown on their farm. 797 00:45:54,040 --> 00:45:56,600 It's a wonderful thing. And then there's things like 798 00:45:56,600 --> 00:46:01,200 Domamiel, also an English brand, beautiful in Devon. 799 00:46:02,000 --> 00:46:06,000 So I do take care of my skin. But the only thing I do do, I 800 00:46:06,000 --> 00:46:09,680 would never let go of my hair colorist who's Nicola Clark, who 801 00:46:09,680 --> 00:46:13,680 I've been going to for 30 years, and she does blonde brilliantly. 802 00:46:14,400 --> 00:46:16,440 She does. Kate Moss, Cate Blanchett, Kate 803 00:46:16,440 --> 00:46:18,880 Winslet. She does it well, and she 804 00:46:18,880 --> 00:46:22,640 squeezes me in. Let's talk about sustainable 805 00:46:22,640 --> 00:46:26,240 fashion for a moment. You know, Coalville definitely 806 00:46:26,320 --> 00:46:31,040 before sustainability was a word on everybody's lips was was 807 00:46:31,040 --> 00:46:33,760 something that was absolutely uppermost in our mind. 808 00:46:34,400 --> 00:46:42,240 And, and I think we all have to be responsible in a sense of, 809 00:46:43,200 --> 00:46:47,000 you know, wearing our clothes for a much longer time, making 810 00:46:47,000 --> 00:46:50,200 them have a different life when they go on, not throwing things 811 00:46:50,200 --> 00:46:53,920 away, not making, you know, impulse silly purchases that you 812 00:46:53,920 --> 00:46:58,800 just wear for an afternoon. And I think, you know, thought 813 00:46:58,800 --> 00:47:03,440 and consideration and has to be absolutely front and foremost. 814 00:47:03,440 --> 00:47:06,960 And and I think it is up to each and every one of us because it's 815 00:47:06,960 --> 00:47:11,120 through our choices of whether we buy that or that from there 816 00:47:11,120 --> 00:47:14,280 or there that will really shift things. 817 00:47:14,880 --> 00:47:17,080 I mean, it's a really interesting time, isn't it? 818 00:47:17,080 --> 00:47:23,160 Because we're all being told by less, by better, you know, 819 00:47:24,640 --> 00:47:27,280 repair upcycle, etcetera, etcetera. 820 00:47:27,760 --> 00:47:31,360 And yet when you think of it from a brand's perspective, 821 00:47:31,840 --> 00:47:35,640 their ambition is sell more, sell more, sell more. 822 00:47:35,960 --> 00:47:38,160 And it's it's a real contradiction. 823 00:47:38,360 --> 00:47:42,080 But it's ever been thus. I mean, I think you know, 824 00:47:42,080 --> 00:47:48,840 whether you choose to. I mean, I buy maybe you know, an 825 00:47:48,840 --> 00:47:54,000 expensive handbag maybe once every three years or five years, 826 00:47:54,640 --> 00:48:00,400 but I look after it or I give it away or I do. 827 00:48:00,680 --> 00:48:03,520 I do do quite a lot of charity sales with my clothes. 828 00:48:03,520 --> 00:48:06,400 I don't have anything in my cupboard that I don't wear on a 829 00:48:06,400 --> 00:48:09,600 regular basis. But it it's a challenge for the 830 00:48:09,600 --> 00:48:12,680 brands, isn't it? It is a challenge for the bands 831 00:48:13,280 --> 00:48:17,440 and at Money we did many collections a year, which we 832 00:48:17,440 --> 00:48:19,680 then actually cut down because it was too much. 833 00:48:19,760 --> 00:48:23,840 Yeah, there was too much product and we were doing too many 834 00:48:24,320 --> 00:48:27,600 collections. And I think you can change the 835 00:48:27,600 --> 00:48:30,960 nature of a company and you do less collections with less 836 00:48:30,960 --> 00:48:34,120 products, but the products very thoughtful. 837 00:48:35,600 --> 00:48:37,720 What's the oldest piece in your wardrobe? 838 00:48:39,400 --> 00:48:44,040 It's a hat that I got from a wonderful shop called Krola and 839 00:48:44,040 --> 00:48:48,280 I probably got it in the late 70s, early 80s. 840 00:48:49,400 --> 00:48:51,280 But I'm, I actually don't hang on to a lot of things. 841 00:48:51,280 --> 00:48:54,520 I mean, I don't buy a lot of new things, but I also don't hang on 842 00:48:54,520 --> 00:48:56,720 to, to things. But I have hang on to that 843 00:48:56,720 --> 00:48:59,240 because it's got lots of memories of when I lived in a 844 00:48:59,240 --> 00:49:03,320 squash and we all I dressed in like men's clothing and that was 845 00:49:03,320 --> 00:49:06,120 part of that. Now, if someone was to describe 846 00:49:06,200 --> 00:49:12,160 your style DNA in three words, what 3 words would you want 847 00:49:12,160 --> 00:49:15,320 those to be? I think probably somebody might 848 00:49:15,320 --> 00:49:19,640 say I'm eclectic, bit of a mishmash, decorative. 849 00:49:20,680 --> 00:49:23,200 So we've got a collective decorative. 850 00:49:23,920 --> 00:49:26,360 I think comfortable. I'd say colorful. 851 00:49:27,040 --> 00:49:30,640 Yeah, I do love color. Yeah, color is always involved. 852 00:49:31,040 --> 00:49:33,840 Let's spin on to some quick fire questions. 853 00:49:33,840 --> 00:49:37,160 So these are quick answers. What fashion advice would you 854 00:49:37,160 --> 00:49:40,280 give your 20 year old self? Or try things out. 855 00:49:40,280 --> 00:49:41,600 Try things out. Try things out. 856 00:49:42,200 --> 00:49:44,960 Which fashion trend would you most like to see make a 857 00:49:44,960 --> 00:49:46,560 comeback? Quite. 858 00:49:46,560 --> 00:49:51,320 Love 70s kind of twisted Jarvis Cocker situation. 859 00:49:51,840 --> 00:49:55,400 Fashionable beauty trend that you'd consign to Room 101. 860 00:49:56,680 --> 00:49:58,280 Do you know what? Nothing. 861 00:49:59,040 --> 00:50:01,720 Nothing. I think there's something for 862 00:50:01,720 --> 00:50:03,960 everyone and everyone looks great in something. 863 00:50:04,720 --> 00:50:06,520 But I love the positivity of that. 864 00:50:07,000 --> 00:50:12,360 Your last impulse buy? Probably my wonderful handbag 865 00:50:12,360 --> 00:50:16,480 stripy colorful Strathbury collab. 866 00:50:16,920 --> 00:50:20,160 Yeah, collab. Yeah, your views on tattoos. 867 00:50:20,600 --> 00:50:23,760 Love them on other people. No, they're beautiful. 868 00:50:23,760 --> 00:50:25,240 I mean, my sons have all got them. 869 00:50:25,520 --> 00:50:28,040 They're beautiful. And do you have one? 870 00:50:28,040 --> 00:50:31,280 No grooming or well-being treatment. 871 00:50:31,280 --> 00:50:34,240 You couldn't give up. My hair colorist Nicola. 872 00:50:34,440 --> 00:50:38,760 High end or High Street? Both Crocs cute or puke? 873 00:50:39,360 --> 00:50:44,080 Oh I love Crocs. Gazelles or sambas, Sambas, 874 00:50:44,760 --> 00:50:48,080 Sports lux or rock'n'roll, Sports lux. 875 00:50:48,400 --> 00:50:51,360 Cashmere or cotton. Cotton cargoes or chinos. 876 00:50:52,560 --> 00:50:57,280 Chinos, Trobe or Tracy. Tracy Trendle. 877 00:50:57,280 --> 00:51:01,800 Style, style, color or monochrome color, pattern or 878 00:51:01,800 --> 00:51:05,720 plane pattern. Hoarder or editor, Editor, 879 00:51:06,280 --> 00:51:09,400 Charity shop or resale charity shop? 880 00:51:10,000 --> 00:51:14,080 Shapewear or lingerie? Both at the same time. 881 00:51:15,880 --> 00:51:19,640 Bikini or one piece? Both not at the same time. 882 00:51:20,840 --> 00:51:24,480 And finally, at the end of the day, what do you or don't you 883 00:51:24,480 --> 00:51:26,040 wear in bed? Pajamas. 884 00:51:28,160 --> 00:51:31,200 Lucinda, what a joy to spend this time with you. 885 00:51:31,200 --> 00:51:36,000 God, I could have asked you a million other questions, but 886 00:51:36,000 --> 00:51:40,280 thank you so much for your time. Thank you so much and loving me. 887 00:51:40,280 --> 00:51:41,560 Thank you. What fun. 888 00:51:41,760 --> 00:51:43,040 Thank you. Thank you.