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WOMAN: I think he's got a wonderful personality, | 0:00:22 | 0:00:24 | |
and he's very, very Welsh, which is nice. | 0:00:24 | 0:00:26 | |
He likes to sort of bring this Welsh cheekiness or impishness | 0:00:26 | 0:00:31 | |
into everything he does. | 0:00:31 | 0:00:33 | |
NEW SPEAKER: I think he is doing something which is entirely new. | 0:00:33 | 0:00:36 | |
Certainly there is no history of knitted evening wear, | 0:00:36 | 0:00:39 | |
let alone sort of transparent knitwear. | 0:00:39 | 0:00:41 | |
MAN: All the time he's trying to break the boundary | 0:00:41 | 0:00:44 | |
in terms of technical innovation, | 0:00:44 | 0:00:46 | |
but also what he knits with, in terms of the yarns he uses. | 0:00:46 | 0:00:49 | |
Really things that have never been knitted before. | 0:00:49 | 0:00:52 | |
So he's extraordinarily creative. | 0:00:52 | 0:00:54 | |
When people normally think of knitwear, | 0:00:57 | 0:00:59 | |
and people would ask me, "What do you do?" So, "I'm a knitwear designer." | 0:00:59 | 0:01:03 | |
And they'd automatically say, "Oh, you make jumpers, then." | 0:01:03 | 0:01:06 | |
And I'd say, "No, I don't make jumpers, I make very sexy dresses." | 0:01:06 | 0:01:11 | |
And they'd say, "Oh, what, like, thick, chunky jumpers, long dresses? | 0:01:11 | 0:01:15 | |
"You know, cardigans, hats, bobble hats." | 0:01:15 | 0:01:19 | |
And I'd say, "No, I create modern knitwear." | 0:01:19 | 0:01:22 | |
Julien MacDonald is one of Britain's leading young fashion designers. | 0:01:23 | 0:01:27 | |
His revolutionary knitwear has been the talk of Paris, Milan | 0:01:27 | 0:01:30 | |
and London for the past two years. | 0:01:30 | 0:01:33 | |
1997 sees a big challenge for Julien - | 0:01:33 | 0:01:35 | |
the launch of his first catwalk collection | 0:01:35 | 0:01:38 | |
in the media glare of London Fashion Week. | 0:01:38 | 0:01:40 | |
Work on the collection began in northern Italy in late August. | 0:01:40 | 0:01:44 | |
Hi, Julien! How are you? | 0:01:47 | 0:01:49 | |
- Come sta? - Bene. | 0:01:49 | 0:01:51 | |
'Miss Deanna is one of Europe's top knitwear manufacturers. | 0:01:53 | 0:01:57 | |
'Her state-of-the-art factory near Bologna is everything | 0:01:57 | 0:02:00 | |
'a young designer could dream of. | 0:02:00 | 0:02:02 | |
'Julien's already been there once to go over the designs | 0:02:02 | 0:02:05 | |
'with Miss Deanna and choose fabrics. | 0:02:05 | 0:02:07 | |
'Now, six weeks later, he's back to see | 0:02:08 | 0:02:11 | |
'the prototypes of the collection for the very first time.' | 0:02:11 | 0:02:14 | |
Wow! It's bright! | 0:02:14 | 0:02:18 | |
Oh, wow. | 0:02:21 | 0:02:22 | |
It's amazing. | 0:02:23 | 0:02:24 | |
- I think they're really fantastic. - Oh, they're brilliant. | 0:02:30 | 0:02:33 | |
Bravo! | 0:02:33 | 0:02:34 | |
'It's amazing for me, it's just like a treasure box, | 0:02:35 | 0:02:38 | |
'a box of tricks,' | 0:02:38 | 0:02:39 | |
because everything I can do, they can do better than me. | 0:02:39 | 0:02:44 | |
And make things...well, make my dreams really come true. | 0:02:44 | 0:02:48 | |
'Things I dream about I can't do, | 0:02:48 | 0:02:51 | |
'Miss Deanna likes to try to make them, and does make them, come true. | 0:02:51 | 0:02:55 | |
'Very special, cutting-edge development knitwear.' | 0:02:55 | 0:02:59 | |
That's fantastic, this is brilliant. | 0:03:00 | 0:03:02 | |
- It is new, new, new for you! - I know! | 0:03:02 | 0:03:05 | |
This is really new. Actually, it is everything new. | 0:03:05 | 0:03:07 | |
Everything! | 0:03:07 | 0:03:09 | |
SPEAKS ITALIAN | 0:03:09 | 0:03:12 | |
'I think that here in Italy, and we can say perhaps also in Europe, | 0:03:39 | 0:03:44 | |
'she's one of the best knitwear makers.' | 0:03:44 | 0:03:48 | |
She does a lot of research, | 0:03:48 | 0:03:49 | |
I mean she's always travelling around the world seeing exactly | 0:03:49 | 0:03:53 | |
what is dressed in the streets, what the young people has on. | 0:03:53 | 0:03:59 | |
'She always let the designer feel like at home, | 0:03:59 | 0:04:02 | |
'having all what they need to work. | 0:04:02 | 0:04:05 | |
'So I think that's really like a paradise!' | 0:04:07 | 0:04:10 | |
Pronti. | 0:04:10 | 0:04:11 | |
Ah, you want me to do it with the pins? | 0:04:11 | 0:04:14 | |
THEY LAUGH | 0:04:14 | 0:04:16 | |
'She's very fun to work with, and she's also very tiring because,' | 0:04:16 | 0:04:19 | |
you know, I'm young and she's | 0:04:19 | 0:04:21 | |
much older than me, and when I feel tired, she is very alive and awake. | 0:04:21 | 0:04:26 | |
'And I think this comes with experience | 0:04:26 | 0:04:28 | |
'because she's used to working with so many designers. | 0:04:28 | 0:04:31 | |
'And she's a very exciting and fantastic lady to work with | 0:04:31 | 0:04:35 | |
'because she will try anything.' | 0:04:35 | 0:04:37 | |
Julien...it's impossible! THEY LAUGH | 0:04:37 | 0:04:40 | |
I see...and I can take the pins out then. | 0:04:45 | 0:04:47 | |
'He's very manual. | 0:04:49 | 0:04:50 | |
'I mean, normally for knitwears, you have to have a good relation | 0:04:50 | 0:04:55 | |
'with yarns, because those are' | 0:04:55 | 0:04:57 | |
the materials of the designer. | 0:04:57 | 0:04:59 | |
And so you have really to know how they can...work. And, um... | 0:04:59 | 0:05:05 | |
I think he really can see materials, | 0:05:07 | 0:05:11 | |
'from a yarn, what is the right translation. | 0:05:11 | 0:05:14 | |
'That is not so easy in knitwear, so not all designers can do that. | 0:05:14 | 0:05:19 | |
'So I think if a good designer that has his features | 0:05:19 | 0:05:23 | |
'meets a good knitwear factory, then it's the best.' | 0:05:23 | 0:05:28 | |
- Can we make this smaller? - Yes. | 0:05:28 | 0:05:31 | |
'These are the prototypes, the fashion toiles. | 0:05:31 | 0:05:34 | |
'And this is the first time I've seen the collection | 0:05:34 | 0:05:36 | |
'actually made into garments, because when you design the sketches, | 0:05:36 | 0:05:40 | |
'the sketching's very small, they're not real. | 0:05:40 | 0:05:42 | |
'Then when you see the clothes, | 0:05:42 | 0:05:44 | |
'they're actually real clothes, for real women. | 0:05:44 | 0:05:46 | |
'And when you see them on the body, you know, it's exciting. | 0:05:46 | 0:05:49 | |
'But it's also a time for change. | 0:05:49 | 0:05:52 | |
'We change the colours, we change the sizes of the sleeves, | 0:05:52 | 0:05:56 | |
'the arm holes, the lengths of the dresses, the backs. | 0:05:56 | 0:05:59 | |
'And some things work and some things don't, | 0:05:59 | 0:06:02 | |
'but this is the fun part, this is the design part.' | 0:06:02 | 0:06:05 | |
Yeah. That's it, fine. | 0:06:06 | 0:06:08 | |
SPEAKS ITALIAN | 0:06:08 | 0:06:11 | |
Julien's own evolution as a fashion designer started | 0:06:37 | 0:06:41 | |
when he was growing up in Merthyr Tydfil. | 0:06:41 | 0:06:44 | |
When he was a teenager, he was different from all the other boys. | 0:06:44 | 0:06:48 | |
I'd give him money to go to town with all the other boys | 0:06:48 | 0:06:52 | |
to buy sweaters, or shirts, whatever, you know, the boys were buying, | 0:06:52 | 0:06:56 | |
cos they used to start then to go out in the night. | 0:06:56 | 0:06:59 | |
He'd come home then, well, he'd buy something way out. | 0:06:59 | 0:07:03 | |
And I used to say to him, | 0:07:03 | 0:07:05 | |
"Julien, that's too big for you, that's not going to look nice, Ju." | 0:07:05 | 0:07:08 | |
"You wait now till I finish." | 0:07:08 | 0:07:11 | |
He'd get the machine down. | 0:07:11 | 0:07:13 | |
Well, whatever he'd bought, he'd make it all different then. | 0:07:13 | 0:07:17 | |
I remember I'd often go to Cardiff and buy things from the markets | 0:07:17 | 0:07:21 | |
and things, kind of recycle them. | 0:07:21 | 0:07:23 | |
And for me, you know, Cardiff was such a big place, you know, | 0:07:23 | 0:07:27 | |
living in such a small valley town, it was a big thing to do. | 0:07:27 | 0:07:31 | |
And I remember I always used to do funny things to my hair. | 0:07:32 | 0:07:35 | |
I used to have perms and cut it and perhaps imitate, you know, | 0:07:35 | 0:07:40 | |
a kind of pop star or somebody I liked. | 0:07:40 | 0:07:43 | |
He used to look really trendy, I got to be truthful with you, | 0:07:43 | 0:07:46 | |
he did, he used to look the part when he used to go out. | 0:07:46 | 0:07:48 | |
And he used to put a lot of effort into it. From his hair to his shoes. | 0:07:48 | 0:07:53 | |
I've seen him going out with odd shoes on. | 0:07:53 | 0:07:55 | |
I've seen him going out with one lace done up and one lace undone. | 0:07:55 | 0:07:59 | |
You name it, and he's done it. | 0:07:59 | 0:08:01 | |
The funny thing is about me, | 0:08:10 | 0:08:12 | |
when I was young I was never actually good at anything. | 0:08:12 | 0:08:16 | |
I was always bottom of the class and not top of the class. | 0:08:16 | 0:08:19 | |
And people would just think, "Oh, he'll end up in Hoovers, | 0:08:19 | 0:08:23 | |
"or in the light bulb factory, | 0:08:23 | 0:08:24 | |
"he'll never actually make anything of himself." | 0:08:24 | 0:08:27 | |
When I went to Brighton, | 0:08:28 | 0:08:30 | |
I was never the best in the college at the beginning. | 0:08:30 | 0:08:33 | |
Everything would always fall off the machine and they'd say, "Oh, God, | 0:08:33 | 0:08:36 | |
"you're hopeless." And, you know, "You take ages to do everything." | 0:08:36 | 0:08:40 | |
And then what happened is, | 0:08:40 | 0:08:42 | |
as soon as I started to work with other people, I learnt myself. | 0:08:42 | 0:08:46 | |
Because when I used to work for Cole, he would say, | 0:08:46 | 0:08:48 | |
"Oh, Julien, this is a dress, can you make a dress?" | 0:08:48 | 0:08:50 | |
And, of course, I'd never, ever made a dress, | 0:08:50 | 0:08:53 | |
I'd never made a jumper, I'd never even made a bobble hat. | 0:08:53 | 0:08:56 | |
I'd knitted little squares. | 0:08:56 | 0:08:57 | |
And all of a sudden I was in a situation where | 0:08:57 | 0:09:00 | |
I had to make a dress. | 0:09:00 | 0:09:02 | |
So I would go the library, get a book, and actually read | 0:09:02 | 0:09:05 | |
how to make a dress, and then I would make the dress. | 0:09:05 | 0:09:08 | |
I remember waking up one morning and everything just clicked, | 0:09:09 | 0:09:12 | |
everything just fell into part. | 0:09:12 | 0:09:13 | |
It was almost as if somebody had come to me one night and kind of sprinkled | 0:09:13 | 0:09:17 | |
magic dust over me, and I woke up and I could do all these things. | 0:09:17 | 0:09:21 | |
Cos the day before, I couldn't do them. | 0:09:21 | 0:09:23 | |
After Brighton, Julien's progress was rapid. | 0:09:24 | 0:09:27 | |
Studying at the Royal College Of Art, | 0:09:27 | 0:09:29 | |
he took part in a competition to design clothes | 0:09:29 | 0:09:32 | |
for one of the top names in the fashion business - | 0:09:32 | 0:09:34 | |
Chanel's Karl Lagerfeld. | 0:09:34 | 0:09:36 | |
I was very scared and I was shaking. | 0:09:36 | 0:09:39 | |
Because don't forget, you know, | 0:09:39 | 0:09:41 | |
Mr Lagerfeld is the most famous designer in the world. | 0:09:41 | 0:09:45 | |
Then when he actually saw what I did, of course, for him, | 0:09:45 | 0:09:49 | |
he'd never actually seen fabrics like mine before. | 0:09:49 | 0:09:52 | |
Because what I do is very unique to me. It's very modern, it's very edgy. | 0:09:52 | 0:09:58 | |
It can be young, and it can be very old and very sophisticated. | 0:09:58 | 0:10:02 | |
So, I had something that he wanted. | 0:10:02 | 0:10:04 | |
So, of course, I won the competition, he loved my work. | 0:10:04 | 0:10:09 | |
And, um, there was me and two other people | 0:10:09 | 0:10:12 | |
that got sent to Karl Lagerfeld and Chanel headquarters | 0:10:12 | 0:10:17 | |
to spend the summer in Paris. | 0:10:17 | 0:10:18 | |
At the end of the holidays, the other students went back to college, | 0:10:20 | 0:10:23 | |
but Julien was asked to stay on and become Karl Lagerfeld | 0:10:23 | 0:10:26 | |
and Chanel's knitwear chief. | 0:10:26 | 0:10:28 | |
There I was, 22 years old, | 0:10:28 | 0:10:32 | |
Julien MacDonald from Merthyr Tydfil, South Wales. | 0:10:32 | 0:10:35 | |
You know, it was odd. I was the knitwear designer for Chanel. | 0:10:35 | 0:10:39 | |
You know, I was the boss, I didn't answer to anybody at all. | 0:10:39 | 0:10:43 | |
Karl just let me do whatever I wanted to do. | 0:10:43 | 0:10:45 | |
If I wanted to do something, I could just do it. | 0:10:45 | 0:10:49 | |
And then I would have to go to all the factories | 0:10:49 | 0:10:51 | |
to supervise all the production. | 0:10:51 | 0:10:53 | |
I'd say, "Hello, I'm Mr MacDonald," and they'd like... | 0:10:53 | 0:10:56 | |
"Well, you can't be Mr MacDonald, you're so young!" | 0:10:56 | 0:10:59 | |
They would phone up Chanel headquarters and say, | 0:10:59 | 0:11:01 | |
"Oh, we've got this young boy, he says he's the knitwear designer | 0:11:01 | 0:11:04 | |
"for Chanel, is it true?" And they'd say, | 0:11:04 | 0:11:06 | |
"Yes, Mr MacDonald is the boss. | 0:11:06 | 0:11:08 | |
"If he says it's black and three metres, | 0:11:08 | 0:11:11 | |
"it's black and three metres." | 0:11:11 | 0:11:13 | |
I just remember I was actually dressing Naomi Campbell, | 0:11:42 | 0:11:45 | |
and I'd sent her off and all of a sudden it was like, | 0:11:45 | 0:11:47 | |
"Julien! Julien, Julien." And I remember Andre Leon Talley | 0:11:47 | 0:11:50 | |
grabbing me, saying, "Quick, Karl wants you, Karl wants you." | 0:11:50 | 0:11:53 | |
And I just thought, "Oh, my God, something's broken, | 0:11:53 | 0:11:55 | |
"a dress has ripped, or they want me to do something." | 0:11:55 | 0:11:58 | |
So then I ran to Karl at the side of the catwalk and said, | 0:11:58 | 0:12:00 | |
"Karl, what's the matter, what do you want?" | 0:12:00 | 0:12:02 | |
He said, "We're all going on the runway now." | 0:12:02 | 0:12:04 | |
I said, "What?" He said, "You're coming on the runway with me." | 0:12:04 | 0:12:07 | |
I said, "No, I'm not, it's not my show, it's your show." | 0:12:07 | 0:12:10 | |
He said, "No, no, no, you're coming with me. | 0:12:10 | 0:12:12 | |
Then all of a sudden I was literally pushed onto the runway. | 0:12:12 | 0:12:16 | |
And then of course in front of me there was all of Paris. | 0:12:16 | 0:12:19 | |
Karl took the very unusual step of actually bringing Julien out | 0:12:22 | 0:12:26 | |
onto the catwalk with him. | 0:12:26 | 0:12:28 | |
And normally, | 0:12:28 | 0:12:29 | |
Karl Lagerfeld is a man who likes to keep the limelight to himself. | 0:12:29 | 0:12:33 | |
So I think we all realised instantly that this was something | 0:12:33 | 0:12:37 | |
quite special. | 0:12:37 | 0:12:38 | |
I think what he liked about Julien, | 0:12:38 | 0:12:40 | |
and I think what everybody notices, | 0:12:40 | 0:12:42 | |
is his kind of wizardry with weaving | 0:12:42 | 0:12:45 | |
and the fact that he's completely at home using very strange materials, | 0:12:45 | 0:12:51 | |
like, you know, silver thread, gold thread, metal... | 0:12:51 | 0:12:55 | |
The kind of fibres and textures | 0:12:56 | 0:12:58 | |
and elements that you wouldn't normally associate with knitwear. | 0:12:58 | 0:13:01 | |
Well, it was something I was doing for a long time. | 0:13:01 | 0:13:05 | |
I'd just developed the technique for very feminine, lacy fabrics. | 0:13:05 | 0:13:10 | |
And American Vogue kind of quoted me as being the "genius of knitwear". | 0:13:10 | 0:13:16 | |
And then in Harper's Bazaar, | 0:13:16 | 0:13:18 | |
"Julien MacDonald, the supreme knitwear designer". | 0:13:18 | 0:13:21 | |
Then in British Vogue, "Julien MacDonald and the king of knitwear." | 0:13:21 | 0:13:25 | |
All of a sudden I became king of the cobweb. | 0:13:25 | 0:13:28 | |
I think, on the whole, we associate knitwear with day wear, | 0:14:13 | 0:14:16 | |
we think it's comfy, it's stretchy, we wear it in layers. | 0:14:16 | 0:14:20 | |
And Julien's taken knitwear into an entirely new realm. | 0:14:20 | 0:14:23 | |
The one thing that perhaps we could liken it to | 0:14:23 | 0:14:26 | |
is cobwebby knitting, | 0:14:26 | 0:14:28 | |
but it's something that's always been used for shawls, um, in wool, | 0:14:28 | 0:14:32 | |
certainly not in transparent, body-moulding evening gowns. | 0:14:32 | 0:14:36 | |
Julien's clothes are appealing to a new fashion client. | 0:14:37 | 0:14:40 | |
Perhaps not always used to wearing evening wear. | 0:14:40 | 0:14:43 | |
And what he's done with this dress is, | 0:14:43 | 0:14:44 | |
he's taken the basic shape of the V-neck T-shirt, | 0:14:44 | 0:14:47 | |
which is something that 1990s women are familiar with, | 0:14:47 | 0:14:50 | |
and married with a style which could be likened to 1930s bias cut, | 0:14:50 | 0:14:54 | |
sort of body-moulding evening wear. | 0:14:54 | 0:14:57 | |
And married the two together. | 0:14:57 | 0:14:59 | |
I think you've got to be special to wear them. | 0:15:06 | 0:15:08 | |
I think you've got to be really...trim. Have no cellulite! | 0:15:08 | 0:15:12 | |
So we can't wear them. | 0:15:15 | 0:15:17 | |
They are really special, his clothes, | 0:15:18 | 0:15:20 | |
and I don't think that a lot of people can afford them. | 0:15:20 | 0:15:24 | |
I think you've got to be in the right sort of work | 0:15:24 | 0:15:27 | |
to be able to wear them and to buy them. | 0:15:27 | 0:15:29 | |
But things are about to change. | 0:15:30 | 0:15:32 | |
Julien's been working with Marks & Spencer to create | 0:15:32 | 0:15:35 | |
a new collection specially designed for the high street. | 0:15:35 | 0:15:39 | |
When he first came to see me, the first sort of interview we had, | 0:15:39 | 0:15:43 | |
when he was talking about actually designing for a chain store, | 0:15:43 | 0:15:46 | |
he was... It excited him. | 0:15:46 | 0:15:48 | |
Not only was he excited about working with Karl Lagerfeld at Chanel | 0:15:48 | 0:15:51 | |
and making his own couture collection, | 0:15:51 | 0:15:53 | |
but he was very excited about putting clothes together | 0:15:53 | 0:15:56 | |
that his sisters could afford in Cardiff, | 0:15:56 | 0:15:58 | |
and, you know, that were affordable to a lot of people. | 0:15:58 | 0:16:01 | |
It's very different because my fabrics are very technical | 0:16:03 | 0:16:07 | |
so firstly I have to teach the factory how to make my fabrics. | 0:16:07 | 0:16:10 | |
And then, of course, with Marks & Spencers, | 0:16:10 | 0:16:12 | |
it's about price and quality. | 0:16:12 | 0:16:14 | |
So it has to be at a price that people can afford | 0:16:14 | 0:16:17 | |
and at a quality that's acceptable to a Marks & Spencers customer. | 0:16:17 | 0:16:22 | |
So it's actually very, very challenging. | 0:16:22 | 0:16:25 | |
You have to make things which people want to wear | 0:16:25 | 0:16:28 | |
and that all people can wear, from a size eight, | 0:16:28 | 0:16:32 | |
and also something that somebody at a size 16 can wear. | 0:16:32 | 0:16:36 | |
What we will get is the flavour of his couture clothes | 0:16:37 | 0:16:41 | |
and what we saw on the catwalk, | 0:16:41 | 0:16:42 | |
but they will obviously be reinvented for mass production. | 0:16:42 | 0:16:46 | |
And, as I said, he's very keen that we have prices | 0:16:46 | 0:16:49 | |
that his sisters can afford, he keeps going back to that. | 0:16:49 | 0:16:52 | |
But what you'll still get is the creativity, | 0:16:52 | 0:16:55 | |
and you'll get those very lacy knits and the sheer looks | 0:16:55 | 0:16:59 | |
and the fine sort of gossamer weights. | 0:16:59 | 0:17:02 | |
The creativity with yarns that he is known for. | 0:17:02 | 0:17:06 | |
These will be wearable, very special and very glamorous. | 0:17:06 | 0:17:09 | |
London, or Britain, is unique in the world in the opportunities | 0:17:09 | 0:17:13 | |
it does afford young designers on the high street. | 0:17:13 | 0:17:16 | |
And in the last couple of years we've seen many such marriages | 0:17:16 | 0:17:19 | |
springing up - between Debenhams and Jasper Conran, | 0:17:19 | 0:17:22 | |
between Dorothy Perkins and Clemence Ribeiro, between BHS and Paul Frith. | 0:17:22 | 0:17:28 | |
And Marks and Sparks with Julien MacDonald is one of the latest | 0:17:28 | 0:17:31 | |
kind of designer partnerships. | 0:17:31 | 0:17:34 | |
And what it means is that Julien's sort of, | 0:17:34 | 0:17:37 | |
the wilder extremes that he can go to on the catwalk, | 0:17:37 | 0:17:41 | |
encouraged by somebody like Karl Lagerfeld, | 0:17:41 | 0:17:43 | |
can then be tempered and sort of toned down | 0:17:43 | 0:17:46 | |
for the mass market consumer by a company such as Marks & Spencers. | 0:17:46 | 0:17:51 | |
Julien's Marks & Spencer clothes hit the streets in May | 0:17:53 | 0:17:57 | |
and the company are also the sponsors behind his new show. | 0:17:57 | 0:18:00 | |
The collection marks a radical departure from his cobweb chic. | 0:18:00 | 0:18:05 | |
Yeah, I like that. | 0:18:08 | 0:18:09 | |
And the underneath, how it must go? | 0:18:09 | 0:18:12 | |
- So short, or the same length? - Yeah. | 0:18:14 | 0:18:16 | |
SHE SPEAKS ITALIAN | 0:18:19 | 0:18:20 | |
SHE SPEAKS ITALIAN | 0:18:26 | 0:18:28 | |
Yeah, it's better now. | 0:18:30 | 0:18:31 | |
Can you walk down? | 0:18:35 | 0:18:36 | |
Small things make a lot of difference. | 0:18:40 | 0:18:43 | |
That's better. | 0:18:45 | 0:18:47 | |
'This will be a really big shock' | 0:18:47 | 0:18:49 | |
for many people. | 0:18:49 | 0:18:51 | |
Because my work before is much, much more sophisticated | 0:18:51 | 0:18:54 | |
and it catered for a different clientele. | 0:18:54 | 0:18:56 | |
The new collection is very young, it's fun, you know, | 0:18:56 | 0:19:01 | |
it's short and it's extremely sexy. | 0:19:01 | 0:19:03 | |
'And I think for the customers I have now, they will be very kind of,' | 0:19:03 | 0:19:07 | |
"Oh, where is the old Julien MacDonald?" But of course fashion | 0:19:07 | 0:19:11 | |
is about change and if you don't change, then you get left behind. | 0:19:11 | 0:19:14 | |
Back home, there's only two weeks to go before London Fashion Week. | 0:19:24 | 0:19:29 | |
It's an organisational nightmare. | 0:19:29 | 0:19:31 | |
I've got to go to Paris tomorrow, as well. | 0:19:31 | 0:19:33 | |
Who have you got confirmation on? | 0:19:39 | 0:19:41 | |
I haven't confirmed anyone yet. | 0:19:41 | 0:19:43 | |
But I thought we were going to do that. | 0:19:43 | 0:19:45 | |
We can do that tomorrow. | 0:19:45 | 0:19:46 | |
Oh, Joanne, I thought you were going to do that. | 0:19:46 | 0:19:48 | |
You have to do that straightaway. | 0:19:48 | 0:19:50 | |
JULIEN: 'Well, London Fashion Week is probably the most important | 0:19:53 | 0:19:55 | |
'event of the year for fashion designers. | 0:19:55 | 0:19:58 | |
'It's where you show your clothes to everybody in the fashion business | 0:19:58 | 0:20:03 | |
'and everybody in the world. | 0:20:03 | 0:20:05 | |
'The most prestigious event on that calendar is actually having | 0:20:05 | 0:20:09 | |
'the last show, because the last show makes everybody stay, | 0:20:09 | 0:20:13 | |
'it makes the buyers stay, it makes the press stay - | 0:20:13 | 0:20:17 | |
'and of course I'm their last show, it's an immense pressure.' | 0:20:17 | 0:20:21 | |
It looks like it is quite difficult to work with, you know? | 0:20:21 | 0:20:25 | |
There's two sides to this business. | 0:20:25 | 0:20:27 | |
There's a side which is very glamorous and fun | 0:20:27 | 0:20:29 | |
and there's a side which is extremely bitchy and very catty | 0:20:29 | 0:20:34 | |
and people which have daggers | 0:20:34 | 0:20:36 | |
who just want to put you down on every instance. | 0:20:36 | 0:20:39 | |
So I surround myself with people who I think are nice and genuine... | 0:20:39 | 0:20:45 | |
in their profession and also in their personal life. | 0:20:45 | 0:20:48 | |
'So I always ask my friends to make things for me. | 0:20:48 | 0:20:52 | |
'And the people who work for me, they become my friends. | 0:20:52 | 0:20:56 | |
'We work as a family and as a team, where we all work together to create | 0:20:56 | 0:21:01 | |
'a look which isn't just about Julien MacDonald, it's about everybody.' | 0:21:01 | 0:21:06 | |
And if you see, at the front... | 0:21:07 | 0:21:08 | |
And then we can take them off and what we've done with the design, | 0:21:08 | 0:21:12 | |
we can just change it round, so... | 0:21:12 | 0:21:14 | |
'Julien can change rapidly, | 0:21:14 | 0:21:15 | |
'he's renowned for changing collections | 0:21:15 | 0:21:17 | |
in between collections, so that's quite good, and for me, | 0:21:17 | 0:21:23 | |
it's quite inspiring and quite encouraging, | 0:21:23 | 0:21:25 | |
because I have to change as rapidly as Julien does, so... | 0:21:25 | 0:21:28 | |
And that's good cos it means that we get loads of ideas out | 0:21:28 | 0:21:32 | |
and perhaps what we don't use this season, we'll use again next season, | 0:21:32 | 0:21:35 | |
so there's elements which we keep. | 0:21:35 | 0:21:38 | |
But again, it's knowing each other's vocabulary of design and... | 0:21:38 | 0:21:41 | |
what the limits are. | 0:21:41 | 0:21:43 | |
NARRATOR: Julien's workshop is in the old garment district | 0:21:47 | 0:21:50 | |
of London's East End. | 0:21:50 | 0:21:52 | |
The day before the show, | 0:21:52 | 0:21:53 | |
the final details are still being stitched into place. | 0:21:53 | 0:21:57 | |
JULIEN: 'I always tend to cast the models I know. | 0:22:01 | 0:22:03 | |
'I always pick the models I've met through, you know, Chanel | 0:22:03 | 0:22:06 | |
'and through Karl Lagerfeld. | 0:22:06 | 0:22:08 | |
'The girls, they know me, they know what I'm like, so then | 0:22:08 | 0:22:11 | |
'I can enjoy myself, because I'm surrounded by friends. | 0:22:11 | 0:22:15 | |
'I always design thinking, | 0:22:15 | 0:22:17 | |
'"Oh, that'll be Naomi Campbell" or, "That will be Jodie Kidd." | 0:22:17 | 0:22:19 | |
'I know exactly what each girl will wear.' | 0:22:21 | 0:22:23 | |
This is it. | 0:22:23 | 0:22:25 | |
NARRATOR: It's important to make your mark with your first catwalk show | 0:22:28 | 0:22:32 | |
and Julien's chosen a rather unusual venue to do just that. | 0:22:32 | 0:22:36 | |
Well, this is Spitalfields Opera House | 0:22:39 | 0:22:41 | |
and this is the location for the show. | 0:22:41 | 0:22:44 | |
I've just come myself about ten minutes ago, just to see the space. | 0:22:44 | 0:22:48 | |
CLATTERS ECHO | 0:22:48 | 0:22:50 | |
FOOTBALLERS CALL OUT TO EACH OTHER | 0:22:54 | 0:22:57 | |
JULIEN: 'Well, I like it, because outside is such reality, | 0:22:59 | 0:23:03 | |
'there's people playing football, | 0:23:03 | 0:23:04 | |
'there's market stalls, fruit and veg, the fishmonger. | 0:23:04 | 0:23:07 | |
'When you walk through the door, I said, "What's that smell?" | 0:23:07 | 0:23:10 | |
'She said, "Oh, it's the fish shop opposite." So that's real | 0:23:10 | 0:23:13 | |
'and that's also what London and this part of London, the East End, | 0:23:13 | 0:23:17 | |
'is about, so it's amazing. | 0:23:17 | 0:23:18 | |
'In this room tomorrow night, will be | 0:23:21 | 0:23:23 | |
'500 of the world's most prestigious press and journalists, | 0:23:23 | 0:23:27 | |
'pop stars and media celebrities | 0:23:27 | 0:23:29 | |
'and some of the most richest women in the world as well, | 0:23:29 | 0:23:31 | |
'who'll actually be buying the clothes. | 0:23:31 | 0:23:34 | |
'So it's very important that the first impression is strong.' | 0:23:34 | 0:23:39 | |
It's him and there's a PA and there's a guy on bongo drums. | 0:23:39 | 0:23:43 | |
'Last time I was very nervous | 0:23:43 | 0:23:45 | |
'and thought, "Oh, God, is it worth all this fuss, all this performance?' | 0:23:45 | 0:23:48 | |
Cos people think it's very glamorous, | 0:23:48 | 0:23:50 | |
but, you know, the pressure is immense | 0:23:50 | 0:23:52 | |
and I'm extremely tired and very fragile, | 0:23:52 | 0:23:55 | |
so the smallest thing affects me now because I'm on my wits' end. | 0:23:55 | 0:23:58 | |
NARRATOR: The last day of London Fashion Week has arrived | 0:24:00 | 0:24:02 | |
and the final reports are being filed by the world's fashion press. | 0:24:02 | 0:24:06 | |
Meanwhile, over at Spitalfields, | 0:24:09 | 0:24:11 | |
everything is almost ready for the show. | 0:24:11 | 0:24:14 | |
But the front-of-house calm belies the chaos backstage. | 0:24:25 | 0:24:30 | |
HUM OF VOICES | 0:24:30 | 0:24:31 | |
JULIEN: 'It's very stressful, being a designer. | 0:24:36 | 0:24:38 | |
'Although it's, you know, fun, and it is glamorous, | 0:24:38 | 0:24:42 | |
'everything is addressed to you - you know, what colour shoes? | 0:24:42 | 0:24:46 | |
'How would you want this? What music do you want? What drinks do you want? | 0:24:46 | 0:24:49 | |
'What time do want people to come? | 0:24:49 | 0:24:51 | |
'You have to have the answers for everything. | 0:24:51 | 0:24:54 | |
'Everybody's kind of working for you freely, nobody gets paid. | 0:24:54 | 0:24:58 | |
'Everybody is there because they love fashion. | 0:24:58 | 0:25:00 | |
'So you have to be nice to everybody.' | 0:25:00 | 0:25:03 | |
Delegate a dresser to a girl, that's your job! | 0:25:03 | 0:25:06 | |
There's a fashion show going on inside, you must know that, you know? | 0:25:09 | 0:25:12 | |
Roles, man. | 0:25:12 | 0:25:13 | |
'I like to think that I'm kind of a normal type of guy, you know, | 0:25:15 | 0:25:19 | |
'I'm quite funny, I'm very easy-going. | 0:25:19 | 0:25:21 | |
'I'm there to make everybody enjoy themselves, | 0:25:21 | 0:25:24 | |
'cos if you don't enjoy yourselves, people don't do it. | 0:25:24 | 0:25:27 | |
'They don't come back to help you again.' | 0:25:27 | 0:25:30 | |
- Hi, hi. - Wow. | 0:25:30 | 0:25:32 | |
LIVELY BUZZ OF CONVERSATION | 0:25:32 | 0:25:34 | |
Ten minutes left to take your photos, please. Ten minutes only for photos. | 0:25:41 | 0:25:45 | |
That includes you, Richard, I'm afraid! | 0:25:45 | 0:25:48 | |
- Are you excited? - Yes, I am excited! | 0:25:48 | 0:25:50 | |
Isn't he the most...? | 0:25:50 | 0:25:51 | |
'Julien MacDonald's a great character,' | 0:25:51 | 0:25:53 | |
and a wonderful person | 0:25:53 | 0:25:55 | |
and he has a tremendous Celtic spirit, | 0:25:55 | 0:25:57 | |
so I think everyone's very excited, and his knitwear is exquisite. | 0:25:57 | 0:26:00 | |
There's no-one probably that does knitwear like this in the world. | 0:26:00 | 0:26:04 | |
I'm actually confident about it because I know it's a strong show | 0:26:04 | 0:26:07 | |
and also that before each girl goes on, I'll check them, | 0:26:07 | 0:26:12 | |
to see what they look like and everything, so...yeah, I'm happy. | 0:26:12 | 0:26:15 | |
It's what I've always wanted, so it's great. | 0:26:15 | 0:26:18 | |
PA: Can you feel it? | 0:26:18 | 0:26:20 | |
APPLAUSE AND CHEERING | 0:26:20 | 0:26:22 | |
MUSIC: People Crew Intro (featuring Mark Sheer) by People Crew | 0:26:24 | 0:26:27 | |
# I'm alive, the man with the second face | 0:26:59 | 0:27:01 | |
# And I'm ready y'all to rock the space, real | 0:27:01 | 0:27:04 | |
# I'm alive the man with the second face | 0:27:04 | 0:27:06 | |
# And I'm ready y'all to rock the space, real... # | 0:27:06 | 0:27:09 | |
JULIEN: 'When it comes to me going on the catwalk, I'm like a madman, | 0:27:29 | 0:27:32 | |
'I'm crazed up because that's my adrenaline is at a peak! | 0:27:32 | 0:27:37 | |
'You know, I'm happy, It's over, it's the end! | 0:27:37 | 0:27:41 | |
'So of course what you do is run on the catwalk because you're so happy. | 0:27:41 | 0:27:45 | |
"I've finished it, it's over!" | 0:27:45 | 0:27:47 | |
'You know, "I loved it, thank you very much!"' | 0:27:47 | 0:27:50 | |
MAN: Excellent. It was... | 0:27:50 | 0:27:52 | |
We took a chance on someone so young finishing British Fashion Week | 0:27:52 | 0:27:55 | |
and he pulled it off. And it's... | 0:27:55 | 0:27:58 | |
very exciting, um... | 0:27:58 | 0:28:00 | |
We've just come backstage to see him | 0:28:00 | 0:28:03 | |
and people are literally in tears, it is that exciting. | 0:28:03 | 0:28:05 | |
Sensational. | 0:28:05 | 0:28:07 | |
We are all now little flies trapped in Julien MacDonald's web. | 0:28:07 | 0:28:12 | |
100% knits! | 0:28:12 | 0:28:14 | |
There was a lot of interest. | 0:28:14 | 0:28:16 | |
Also because there was only one Julien MacDonald | 0:28:16 | 0:28:19 | |
that was doing knitwear and very young | 0:28:19 | 0:28:22 | |
and everybody was looking for somebody | 0:28:22 | 0:28:24 | |
that was doing something new in knitwear. | 0:28:24 | 0:28:27 | |
I'm going to find your mother and father, just to say thank you. | 0:28:29 | 0:28:32 | |
Look at you! | 0:28:32 | 0:28:33 | |
I thought the shoes were exquisite, | 0:28:33 | 0:28:35 | |
I thought the clothes were very exciting. | 0:28:35 | 0:28:37 | |
You have to look at it as knitwear. | 0:28:37 | 0:28:39 | |
For knitwear, it's very modern. | 0:28:39 | 0:28:41 | |
Oh, it's lovely. | 0:28:41 | 0:28:43 | |
I didn't want the show to end, it was so lovely. | 0:28:43 | 0:28:46 | |
JULIEN'S DAD: It was an excellent show. | 0:28:46 | 0:28:48 | |
Very, very good and all the top models here. | 0:28:48 | 0:28:53 | |
He's done his mum and dad proud. | 0:28:53 | 0:28:56 | |
A Welsh boy from Merthyr Tydfil - really, really good. | 0:28:56 | 0:29:01 | |
I enjoyed it because my work is my life and also my hobby. | 0:29:01 | 0:29:06 | |
If I didn't enjoy it, I wouldn't do it, full stop. | 0:29:06 | 0:29:09 | |
So this what I'm about - this is Julien MacDonald. | 0:29:09 | 0:29:12 |