Un interviu dat de ea, cu privire la aceasta amprenta personala:
Walk me through the process of print development.
The great thing with digital prints is that every designer can be quite individual; it’s a medium to do something entirely yours. Most of my collections are quite thematic—perfume bottles, blown glass, et cetera—so I do heavy research on that theme. I do a collage of my own elements. With the perfume bottles, there were great refractions of glass, and then I designed the print and engineered them on the body. For the blown glass, we took pictures of the glass and translated them into prints. For the latest collection, I used portraiture and paintings—Fragonard, Madame de Pompadour, a string of pearls from a painting—and it was really heavily researched. Most of my prints have been quite flattering, I think, the way they’re engineered around the body. I try to sculpt the body with the print.
You, Peter Pilotto, and Erdem have really put digital prints on the map in London. Why do you think customers have responded so well?
It allows you to have a very individual aesthetic. It’s not just about tailoring—you’re putting your own signature on the pieces, and it distinguishes one designer from the other.