转录文件 — Vivienne Westwood | Documentary（约58分钟，YouTube 合集片）
本地源: 04_视频\B_采访与纪录\05_纪录片_VivienneWestwoodDocumentary\Vivienne Westwood ｜ Documentary [f5S9gI-Ue_w].mp4
转录: faster-whisper base（本地离线，英文语音识别），2026-09-11，SUB-WESTWOOD
识别语言: en (p=1.00) | 音频时长 57.7 分钟 | 处理耗时 2.7 分钟
注: 机器转录，可能有误听；引用站内时以时间戳核对原声为准。

[00:43] the British Queen of Fashion. Since 1970, she and seasonally deconstructs
[00:48] culture, a literary invented. What drives Vivian? A hatred of any kind of
[00:55] conformity. Vivian Westwood isn't a classical fashion designer. She has the
[01:00] soul of a revolutionary. With her co-sets and fake
[01:04] ideas, she has revived the spirit of 1789. Dame Westwood remains a verse
[01:11] event provocative, like the punk movement she styled in the 70s. We've
[01:15] followed her for a year. This film is a portrait of the woman, the artist, the
[01:20] intellectual, and the militant. She's today.
[01:41] I've seen Vivian Westwood. I've seen Vivian Westwood.
[02:30] There's nobody here, there's nothing. Patricia, what time is it to take a late lunch
[02:36] obviously? There's nothing to hear. Wait a minute.
[02:46] This current collection started in a very, very typical way. I had the idea of
[02:53] do-it-yourself. I still want to continue, which I really like.
[02:57] But if I don't know where to start, I do a cutting principle.
[03:05] This is what I did this time. I did a cutting principle, very, very simple.
[03:12] Sorry, I just have to get rid of these things. That'll still be in my way.
[03:21] So, this little doll is, believe it or not, 50% my size.
[03:29] The measurements, the length of it is from here to here. It's half of me.
[03:36] And from here, all the way around, it's half of me. I'm making the neck now.
[04:19] So, this is very, very simple. It's just piece of fabric with the slit that I've
[04:24] just done for you already in the neck. But it's just going one way.
[04:28] It's got a slit at the back as well. And I think this is really sexy,
[04:32] that you kind of really can, when this is on, you see the flesh in there.
[04:37] You get a feeling that if you look a bit close, you can see the naked woman inside.
[04:42] You know, hello, Andreas. Hello. Hi. Just come back.
[04:45] Hello. What time is it? I mustn't miss my lesson.
[04:49] No, the lesson. What time is it? It's a quarter of a street.
[04:53] Oh, it's all right. Okay. I'm just demonstrating this. Come, you look absolutely shattered.
[04:58] I am. I am. I am. I have to do a lot of things. I know. You can't come in here,
[05:02] you have to go somewhere else. Okay, you continue. See you later.
[05:06] Okay, we'll see you in a bit. It looks a bit stressed. Anyway,
[05:12] you're just a bit stressed out. You're a bit stressed out.
[05:16] You're a bit stressed out. You're a bit stressed out.
[05:30] You're a bit stressed out.
[06:12] The substitute colour would be enchanted.
[06:41] Like the good thing.
[06:45] It's like a broken tent.
[06:54] The garden of cancer.
[07:04] I'm artistic director at Vivian Westwood.
[07:10] You are Mr Man too.
[07:12] Yes, yes.
[07:15] I'm married as well.
[07:17] We have done already a lot.
[07:19] We've more or less done the collection before August,
[07:23] and it's kind of being made.
[07:26] I have the problem that I've, because I of course don't see it at the moment,
[07:30] I feel like I haven't got anything. I've always got this problem.
[07:33] That's my biggest problem in my life.
[07:35] I always think I have not enough.
[07:37] I think that's a kind of illness.
[07:41] It's, I think, the cycle, I should go to the doctor.
[07:44] I think it must say something about me, but I don't know what.
[07:49] There's a big veil. It's actually, it's a, it's a, it's a, it's a, it's like torturing me that thing.
[07:55] Never having enough for thinking you don't have anything.
[07:59] So I've always tried to grasp the everything and I tried to,
[08:05] and therefore you don't get anywhere.
[08:07] So now I'm trying to collect myself because I have to get somewhere and I have to kind of
[08:13] really kind of lie, concentrate on one thing and think, say to myself and just,
[08:19] just don't worry. Just do one, try to do one dress.
[08:22] You really like it. It's in your mind, you know.
[08:25] Out of one fabric, you know.
[08:27] Just start now somewhere.
[08:29] Jessica, you don't go now. Do you?
[08:58] No, no, no. I'll stay here with you.
[09:02] How do you collaborate with Vivian on this?
[09:05] Because you're...
[09:06] We speak, I was a lot. You know, most of the time.
[09:09] Now it's always in the morning.
[09:11] We get up and I start to, to attack her already.
[09:16] Most of the time she doesn't want to hear anything, of course.
[09:20] But I can get her because, you know, I'm very persistent and I have my techniques.
[09:25] What is it, your techniques?
[09:27] I just put her on the wall.
[09:30] Like, no, not bad. But how do you say?
[09:34] Like, at gunpoint, I make a drama.
[09:40] You have to listen, you have to listen.
[09:42] The most important thing, nothing is more important.
[09:45] Like that.
[09:47] So, and then we decide something and then I come in
[09:50] and I normally try to organize that and just, this is a process.
[09:54] But you have to be reassured by her?
[09:57] Yes, I have to.
[09:58] Yeah, I get it too lazy.
[10:08] I've learned that as such a lot from her, by the way.
[10:10] I mean, I should say it is now. It's the first thing I should say.
[10:14] I learned very much.
[10:15] And I think the main thing I learned from her is that first is the woman
[10:22] or whatever it is. And it's not the clothes.
[10:25] What is my touch? I think they should say that.
[10:29] My touch is...
[10:30] What is the contact of touch in the house?
[10:32] For the house.
[10:34] That is the rest one.
[10:36] What is the contact of touch?
[10:38] It's the divine.
[10:40] The funny part.
[10:41] The funny part. I've got humor.
[10:43] I do, don't I?
[10:45] Great humor.
[10:46] I've had to...
[10:48] It's horrible.
[10:57] I don't think this is the choice, I think.
[11:01] It's not good.
[11:02] It's not any rhythm.
[11:08] It's very good because of how good.
[11:22] Just throw it away.
[11:23] Sorry, I wasn't saying that it was a music.
[11:36] I don't know. I mean, I'm going to the toilet in a moment.
[11:39] Do you want to come?
[11:41] I mean, it's a bit much.
[11:48] I brought you a cake. I didn't know what time you were coming.
[11:50] Nobody told me.
[11:52] Thank you.
[11:53] The cake?
[11:54] Yes, I've got a sausage with it.
[11:56] Ah, looks nice.
[11:58] There was something Andreas said he didn't really like
[12:18] on this chaos point track.
[12:21] And that was a sort of drum sound that you didn't like.
[12:24] Wasn't it from the chaos point thing?
[12:26] No, yeah.
[12:27] Because I like that.
[12:28] Maybe he could start with it.
[12:29] Just let it feel it.
[12:45] But we can make one here.
[12:47] Let's have to work on it.
[12:50] We can't make the same.
[12:52] Just use it.
[12:53] Let's have to do it.
[12:54] Let's do something.
[12:55] You don't know.
[12:55] No, no.
[12:56] I don't want to go up for nothing.
[12:58] I've got something perfectly good.
[13:00] I'd love me to try and find something nearly as good, so there.
[13:08] So you just need to say anything.
[13:10] But then might it be.
[13:12] Why do we do it?
[13:13] I can't really just read it.
[13:14] I don't know.
[13:15] My album.
[13:16] Your album.
[13:17] It's like an album.
[13:19] I think the opposite of it.
[13:21] It's like you said,
[13:22] why should I wear the same dress?
[13:25] Why, then?
[13:25] When I can have another one.
[13:27] That's a dress that there's no other one.
[13:28] Why not?
[13:31] I'll be crazy.
[13:32] As easy as a family,
[13:32] and I don't need to concentrate.
[13:56] Bonjour.
[13:58] Oh, smoke.
[13:59] I'm luckier.
[14:00] What?
[14:01] How are you?
[14:27] Nice.
[14:28] Oh, man, why?
[14:54] Most of the time,
[15:15] they take us.
[15:16] They even do it.
[15:17] Why do you smoke?
[15:18] Yeah.
[15:18] I'm even have to go to a massage.
[15:20] I'm even have to actually come to work.
[15:22] I'll be back soon,
[15:23] because otherwise,
[15:24] it's okay.
[15:24] I'll be back soon.
[15:26] Come on.
[15:26] Come on.
[15:27] Just go on.
[15:31] Yes, we will have it from the front,
[15:43] but maybe we should take a picture both ways.
[15:47] I want to get these labels changed.
[15:49] I wish they wouldn't put them where they put them,
[15:51] and they're not so input.
[15:52] There's a dreadful way they're done.
[15:54] You have to change.
[15:55] But she has to do that.
[15:57] It's different.
[15:58] We probably need to do something.
[16:00] Centrials.
[17:05] Oh, blow, blow, blow.
[17:26] To the dance floor.
[17:51] I was having to sit with your hair for all this time, you know, as well.
[17:56] Oh, nervous.
[18:02] Come on.
[18:28] You need some pens, Bridget.
[18:33] Anymore?
[18:34] Thanks.
[18:35] This is all to help Prince Charles to save the ring for us.
[18:38] You just have to sign it, where?
[18:40] You need a name.
[18:41] I'll try and find some more pens.
[18:43] Yeah.
[18:44] Thank you.
[18:45] Thank you.
[18:47] Pass your pens to somebody please.
[18:49] Pen.
[18:50] Anymore pens needed?
[18:53] Thanks.
[18:53] Anymore pens?
[18:55] Need a pen, anybody?
[18:58] Can you see this, anymore?
[19:00] Anybody who didn't get a card, if you could just look up Prince Charles,
[19:04] you'll find it.
[19:05] You have to sign his website.
[21:56] This is where I keep all the books that I'm reading most of the time.
[22:00] Huxley, of course.
[22:02] And I don't know which book it was in.
[22:05] One of his essay books or I don't remember which one it was.
[22:10] But it stayed with me.
[22:12] The idea that we suffer from three evils.
[22:16] And he listed the evils as nationalism or what he called nationalistic idolatry.
[22:24] And I just put my glasses down.
[22:28] Nationalistic idolatry organized lying, non-stop distraction.
[22:35] And he thought that the greatest evil was non-stop distraction.
[22:40] And I thought about this afterwards.
[22:43] And I thought that those three things are the constituents of propaganda.
[22:49] This is my bad J.R.
[22:51] And it stands for active resistance, active resistance to propaganda.
[22:56] I've got some little things here, yes.
[22:59] This is my manifesto, active resistance to propaganda.
[23:08] And it's called AR.
[23:11] In fact, it was my friend Gary, who invented this idea.
[23:15] We were discussing it.
[23:17] And the idea of me doing a pill called NINSTAL.
[23:21] It's a universal tranquilizer.
[23:28] Ileclat allore.
[23:30] Ton de passionnani mal.
[23:32] Shalom.
[23:39] Something bursts.
[23:40] But how would you translate that?
[23:42] I just want to find that monkey man.
[23:44] And I don't know where it is.
[23:46] Ah, there it is.
[23:48] Him.
[23:49] I couldn't resist him.
[23:50] I put him on the t-shirt.
[23:52] I thought it was a very attractive and article man.
[23:56] And it's a kind of thing that punks would really love anyway.
[24:00] And I put branded on his head.
[24:05] Because I've got a branded headband as well.
[24:08] I put a bubble coming out of his mouth saying,
[24:11] you think you own the world.
[24:15] And what that's supposed to mean is that people who brand us all
[24:20] with their consumption think that they can control us.
[24:24] And they do own the world so they think.
[24:28] But maybe they don't because he really doesn't think so.
[24:32] And neither do I.
[24:33] And you know, they've got a big shot coming to them, hopefully.
[24:38] This is where we put our washing to dry some of it.
[24:44] So I've never used my washing machine.
[24:51] Andreas, does it?
[25:22] I used to work in this shop, you know.
[25:24] I've done that before.
[25:34] This is for a little baby.
[25:38] I love crap.
[25:39] It's the best selling t-shirt of all time.
[25:42] This one, I've never sold so many.
[25:45] Of course, that's supposed to say like New York's crap
[25:48] and everything.
[25:49] But people love this because they know they're consumers.
[25:52] But it's just a whole thing.
[25:54] It's clever.
[25:55] I love that.
[25:56] That one here says,
[25:59] fuck us.
[26:01] And then when you look at it a bit more carefully,
[26:03] you think you see it's fuck everybody except us.
[26:08] And then it says,
[26:10] US foreign policy.
[26:13] There we are.
[26:14] OK.
[26:15] Anyway, I started in 1970.
[26:20] But before that, nearly all the new things that were happening
[26:23] in the 60s and then up till the 70s started in this shop.
[26:28] This is where all the punks used to come of course.
[26:32] And there used to be so many of them that the police used
[26:35] to wait for them getting off the tubes.
[26:40] And like every hour,
[26:42] they would like escort a procession down the road
[26:45] to this shop.
[27:34] I'm sorry, but I'm not saying you're a number.
[27:37] I was going to call you.
[27:48] I like coming on the line.
[27:52] I like this weather.
[27:56] Do you all go to the same school?
[27:58] No.
[27:59] Are you a part of a club?
[28:01] No.
[28:02] What is it?
[28:03] You've just got to go because you all want to be actors
[28:06] and actresses or what?
[28:08] Thing is that.
[28:10] Whatever you want to do,
[28:12] it's not that easy and what really must follow your deep interest.
[28:19] I used to be a school teacher.
[28:21] A good school teacher is somebody who points somebody's nose
[28:25] where they're really, really interested and said,
[28:28] go and do that.
[28:29] And by the way, look at this and give them some information
[28:32] that excites them.
[28:34] And then they get very, very involved about things.
[28:38] This manifesto, this active resistance to propaganda.
[28:42] It's a search for art and we go on a kind of time travel.
[28:48] So we meet people that lived a thousand years ago.
[28:54] Anyway, in the middle of this,
[28:56] I have a very long speech and I'm a bit worried about it
[29:00] because I think I'm not sure how clear it is
[29:03] and I hope people will understand it.
[29:05] And you can go to sleep, then, if you like.
[29:08] But, you know, and then we'll give you a poke
[29:12] when it's time for you to wake up.
[29:15] Introduce it and then you'll come on a special seat.
[29:28] Just tell me when to go then, yeah.
[29:41] Friends, we all love art and some of you claim to be artists.
[29:49] Without judges, there is no art.
[29:52] She only exists when we know her.
[29:56] Does she exist?
[29:59] The answer to this question is of vital importance
[30:05] because if art is alive, the world will change.
[30:10] No art, no progress.
[30:14] We must find out.
[30:17] Go in search of her.
[30:20] But wait, who is this with firecracking,
[30:24] smoldering pigtails, gold teeth,
[30:28] and abrasive flint locks in his belt?
[30:31] He's a pirate.
[30:32] And what does this t-shirt say?
[30:35] I love crap.
[30:37] I'm sitting with a Hawaiian heart of plastic flowers.
[30:41] Progress.
[30:53] You could read it from your books if you need to as well.
[30:56] Sorry, but anyway.
[30:57] We do not accept a symphony composed on the remaining
[31:00] three keys of a broken piano,
[31:02] accompanied by the random throwing of marbles
[31:05] at a urinal.
[31:06] Yet, its equivalent is the latest thing in the visual arts.
[31:11] I wrote this to sort of try and attack artists really
[31:14] because I just think nothing's happening.
[31:16] It's all self-promotion.
[31:19] And I'm trying to get something as to what it really should be.
[31:23] Here is Alice.
[31:24] Where has she gone?
[31:25] Hello, Mr. White Rabbit, you suppose to say.
[31:28] And the rabbit is coming.
[31:30] Alice, you're obviously here, page 10.
[31:34] Hello, Mr. White Rabbit, please stop her movements.
[31:42] The artist has just produced a giant hole in the air.
[31:44] Perhaps he thought it was a hole.
[31:46] I'm sure you have an interesting observation on hole.
[31:49] Let's see.
[31:50] Let's see.
[31:52] Great.
[31:53] Superventilector, are you at all?
[31:56] Alice and Pinocchio, we have come to the end of our journey.
[32:02] And you have passed the test.
[32:05] In the pursuit of art, you became automatically impervious
[32:10] to propaganda.
[32:12] Indeed, each of you quite forgot
[32:15] to take your daily ninstalled pill.
[32:18] You are no longer addicted to nationalistic idolatry,
[32:23] non-stop distraction, and organized lying ninstalled.
[32:29] Yeah, you wanted to admit to talk to you about my childhood.
[33:15] And the first thing, a fashion designer, we know, sorry.
[33:20] Yeah.
[33:21] And the first thing I should do probably
[33:24] is talk to you about this dress I'm wearing
[33:27] because I was born during the Second World War.
[33:30] And my childhood was the time when it was all rationing
[33:35] and you couldn't get things.
[33:36] And I had a banana when I was seven years old.
[33:39] It didn't like it.
[33:40] Whatever, things were scarce.
[33:42] And everybody was knitting.
[33:47] You can find patterns for wedding dresses
[33:51] knitted on the finest needles, hours and hours spent knitting.
[33:56] People used to knit broachers made out of flowers.
[34:01] And they used to do things like pick up little knot shells
[34:05] and paint them and make little sprays of flowers and stuff
[34:08] like this.
[34:08] And it was all about do it yourself.
[34:11] I tried to put into this dress the everything possible
[34:16] that you could do to make this decorative thing.
[34:20] And I can hand knit, of course.
[34:22] And first of all, I chose a stitch.
[34:24] It's very easy to do.
[34:26] And you knit it sideways on.
[34:29] And so this is my invention.
[34:32] I invented the whole thing, how to do these flowers,
[34:35] how to put everything together.
[34:36] But the good thing about this stitch is
[34:38] that it's only on the fourth row that you do something fancy
[34:42] where you have to concentrate for three rows in between.
[34:45] You don't have to think.
[34:46] I'd like you to have a little look at it really.
[34:49] And now then it's got matching cardigan.
[34:51] It's lovely and warm.
[34:53] I've got a little hat to match and socks.
[34:56] And you just look so chic.
[34:58] Once a week we had a poetry afternoon
[35:03] or a sort of concert where people would get up and sing a song
[35:07] or they'd say a poem, my favourite poem was
[35:11] and I would go there and I would stand up
[35:13] and I'd say winter by William Shakespeare
[35:16] and then I would do my poem.
[35:18] When icicles hang by the wall
[35:21] and dick the shepherd blows his nail
[35:25] and Tom bears logs into the hall
[35:28] and milk comes frozen home in pale.
[35:33] When blood is nipped and ways be foul
[35:37] then nightly sings the staring owl
[35:42] to wick to woo a merry note
[35:45] while greasy Joan doth keel the pot.
[35:48] My mother was very proud of me.
[35:51] She had to go to hospital several times
[35:53] and when I went to visit her
[35:55] she'd call the nurse immediately.
[35:57] She'd know who this young lady is.
[35:59] This is Vivian Westwood, my daughter.
[36:02] She's a fashion designer, you know?
[36:04] And then one of the last memories I have of her
[36:13] was a nurse went by and she recognised her
[36:16] and even though she was almost in and out of a sort of coma
[36:19] she waved at her because she was so friendly to people
[36:23] such a social person.
[36:26] And so my son Ben was with her
[36:31] and she somehow either mustered her speech
[36:34] and she said to him, quite clearly
[36:36] I don't want to die.
[36:38] That was the last thing she said
[36:40] and I think one or two days later she had died
[36:43] and she died in a lovely hospital
[36:45] and I don't know.
[36:47] Andreas my husband was with her
[36:49] and she died but we're taking terms.
[36:52] I was at a rally of campaign against nuclear disarmament
[36:58] campaign for nuclear disarmament, sorry
[37:01] and against tried and you know the ships
[37:04] and the nuclear missiles that stupid England still want.
[37:08] And I had arranged to leave the thing early
[37:13] to come and see my mother and a phone up
[37:15] and she'd just died so I missed her.
[37:17] I didn't, you never know how quick it's going to go
[37:20] at the end.
[37:21] I finished, I don't know.
[37:26] Must be a little bit colder doing this.
[37:29] Are you cold?
[37:30] No, I hope not.
[38:13] I think it's lunch and most people are just eating at the moment.
[39:01] So it's really lovely, I think the graphics are really nice.
[39:06] That took two days of stress to do that.
[39:12] Every time we did something I liked it
[39:15] and Andreas didn't, he's never satisfied and so
[39:19] in the end we've got this invitation which I really like.
[39:24] This began because one of the very first jackets
[39:28] that we did, I just saw it on the stand
[39:32] and I just said it looks like the principal boy in a pantomime
[39:36] and so then we got the idea of fairytale
[39:40] and as soon as it's got this idea of fairytale
[39:44] I then went and got this picture out of the national gallery
[39:48] and well because I knew what it was.
[39:53] You can't see it, I'll just take it out of the book.
[39:56] You have to go there to see it properly.
[40:00] I then went and got this picture.
[40:02] Now as you know I'm very anti-religious
[40:05] but that doesn't matter, this is a fantastic painting
[40:09] and it's by Jan Gossart.
[40:13] I wanted this sort of feeling and this idea of a page boy.
[40:34] I've also got this cloak in green
[40:39] and that could be nice with some trousers at the end.
[40:42] Any trousers is good underneath this thing.
[40:45] I know.
[40:46] Just if you missed them, that's why you don't want to put one yet.
[40:52] What can I say?
[40:53] I can only say to first the trousers and then see what's left
[40:56] and that's the trousers you put underneath.
[40:58] Okay well let's do the trousers then
[41:00] because that's something you're very good at.
[41:02] I don't know the knitwear and everything.
[41:06] I know, okay.
[41:07] Never mind, just let me get on then.
[41:10] Okay, all right.
[41:12] I want to do that too.
[41:13] I'll just keep on going, you know?
[41:16] Yeah.
[41:19] That's the end of that.
[41:20] It wasn't even worth asking him really
[41:23] because he always just let's me get on with it.
[41:27] Anyway.
[41:32] Let's try this one on again.
[41:42] Can we just find?
[41:45] Tom?
[41:52] Vivian, what are you doing now?
[41:54] I've told you on my table, it just plugs my clothes.
[41:57] What?
[41:58] The table pulls my clothes.
[42:01] It's just been pulling my skirt.
[42:03] I've just looked at that.
[42:16] Do you want to have a look at this knit because Vivian?
[42:19] They look awfully good.
[42:20] Don't move from the neck.
[42:21] Does he have a bit fit between the legs?
[42:23] Yeah.
[42:24] Yeah.
[42:25] It's very fit.
[42:26] I'm just strange.
[42:29] Yeah.
[43:06] We just keep sharpening pencils.
[43:08] You're like a child.
[43:09] Stop it.
[43:14] I am mine.
[43:15] Well, I don't know.
[43:16] I know that those sketches
[43:17] are always be sharpening pencils
[43:20] that I used to take.
[43:21] If you didn't stop with it, just sharpening it until there was nothing left.
[43:25] What was it?
[43:26] Yeah, they weren't allowed to use it.
[43:28] You're bad.
[43:30] You take my spare paper just now as well.
[43:32] Can I take this?
[43:33] What? Take what?
[43:34] Yes, of course.
[43:36] Oh, stop.
[43:40] Let's see where I go.
[43:55] I like how the skirt, the top one,
[43:57] stays longer in relation to the other somehow.
[44:01] You know, maybe that doesn't the go much.
[44:04] Okay.
[44:05] Only the distance of the hair, I don't know.
[44:07] I wouldn't necessarily cut it.
[44:09] Oh, you're just going to cut it and not bother about
[44:11] hens, they don't need to do that.
[44:13] No, as you can do on there.
[44:15] Yeah, yeah.
[44:15] Okay.
[44:16] Okay.
[44:19] So, shall we take it off like this now?
[44:22] To a picture.
[44:24] And then see if it's long enough but it could be a bit longer.
[45:00] And I just see the same.
[45:01] Maybe lift your arm, that's it.
[45:17] What are you doing with all these pieces of fabric?
[45:24] I'm putting, I'm doing this running order.
[45:29] Right, I had the side which shirt and which skirt and which jacket
[45:33] I want to put together.
[45:35] I mean, here there's a dress which has got a mauve colored skirt
[45:41] and it's got this silk blouse.
[45:44] And then I put this big stall, this big shawl all over it.
[45:50] And it's going to look very fairytale.
[45:53] It's going to look a bit like a lady that lives in the black forest
[45:58] from Grimm's Fairytale.
[46:00] Some, I don't know, some magic lady.
[46:05] We've got this coat that'll do, that's all I need.
[46:11] And that's got some stripes on it, that'll do.
[46:25] That's all I need because then I just pin the fabric on.
[46:29] This is the whole point about designing clothes.
[46:33] It's made of thousands of decisions.
[46:36] Hundreds and hundreds in one collection.
[46:39] But it's made by all those thousands that you're making
[46:43] a lifetime as well.
[46:44] I'm talking about cutting, talking about everything,
[46:47] what kind of stitching, whatever.
[46:50] More you know, more you know what hasn't been done
[46:54] and more you know what, how you can manipulate things
[46:58] and the more you know the kind of story that things will tell you.
[47:03] The kind of feeling that they have is an art in the sense
[47:09] that it's trial and error.
[47:11] It's something you build up.
[47:14] That's what technique is.
[47:15] It's building up associations and understanding
[47:23] how materials work and what happens to them.
[47:26] So where did I put that bit of, this is the trouble.
[47:35] But I don't mind, I like having this mess.
[47:37] I love to work in a mess anyway.
[47:40] Andreas comes in and tides everything up.
[47:43] I love to cut that bit again.
[47:45] I usually work in the dark as much as I can.
[47:48] When the daylight's gone, that's when I put the light on.
[47:52] He always comes in and switches the lights on.
[47:54] If you just start to look at fashion,
[47:56] it can be very, very superficial, especially if you're looking
[48:00] at fashion magazines or whatever.
[48:03] You just have to try to understand the world.
[48:08] And then if you do that, then it gives you an anchor in life.
[48:13] And you can do fashion even if you're bored by it.
[48:16] I used to be really bored by it for about 15 years.
[48:21] I like it.
[48:23] I like it now.
[48:24] And I like it because I can make a story from it
[48:29] that to me has a live inhabits a certain possible world.
[49:24] The captain apparently was supposed to be out of here by two.
[49:27] We do know that, okay.
[49:29] So we're just waiting for Sarah.
[49:31] So she'll be carrying on for some without her, do you?
[49:34] I think, sorry about not having enough chairs.
[49:37] There we are.
[49:38] I think this is fine, isn't it?
[49:41] It's better there than, you know, not knowing what to do.
[49:44] Hello.
[49:45] Hello.
[49:48] Bella, you could come and sit on the floor as well.
[49:51] You'd be better off there, okay.
[49:54] Now Ty, so what are you going to do?
[49:59] You've got to do something about Sarah, okay.
[50:01] All right.
[50:02] Because I get terribly easy distracted.
[50:04] And if somebody's wondering about, I'll just, you know, stop thinking.
[50:12] All right.
[50:14] I'm just going to read out the paper that you all would have had the chance to look at.
[50:20] But perhaps some of you haven't.
[50:22] And anyway, it says thanks for participating in the first ever Get a Life studio debate.
[50:30] It's a practice, but this is how it's going to be.
[50:34] Get a Life is an ongoing series that we're developing anyway.
[50:39] And it's aim is to discuss and air views concerning the big environmental issues
[50:45] that are affecting our very existence on Earth.
[50:49] And also to discuss the values that successive generations have lived by.
[50:55] And when I became a teenager, that was great because that's when this was the age of the teenager.
[51:01] Teenagers were more important than anybody in the world.
[51:05] It was like, see you later, Daddy, you're too square.
[51:09] The older generation forget it.
[51:11] You know, and it was like, we were the greatest, greatest thing.
[51:15] And it was all about dancing, rock and roll, dressing up.
[51:19] But it was also about the consumer society could suddenly start to get things
[51:25] because America was very, very rich.
[51:28] There's a song by Eddie Cochran.
[51:30] You know, and he really thought this girl was brilliant.
[51:34] He said, man, she's so good looking, man, wow, that's something else.
[51:38] And he wanted to date this girl.
[51:40] And it was his dream to date her.
[51:42] And finally, you know how he managed it.
[51:44] He worked and worked.
[51:46] And he got this car.
[51:48] And then he asked her for a date.
[51:50] And there she was coming along.
[51:51] And he said, if it all comes true, man, wow, that's something else.
[51:55] What is this coming true?
[51:57] This coming true is the marriage and children and everything.
[52:00] And this perfect life with perfect kitchens and shiny faces
[52:05] and the husband going to the ballgame and all this kind of stuff.
[52:09] But yeah.
[52:10] But I should let them talk more.
[52:12] I know.
[52:13] I know.
[52:14] I know.
[52:42] And now I'm thinking, learner, trying to put in the right place.
[52:51] Oh, Andreas.
[53:15] Here I am.
[53:16] I just want to stay next to you in case I can help you.
[53:19] That's all.
[53:20] I didn't know where you were.
[53:21] Perfect.
[53:26] It's good without time.
[53:32] So if it's time.
[53:33] Yes.
[53:34] Without you.
[53:36] Yeah.
[53:39] I'm just looking, Andreas.
[53:43] I'm older to see it.
[53:44] I think so.
[53:45] Yes.
[53:46] It was very nice.
[53:47] I'm trying to see where this fur hat could go as well.
[53:50] But never mind that.
[53:51] Good, good, good.
[53:53] Yes.
[53:54] Let's see.
[53:55] Okay.
[54:05] You leave me alone for a bit to concentrate.
[54:07] Thank you.
[54:08] Just like that.
[54:22] Leave your shoes on, Vivienne.
[54:33] Yeah.
[54:34] I'm going to change them.
[54:35] That's why I'm here.
[54:36] No, it's just the slippers.
[54:38] Yeah.
[54:39] Andreas, I'm glad I think we can start the show.
[54:42] We can start the show.
[54:45] We can start the show.
[54:46] Thank you.
[54:47] Okay.
[54:48] So everyone ready to start?
[54:51] So I thought, thank you girls.
[56:22] That was great.
[56:23] Thank you.
[56:24] It was really cool.
[56:25] Very much.
[56:26] Thank you.
[56:27] Thank you.
[56:28] My advice as a fashion designer at the moment is
[56:34] buy less, don't buy anything.
[56:36] Even if I'm a fashion designer, don't buy Vivienne Westwood.
[56:40] But, if you do buy anything choose well
[56:43] and you better buy Vivienne Westwood.
[56:45] Okay.