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So after we have approved everything from the artworks
that we get from India and we get the pieces into New York's
atelier, then we start to see it come to life.
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Usually we have a pre-made shell where we place
all the embroidery on top of.
In this case, it was a very transparent nude tulle shell
that has already its built-in corsetry and horsehair
and crinoline, all of these things
that basically allow for the skirt
to have this bit of a house shape,
a bit of a bell shape to it.
Something that I was having fun with this time
was having an open back--
if you don't mind turning, Isabella.
It's because usually these dresses have corsetry,
and this one has a more relaxed vibe with an open back,
so that was different for something
of this type of design for us at Oscar.
And then what was fun also in developing this
was the mixture of threadwork with crystals, um,
which we hadn't done before.
As you can see, some of these ivy leaves are all thread,
and the rest are all crystal.
And it was fun to explore scale with the flowers
that we'd never done before, with these three-dimensional
petals.
It's in essence like, a version of the Taylor Swift
dress that we developed for her when she wore to the Grammys.
We do look at it in the way how
this will sit in with the rest of the collection.
But we also have to think about, our clients
are not going to go out in groups with their friends
in our collections.
So it has to look good on on its own
too, to make sure that every single piece is
very special on its own.
We do take some elements of--
of this garment and apply it to things
that perhaps are more wearable.
We take one of the flowers and we embellish a sweater.
We also take some of these blue flowers
and do a more relaxed-looking kaftan,
something that's more easy to wear for,
perhaps, an older client.
And-- and we sort of multiply the ideas from it.
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So when we were designing the prints,
we actually loved the idea of clashing Ugo Rondinone's
sculptures that he did in a surrealistic way
in this landscape setting.
And the color combinations that we found were quite amazing.
One of which inspired me right away,
which was the citrine and the forest green--
or the kelly green, a dark kelly green, I guess--
it really felt fresh to me.
I hadn't seen that color combination
in a very long time, if ever.
And so I thought, I think that we
need to find a way to marry something that
was very much a core type of look
for the brand with this new color injection into it.
So what I did is I quickly doodled this sketch
and showed it to our fabric designer
using a body of a dress that Kate Young, a stylist
friend of mine, loved for Margot Robbie
that she wore to a premiere.
We removed the scarf of the dress that she had,
and I thought it was perfectly suited dress
to go for like, summer parties, something
that our customer already purchased before,
and it's known for the brand but done in a different way, sort
of an evolution of the idea.
So when we were designing this fabric,
I asked my print designer to have
the color dye go from one color to the other in a very
regular pattern so that when it's superimposed
with the second layer underneath, which
is a little bit less full than the top layer,
they would never match.
So with the chiffon's transparency,
it would create the sort of holographic effect
when she walks.
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And that way, one would never have
to worry about the lining falling
in the right or perfect spot.
It would always sort of fall in a natural and organic way.
Because women move, I think it's actually
really important for us to see it in motion
and make sure she moves beautifully, especially
for eveningwear.
I think for daywear, it's more about attitude.
But for evening, I do love a pretty movement in a gown.
It also has a sense of ease and effortlessness
when we design things that don't require a crazy amount
of tailoring or construction.
The easier the sketch is, the easier she looks, usually.
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