and Shie's been asked to reinterpret one of my looks.

So it's kinda like a job swap, really.

When I received the email,

I was like, "Is it real?"

Two designers enter each other's world and see what miracles can happen.

I loved that there were a lot of things that I kind of immediately identified in Shie's work.

There's all this beautiful quilting that's kind of I think where we started

and also the color palette is really beautiful.

And so that's what we picked up on was this idea of the blues and then building out the denim.

And I truly believe when I work with next generation designers

that this is already part of their working ways,

it's not forced, it's not greenwashing,

and I think that's really positive, it gives me hope.

Well, the look that Shie has,

it's not dissimilar to what I'm kind of wearing actually,

it's quite a masculine take,

it's very sort of Stella McCartney tailoring.

My team and I were very surprised when we received the suit set.

There is a double breasted jacket and wool trousers.

The style is very modern and chic with the sort of Savile Row tailoring techniques.

I think there is seamlessness of feminine and masculine, elements of androgyny.

Inside of a tailored jacket is very interesting,

there are so many things like paddings, layers of like horse hairs, fabrics, many structures,

so I want to make the style very opposite.

I want to turn it into something very wild, bold, and maybe seductive.

I like a challenge and I also lean into technology hugely to answer a lot of my problems.

And I for a long time have been working with waste.

And actually this has come out of what I did during the pandemic

because I did an alphabet, an A to Z with the artist collaborations

and one of the looks was a zero waste look that was all denim,

so that's very much inspired, this collaboration and this piece of work.

Ripping something apart that's already made is something I do quite a lot.

My first commercial collection happens during the beginning of Covid,

so there's nowhere to buy materials, you can only use what you have.

That's why I started to reuse and upcycle things left in my studio.

I use a zero waste pattern cutting techniques and then we cut into different pieces.

And the very interesting thing is we turn the inside out.

So we show the chest paddings, the shoulder pads,

then we make it all flat and use the embroidery machine to stitch them together,

and then we keep the very beautiful inside things.

When you're working in a way that's breaking down a garment,

in a kind of mindful way and in a considerate way, and in a creative way,

that does take time in itself just physically breaking apart a pair of jeans where you can still use aspects of it.

So I was sort of piling that all together

and trying to create an item that you'd still wanna wear, but at least have you know, a lot of interest to look at.

I think being a female designer designing for women,

the one thing at least I can do is make something desirable to wear.

You cut the shape, we put this piece here, we put pockets here.

So the whole process is very free and creative.

When you really look at the dress,

you can't see the real structures of Stella McCartney's jackets.

So it's also like a record.

'Course they're gonna deconstruct the whole thing.

She can do anything, she can even burn it.

So I will leave the surprise to the last minute and I'm super looking forward to it.

When I look at her work, I think the silhouettes are much rounder.

There's cropping going on when I've seen it. I think she'll probably get padding.

I think she'll just be ripping it apart and making it way more brilliant than I did.

When we receive the garments,

all the members here, we're just so excited.

When you have the chance to work with someone you heard for a long, long time, you know,

it's such a huge honor and a huge chance for us, for me.

You know, there's a natural, I think, connection between our work.

I really felt the love from your team.

You know, I can tell it's a small team and I think that's, you know, you can feel it.

You can feel it in the work.

Wow. Cool. I didn't wanna zoom in on that.

Can I go closer in? There's so much detail, Shie.

You've basically dissected it.

We're not far off each other's looks, funnily enough.

All the fabric you see, besides the black tulle, all the other fabrics like white, black, and gray

are all from the tailor jackets.

But we turn the inside out.

I think it's important to let people know the effort your team made for one jacket.

What.

Wow. It's like many fabrics there.

Like, many handwork,

I can see.

I was drawn to the color of the skirt and the jacket.

There's such a youthful edge to it

that I really wanted to take those elements and maybe Stella-fy them a little bit.

But also keeping the youth.

And for me denim is ageless.

I really wanted to obviously do a completely up-cycled and not bring in any new materials into the conversation.

And then I wanted to use this complete 360 upcycling to patchwork together your garment with our pieces.

The inside has as much work as the outside

and I think that comes back to what you were saying about the tailoring

and what inspired you on how to translate my bespoke jacket.

Shie, it was such a pleasure finally meeting you,

and I've loved working on this project.

- Thank you so much, Stella. Bye. - Bye.

It's nice, you know, you feel like you've met them without meeting them.

Even though we're miles away from each other,

you can definitely pick up on the energy of the designer and their hand

and, you know, a sense of who they are through their work.

'Cause it's such a huge honor for us to have this chance to collaborate.

Give me more, like, fresh perspectives and fresh ideas.

It's very meaningful for us.