It was very, you know, innovative, but also a little bit intimidating to young emerging talent.

And already it was, it was, Delphine, I know her mission was to make it international global.

So the applications were coming in.

The first stage of the Albert Mitch Prize is showroom situation, which is a wonderful idea.

All of the experts and editors and everybody who's influential to pass through and meet the designers.

What's extraordinary about this prize is because it's global, it does always reflect the global situation, not just in fashion trends, but also politically and economically.

I so vividly remember that in the first one we had two Ukrainian designers, Anna Oktober and Julie Pascal.

Is Michael

Sarah, what was your Schiaparelli takeaway?

Daniel Roseberry was talking about how he'd applied a completely different sort of, uh, method to this collection, in that, um, he usually goes and goes on a trip somewhere and, you know, uh, I don't know, the, his historical research comes into it.

But no, he said that wasn't working, and so he called it the abyss.

It's like looking into the abyss of, um, you know, where inspiration might come from.

And part of the, part of the answer was at, um, at a company that makes silicone babies, um-

Exactly

... um, and there's such a, a respect and, and probably a requirement for a designer to tackle what they're gonna do with the, with the bar suit and, and look into the archive, and all of the designers have done, have done that.

Jonathan was bringing, I think, through the work of Lynda Benglis, whose, whose work was very much about, is about twisting and knotting and turning fabric into sculptures, and I think Jonathan found a way with her inspiration to make the collection more fluid.