Presenter: Murray Norton (MN) Guest: Zandra Rhodes (ZR)

MN:

Hello and welcome to today's web chat. I'm Murray Norton. Now they told me today was all about contemporary design and looking cool, so hence the sunglasses. However I think you'll find that I probably don't need them and they don't look that cool anyway, and fortunately I've got Zandra Rhodes alongside me as well, and if I needed the queen of contemporary cool and design I've got her here. Welcome, it's lovely to have you with us.

ZR:

Lovely to be here thank you.

MN:

Thanks for joining us. Now Zandra's going to be with us for the next half an hour. All you've got to do is at the bottom of the screen there's a little box, you can put in any questions you like about fashion, design, whatever it might be that you think Zandra can answer. I know she's going to be only too happy to answer your questions, so put that question in. Now the sooner you put it in the sooner we can get it answered, so please do get down there and get that question filled in, in that box as soon as possible here on web chat and we'll get it answered for you. In the meantime, Zandra you've been designing everything from the cutting edge styles of the seventies, and boy were they wild and I remember them, right the way through to haute couture for the royals, and as far up as well a drinks can.

ZR:

I know that's the latest project

MN:

Look at that as a fantastic project. This is the latest design to come from you. I thought you'd be doing anything else but a drinks can that is quite something. Now this is a drinks can that well, it oozes style, its contemporary, and we've actually had a question that came in from somebody. It was from Terry, Terry Jenkins, thank you Terry for the question. He said "Why did you decide to design a drinks can first of all?"

ZR:

I was approached. Someone said "Do you realise it's the seventieth anniversary of the drinks can, and your name is on a list of people that we thought we'd approach to see if you'd be interested in designing a celebration can."

MN:

That's a great celebration can isn't it?

ZR:

I said "Well let me think about it," you know. I thought what an honour they haven't gone to someone else in Europe, they've come to me and I mean I suppose they needed it to have a fashion edge although I must say I did not see it around the shelves during Fashion Week, and it should have been shouldn't it? They could have all had those instead

MN:

Hey there're fashion weeks all over the place. It'll crop us somewhere that's for certain. I was thinking actually, the drinks can, seventy years old this year

ZR:

Isn't that amazing?

MN:

It's quite something isn't it? I would have thought it was sixties or fifties, but seventy years old the drink can, so how do you make a seventy year old pensioner like the drinks can look stylish because it's got a pretty uniform straight up and down, I mean I know models that are straight up and straight down, but that almost takes some design.

ZR:

It's a uniform shape so the project was how could you make it feel exciting and give an indication of celebration, not have it looking like some of the other drinks? So it had to be divorced from all the other companies that have got their names over it, and I chose lots of different designs. This one I felt looked like explosions you know, so it would indicate something actually going on in the can itself

MN:

See I suppose to different people this, which is part of the thing about design and art, is that it will mean different things to different people. The scrolls at the top were almost Taj Mahal'ish, colonial. I don't know why I felt that

ZR:

Well the original design was influenced by sort of embroideries from Thailand in fact

MN:

That's perfect because Nikki has just sent us a question. "What influenced your design?" So it was embroidery.

ZR:

I had some ideas of embroideries from Thailand up in the sort of golden triangle and then I said "Give me a few weeks to think about what I'd do" and I did lots of different ideas, and I wrapped them round real cans and stood them around the room, and lived with them and thought "Does that catch my eye? What would I do?" you know. So, this particular one came from some ideas from Thailand that I had when I went there.

MN:

Is this just a one of? Is this the only can there is? I know there's one that's got diamonds in it and that's in the Fashion & Textile Museum

ZR:

Yes that was the original celebration one, but then people can look on my website and then get guided to where they can send for one, or they can come from the museum

MN:

Alright and the website is?

ZR:

zandrarhodes.com

MN:

Oh easy, www.zandrarhodes.com. Good, alright so people can look at that. If you can make a drinks can look good you know, the question has to be, and Poppy wants to know this "How did you become a designer in the first place?" I mean was it always there? Were you drawing and colouring in things from a very early age?

ZR:

I was always drawing and colouring in things right from being at school, loved doing art at school and so I sort of automatically went to Art College and I went to Medway College of Art that now is called KIAD, Kent Institute of Art & Design

MN:

Snappy title, yes

ZR:

Snappy. They've all got snappy words. KIAD now, but it wasn't KIAD for years, and did things like drawing flowers, life drawing, you know all sorts of drawing, and then I was influenced by a wonderful teacher Barbara Brown who was a textile designer in her own right, and she encouraged me to go into textiles, and I went to the Royal College of Art for another three years and did printed textiles.

MN:

Were you a really good student or were you one of those students they say "Oh Zandra you'll never come to anything"?

ZR:

I was very boring

MN:

Were you really? Oh come on

ZR:

Black hair, middle parting, but I did have a long, shreddy, purple overall with all this torn lace on the bottom that I used to wear every day; looked more like something like Emily Bronte or something when I was at college.

MN:

Is that right, yes, alright. So you've certainly changed and you've put the colour in now

ZR:

Yes put the colours in now.

MN:

Plenty of colour always there. It's your trademark really isn't it?

ZR:

I know. I think probably if I changed it people would say "Excuse me, who are you?" And then it would be deadly embarrassing, although it depends where you are. It's quite amazing, I have lovely games now with people that rush up and say "Hello Vivienne, how are you?"

MN:

Oh that's nice

ZR:

Then I go "Oh alright." I never tell them it's not me

MN:

Have you signed an autograph as Vivienne?

ZR:

No I haven't done that

MN:

Not yet.

ZR:

No I haven't done that yet

MN:

Well you've managed to sign the can which is terrific

ZR:

Oh yes, it's got Zandra Rhodes written on it so they get a Zandra Rhodes can, yes. They can stick their own little glitters on it, couldn't they and it could look very nice I'm sure. Probably a bit too big to wear

MN:

Actually you could do really, really mini small ones for earrings

ZR:

You could do couldn't you

MN:

Hey there's a thought. We'd make a fortune me and you doing this. How do you get creative ideas is a question that's come in from Fontaine. Thank you for the question. That's a really difficult one to answer isn't it? The creative ideas, do you sit there like writers do with writer's block?

ZR:

Yes you do get designer's block. The best thing really if you're lucky enough is to have a holiday. You know if you have a holiday, and I have a rule when I go on holiday that I take my sketch book, usually go with a wonderful friend, take my sketch book and have to do a sketch every day of anything. It could be a palm tree, it could be pretty stones on the beach, and then when you come back you end up thinking that became a design. So for example when I went to Thailand I drew lots of things and collected bits of embroidery, and then I came back and it started to fit into a pattern.

MN:

Sure, sure, alright, so it just comes from that. You take ideas from different places.

ZR:

Yes, and you keep on at it

MN:

Interesting that you take ideas because a question just come in from Lauren. It said "In art we were always told to base our ideas on pieces from different artists." I think that's one of the classic teaching methods, looking at the classic artists and taking things from them, taking their styles. Are there artists that you base your work on?

ZR:

I've always thought Matisse is perfectly wonderful. You know there's something about the line or the way he did, towards the end of his life he did those fantastic free cut out patterns. I've always liked Paul Clay. You know he based his stuff on weaving and you know it was really gorgeous, and I mean I always love trips round the museums seeing art.

MN:

I bet you take hours don't you?

ZR:

No I'm a very quick walker.

MN:

Really, are you?

ZR:

I walk through quite quickly and just stop at things that catch my eye because if you stop at everything you just get worn out, and then too much goes into your brain.

MN:

Right so you just stop at whatever really catches your eye. The rest of it, straight through

ZR:

Yes

MN:

Alright. Lauren obviously thank you very much for your questions. Lauren obviously is an aspiring designer because she wants to know have you got any tips for young, aspiring designers. A tough world to break into isn't it?

ZR:

I think design's tough to break into, but a tip is don't give up. If you feel you've got something to say to the world, even if the rest of the world don't believe in what you say, keep at it, or think about it. Would I really want to be on the checkout counter of the supermarket, and if you don't want to be then do what you believe in and in the end it will come through.

MN:

I would say from that though with Lauren's question in mind, it must be very difficult to be original because you know it's like re-inventing the wheel, it's like re-designing this can. To re-design a can and make a can look different, to make this drinks can be stylish, contemporary, be modern, be something that you think "Wow that's not seventy years old any more" you've got to be original. Now the same with fashion, trying to be original in fashion it's all been done before hasn't it?

ZR:

It has. What tends to happen is it gets re-worked so it starts to look a bit different. I mean the thing that's been so amazing over the last, what, two years, is suddenly the erogenous zone isn't the breasts it's the bit round the middle now.

MN:

It's the cut away in the middle isn't it?

ZR:

Yes and of course true sign of age, I wouldn't dare, but you see these gorgeous little girls with this lovely bit round the middle

MN:

I can't say I've noticed

ZR:

Sometimes supporting a tattoo. Oh I'm sad you haven't. But you know it all seems as if it sort of happens by accident so they might be wearing the same sweater but the same sweater ends in a different place. They've still got to wear a pair of trousers but the trousers are that bit lower. They look as though they're going to fall down you know, so you get a whole lot of different, exciting things happen and it gradually changes until the change has come about without you really noticing. So I think there are always little new inventions and nuances.

MN:

Alright, so it's just looking for the subtle little changes that make the difference

ZR:

And hoping that you pick up on it.

MN:

Ten minutes in, ten minutes gone already of our chat. That means only twenty minutes left to go so if there are questions that you would like

ZR:

Better get their questions in quickly

MN:

Yeah, move quickly please. Zandra's only here for the next twenty minutes, so get those questions. The sooner you get them to us the sooner we can get them asked and answered. So it's a rare opportunity, put your questions one to one to Zandra now in the little box at the bottom. Shelley thank you very much indeed for your question. She wants to know "Can you tell me what's new and up and coming in fashion." Where do you think it's going at the moment?

ZR:

Fashion at the moment is still very patterned, still very frilly and gorgeous, there's some interesting innovations. I mean there was a lovely show by Eley Kishimoto and they had gorgeous semi transparent socks with wonderful motifs and lovely stockings together with the pattern. I mean I always like pattern because I think it hides all the bits I don't want to see of myself, whereas when it's plain you've really got to be on the ball.

MN:

Really I suppose the tip is to make fashion work for you. Choose the fashion that suits you. Now a lot of people won't know what fashion suits them.

ZR:

I think you have to try and have the confidence in yourself and try things on. If you've got a friend you trust you could have them with you and they might say "Well I don't think that looks right on you" or "Have you thought of trying something else" because it's awful when you leave the load just for your own shoulders. I've always had wonderful friends that would come round and try things on and go "Oh this is gorgeous. Oh I'd wear this but I'd wear it a lot shorter or make it lower at the waist" and it's all that sort of mixing and seeing what other people have got on, but not being too nervous to actually go your own way and do it your own way.

MN:

What you wear can obviously change the person you are

ZR:

That's true. You know I don't want to go round in a non-descript outfit

MN:

You want to be noticed. Is that the right word?

ZR:

I don't think about it like that

MN:

You are noticed though obviously

ZR:

I am, but what I mean is I wear something that I like to wear, that makes me feel alright. So it's not always to be noticed and sometimes you look at it years later and you think "Oh my God, did I go around looking like that? How could I do it," but on the other hand I mean I'd much rather wear things and they cheer me up, than just think I'm going to creep around invisibly

MN:

Well anyway Shelley is a big fan, thinks your designs are awesome

ZR:

Thank you Shelley

MN:

Thank you Shelley for your question there. Bobby wants to know "Why is pink your favourite colour?" I notice that pink features heavily on the drinks can bringing that back in, and it matches perfectly, so why pink?

ZR:

Well I was asked that question last night and I said well first of all, originally I had my hair green, and if you have green hair, after you've washed it a few times it turns into a rather nasty shade sort of like old grass, you know just sort of a nasty sort of yellowy green. So when I went pink it's so easy to keep that

MN:

Stop it you're convincing me

ZR:

Stop, it's easy to keep

MN:

Will it work do you think?

ZR:

It would work, yes,

MN:

It would it take wouldn't it?

ZR:

Yes I'm sure, but it's then easy to wear pink and people say "Oh Zandra you're so easy to buy things for" as they give me something else in pink. But I mean I don't always wear pink. I mean I've got a very nice blue evening dress that I wore for the opening when I designed the sets and costumes for the Pearl Fishers Opera in New York, and I looked lovely in blue. So I just put different blue lumps in my hair and blue earrings, and the pink still matched it, you'd be amazed. There's not much pink doesn't go with

MN:

So you designed the Pearl Fishers Opera costumes, you've designed Cats. Is there anything, what's the weirdest thing you've ever had to design? I suppose weird isn't a word that would come in, but this must have been a challenge

ZR:

This was a challenge because it was so important to make sure it felt like a celebration, that it was a can that was very distinctive. I mean and not distinctive that you understated it so much that it was a plain can and it could have been anything as well

MN:

Sure, it's got to catch the eye hasn't it?

ZR:

I like to think that it's going to go all over the world, but I don't know, you just can't tell.

MN:

Let's hope so. What's latest on the list? What are you designing at the moment?

ZR:

I've been working on a range of china for Royal Doulton

MN:

That's the Royal Doulton ones, yes.

ZR:

And that was the one that's been launched. It's very chic and very pretty. They chose something very pretty as opposed to something hard and exotic. I mean I've always wanted to do perfume and make up, so I'm always campaigning to get to do that in the end because I think if I wear this much make up and I look like this I should have a product of my own, but I haven't at the moment.

MN:

So Zandra Rhodes make up, Zandra Rhodes perfume on the way

ZR:

I'd like that

MN:

Yeah, yeah I think that would work. Goodness knows I think the word ‘pink' has probably gone but we could find something else, just call it ‘Zandra'.

ZR:

I mean ‘Pink' worked for Scaparelli, why shouldn't it work for me?

MN:

Well let it go. So we can see that coming up somewhere in the future, so we look forward to that. In the meantime we've got lots of questions asking for help and advice on getting a business started. Could you give us some examples?

ZR:

Well mine happened by accident. I mean I tried to sell my textile designs and went to the different manufacturers in the North of England and they'd look at my designs and they'd take a look at me, and I didn't have pink hair then, and then they'd go and they'd pull out all these rolls of cloth and say "Printed a million yards of this, I'm not going to print a million yards of that" so no-one bought anything. So then I still believed in what I was doing so I thought well in that case I'll go directly to the fashion designers and say are you interested, and I will go about trying to work out how to print it. So I became what's called a Converter and I went to other printers and organised printing up the print for other designers to use, including Farrell and Tuffin and Angela Sharp, different people from the late sixties, early seventies.

MN:

You were short cutting in other words really weren't you? You were saying "Right I've got this, what do you think?"

ZR:

Exactly. I didn't manage to sell it to the industry to print for people so I then said "Ok I'll go about doing it and supplying it to you" and so it just gradually got like that. Then one season they all said "Oh we only want black and whites and polka dots," well I was never black and whites and polka dots, so at that time I was light bulbs and lipsticks.

MN:

Oh your light bulbs and lipsticks phase

ZR:

Light bulbs and lipsticks. So I then thought if I don't get round to doing my own clothes no-one else is going to do them, so that's how it happened and I put a collection together and took it to America and American Vogue publicised it cos they loved it so much, and then just went on manufacturing and everything.

MN:

Was it very much that nineteen seventies, cutting edge, British fashion design that really was the big break through for you do you think?

ZR:

Well my early designs from '69 which were in the Fashion & Textile Museum up until last week, were sort of chiffon dresses that I cut round on the edges and pointy ones with trails and feathers on the end. So I suppose you could say they were very early preceding what has been going on in Paris probably by about twenty five years

MN:

So just a little bit in front yeah

ZR:

So it's nice that the world's come back and I do a range for Top Shop anyway as well so they can pick up different bits of what I do.

MN:

We've got questions coming in. Thank you very much for the questions that are coming in. There are only ten minutes left so please, please, please if you've got any more questions all you've got to do

ZR:

Are you going to be able to read all those questions?

MN:

Oh we'll try. We'll get through them as quick as we can. Watch, here we go; as an Asian woman, this is Maneesha, thank you Maneesha for your question. "As an Asian woman I've been running my business for just two years, can you give me some advice on up and coming designers and how to get exposure on a low budget." Its low budget, high exposure, its very difficult isn't it cos there's a lot of money flying around in the fashion industry.

ZR:

What's the name of that lady?

MN:

Maneesha

ZR:

Well Maneesha hasn't said what she does. If she's a textile person then she'll have to go to other people, and what area of the country? We don't know that either

MN:

We don't know that either

ZR:

Don't know that either, I mean the things that's so exciting is that there's such a wonderful whole Asian cult now, and I think there's so much room for expansion, even in the realms of pink. You know pink is the navy blue of India, you know that. o I mean there' lots of room for colour, wonderful embroideries, wonderful embroideries that you can get done probably in India after you've designed them and bring them back, either getting them done for other people or doing a line of your own, so I think the sky's the limit. Just get together a group of you more ideally. There's strength in a group

MN:

Right get more than one of you. Collective bargaining is always a good thing isn't it in the end

ZR:

That's true.

MN:

Ok. "What's your opinion of British Fashion Week" says James. James thanks for the question

ZR:

Well as I'm British and very firmly British, I want British Fashion Week to succeed. But I have to admit this year was very difficult because you had a whole lot of wonderfully, professional authors, editresses you know writing about it apart from the people just going for the novelty, and some of the shows were running two hours late and I think if you're trying to be professional and you go to a show that's meant to start at 8 o'clock in the evening and it doesn't start until ten, and then the next person can't then start till eleven, it begins to wear you down, so after three days you feel like a worn out I don't know what.

MN:

Ok. "What's your opinion of British Fashion Week" says James. James thanks for the question

ZR:

Well as I'm British and very firmly British, I want British Fashion Week to succeed. But I have to admit this year was very difficult because you had a whole lot of wonderfully, professional authors, editresses you know writing about it apart from the people just going for the novelty, and some of the shows were running two hours late and I think if you're trying to be professional and you go to a show that's meant to start at 8 o'clock in the evening and it doesn't start until ten, and then the next person can't then start till eleven, it begins to wear you down, so after three days you feel like a worn out I don't know what.

MN:

Right ok, so it can be a bit tiresome

ZR:

It gets tiresome but we've got to succeed because otherwise we'll be written off and then none of Europe will come to see us and half the ideas of the world come from the UK.

MN:

Here's a great question from Emma, Emma thank you very much for the question. Do you see yourself more as a designer or an artist? She asks the question because at her school where they're studying plumage she's been told to research you. Wow.

ZR:

Plumage

MN:

Plumage, yes I can see things bursting everywhere

ZR:

Well I did have wonderful feathers in my hair for the cover of my book ‘Zandra Rhodes – A Lifelong Love of Textiles' and I know they've been selling that at the Tate and various galleries apart from the museum, or they could always phone into the museum which is ftmlondon.org and they could order a book online anyway

MN:

That could be it but do you see yourself more as a designer, an artist?

ZR:

I like to think of myself as a designer but not totally tied down to only commerciality, but I like to think that I add new things to the concepts. I hope that answers the question.

MN:

I hope it does, Emma, good luck with the studying. Matilda, what do you do when you're not working is her question, are you never, not working?

ZR:

Well I hardly ever not work, but I love cooking. I don't open tins, I like to cook things from scratch whether its something like French onion soup, or I do, do salmon in a sort of lovely, long fish kettle

MN:

I can see you in ‘Hell's Kitchen' with Gordon Ramsey. That would be fun

ZR:

I know wouldn't it be nice

MN:

You'd love to do that wouldn't you?

ZR:

I'd like to do that and I find when I'm cooking suddenly my work disappears and I'm thinking does it need a bit of fennel, do we want some freshly ground pepper you know, so I love cooking, and I love gardening.

MN:

Ok, so a bit of gardening, a bit of cooking, those are the down time things. Matilda thank you very much indeed for your question. We are rapidly running out of time so if you have got a question you'll have to make it darn quick because we've only got five minutes or so left to go. You've mentioned the museum a few times. This is the Fashion & Textiles Museum, this is in Bermondsey?

ZR:

This is in Bermondsey. Yes I bought the warehouse in about 1985 by selling my house in Notting Hill Gate.

MN:

This is another one of your brave business decisions is it?

ZR:

No, my boyfriend thinks my business decisions are lousy

MN:

Be a designer don't be a business woman

ZR:

Exactly and I thought to myself, my friends had seen this very well built warehouse and said "You know Zandra you've always wanted to do a museum for British fashion, why don't you buy that building?" And I said "What do you think I am, made of money?" and then I thought, and I had a studio along the road, I had clothes in boxes in storage units, I had my own house that I couldn't afford to do up the top of the building, and a factory that we'd gone through recession and we were taking in our horns, and I thought well, you know if I combined everything, bought this old building, then I'd apply for lottery money, and then I'd finish building the museum. Of course I didn't get lottery money I just got an old building and I was living in the offices above making them look like they were a building that one wanted to be in, but anyway I convinced Ricardo Legorreta the top Mexican architect to build me a lovely orange and pink building, and I've been staggering along you know, sort of getting a bit of education money and working things out and then along the side is my company where I do my designing and my printing.

MN:

Perfect, a marriage made in heaven

ZR:

So it's pretty good, yes

MN:

And people can go down to the museum and see what's in there

ZR:

Yes, and if it's closed they should knock on the office doors cos at the moment, well you see we've had to close it because my exhibition goes to Milan and there's all those people, and sometimes if I open the door to collect the rubbish or something and they go "Oh Zandra Rhodes" and I say "Alright you can come in."

MN:

Oh, so special guided tours

ZR:

I think it's so sad that people, and it has to be a destination point so I try and welcome and then I could always show them the cans.

MN:

Well there you go. The diamond encrusted one is in there isn't it?

ZR:

I believe it is somewhere.

MN:

It's somewhere in there

ZR:

I'm not quite sure because they're re-decorating it for ID Magazine, but never mind

MN:

Question from Fergus. We've mentioned designers, what designers excite you? Are there particular designers that you say "Those are the ones that I enjoy looking at" because as a designer yourself

ZR:

John Paul Gautier always comes up with new ideas

MN:

Is he a mate of yours?

ZR:

I've met him several times and he's always been perfectly charming and lovely

MN:

Oh, ok

ZR:

And you look at what he does, and even if it's just they end up just as some of the t-shirts on the rail they still look great, you know. They're not that you look at the show and you have no identification with it at all and that's what's so wonderful. You look at it and you know the product you're seeing on the catwalk is what you're going to see.

MN:

A quick word about Milan and the style of things that you're going to be putting in there, what are we looking forward to seeing style wise from Zandra Rhodes?

ZR:

Oh well the Milan show this wonderful place called 'tn couris como' is a group of amazing shops around what was a car showroom, and they sell all different designers from all over the world; Asadina Ilaia, Isai Miyake, different things and they put them together. It's a sort of living area.

MN:

Right.

ZR:

And they're attached as, only the Italians can do this, very chic gallery and they're going to put my clothes from 1969 to the present day just on show there, and that as I say, I fly over there and it opens on Wednesday night.

MN:

Fantastic we wish you the very best there. Someone who just calls themselves Me, whoever Me is

ZR:

Hello Me

MN:

Hello Me, they've asked what excites you about the fashion industry after all these years?

ZR:

Well I can't think of anything else I'd do otherwise. I try and think but it still is exciting, and there's still wonderful things to see, and so I feel I'm very lucky with the job that I do and seeing young people come up.

MN:

So do you have lots of designers that you train and you work with?

ZR:

I take people in my studio with internships. I take American students, well I take them from elsewhere but I happen to have quite a few and they come and they actually stay for a month in London and they study the textiles, and they can then go on and print their own fabric. I take students on three months who come in and print with us, and I take school children who come in and just do t-shirts for a week.

MN:

Right so there's a whole selection there

ZR:

Oh it's wonderful

MN:

Question from Ash before we go, Ash just wants to know "If you were remembered for one thing in your career what would that one thing be?" Good question Ash, thank you.

ZR:

Well that I added some new aspect of fashion. It may be it will go down as being punk with beaded safety pins

MN:

Sure

ZR:

Or it might be a total concept of garments where the print and the garment's shape were so inter-twined, it wasn't just fabric that was cut up but designed specially for that.

MN:

Well listen I'm getting particularly thirsty. I'm not going to open this can cos it's a rather special one but I may be opening a different one instead. This is the Zandra Rhodes can. Can people get one of these because I'm sue there'll be people that would say "Gosh I'd really love a Zandra Rhodes can."

ZR:

They go to the website

MN:

It's that simple

ZR:

And then they're guided, and then it can be sent to them, or they come to the museum.

MN:

You want one of these, it's a drinks can, it's stylish, it's contemporary, it's signed by Zandra Rhodes and it's in celebration of seventy years, a full seventy years of the wonderful drinks can.

ZR:

You never appreciated it did you?

MN:

Well you take it for granted. I appreciate it now, took it for granted before but you can get one of these www.zandrarhodes.com. There are a limited number of them so I suggest you log on and find those out. Zandra it's been an absolute pleasure to talk to you

ZR:

Lovely to be here

MN:

Thank you so much for being here, and we look forward to more designs of these?

ZR:

If they ask me

MN:

Hey who knows? Until then until the next time on web chats thank you very much for joining us and good bye