Strangely, I am not fascinated by caps. I am interested in the work I put in to them. In the end, it is all about the language of craftsmanship — body + object in symbiosis. Lots of milliners play with volumes and see their hats like ‘bouquets’ but to me it is the opposite, it is about bringing people in.

I love to think that my work embeds three timeline axes: the past, in the craftsmanship of the old techniques I use; the present, in the modernity of the social and political symbolism that the cap as a shape represents; and the future, because such a piece can be worn or appreciated timelessly. Testifying savoir-faire is about empowering people by witnessing high crafts to acquire knowledge.

In 2014, I was in charge of creating a dress for Oprah for the BAFTA’s red carpet, based on a stylist’s design. My role was to rework the original lines to make a dress to measure for her. I had only 24 hours to make it perfect. Everyone was very impressed by the quality and the tailoring skills to accomplish such transformation in such a short amount of time.