 Wow. Here's where you see just the stitch. Wow, neat. That's exact. I think my initial reaction was it's moving, the ripple. I mean it really made me think it's gonna fall off the table. We always describe your clothes, she loves the feeling of movement. And the kicking on the... Sure, there's a rhythm created by your clothes and your body in motion that's essential. When they come together, to not just be practical with a garment, tells you your thinking design. Think of how fearless to take a piece that probably they would use normally in architecture, in their architecture, and say, I'm gonna wear that all around my waist. That's daring. That's avant-garde. It's completely avant-garde. It's like wearing a soft tree. That's how close to nature it is. Automatically you think, oh that's gonna be painful or it's gonna rub. Totally soft. Yeah, it's so pliable. You're going from such a smooth, linen-y feel here to this velvety, tufted, ropey... What would you describe this texture? Like a ropey terry cloth, right? Ropey terry cloth. This is a real braille piece, in fact. If you couldn't see and you ran your hands through this, you're feeling so many different terrains. Smells nice too. It smells nice. He smells everything. It does smell nice. It smells natural. It smells like you really do smell the wheat or the grass. I smell grass. A little earth. You use so much in your work, patchworking and different materials married to each other on purpose. Sometimes she'll go from a tweed to a lace or from a silk chiffon to a denim. The most crucial part is how do you end it. So this is the... I'm seeing this as the ending. How do you finish? And this could just be an endless coil that then gets mounted so that you open it as you put it on. This is definitely made in the round. Is this machine done at all, you think, this moment here? You sure you don't have a little machine hidden somewhere? I can't imagine. See those transitions? I love. When you put fabrics together, you always have to think of that transition because the weave has different spacing in between the threads. So you've got to think how are they going to come together and marry one another. Something Isabel always uses in her own work. It's never automatic how you marry this seam to that. There's always three or four other things. There's little mysterious air spaces and things going on. We all solve the same way at the end. But it's funny because you allow, like this, you allow the construction to inform what the final thing looks like. Most people hide the construction because they want to get to the finish look. You let the construction make the final thing. It's part of the ornamentation in a way. Instead of just applying ornamentation, that is letting the technique ornament at the same time. Very pure. Very, very pure.