I’ve always said that at some point I’m going to start remaking some of the retrospective pieces from the archive, and each year I put it off. Yes, on a very small scale, but I wouldn’t want to go back to when it became so big, due to the responsibility and problems associated with that. One of them, in particular, just wears GForce constantly.ĭoes it tempt you to relaunch the business seeing how much interest the brand is still getting? My two daughters have raided my archive completely. But even ten years ago, you still could have worn them. The types of fabric, the detail, the construction - it all falls into place with what is quite contemporary at the moment. I think the reason it’s so wearable now is because the silhouettes and shapes are right. How would you say GForce compares to the trends there are now? And when I go to Paris or Japan even today, I see people on the street wearing GForce, which is incredible. You’d often see somebody wearing our stuff on TV - in fact, I still see people wearing them, particularly the knitted jackets as I think they last the longest. Stereo MC's, who were big in the nineties, used to buy and wear our stuff constantly. The problem is, it was all pre-digital so you just don’t have copies, but there was an image of Cher wearing one of our knitted jackets in the Mail on Sunday. Were there any other big names that wore the brand? It was amazing as we were doing kids’ versions of the jacket at the same time, so I remember making a tiny version for a three-year-old and sending it to him as I knew he had a kid. And then he just appeared wearing it on that day when he kicked somebody. He must’ve gone into the store and bought it as we certainly didn’t give it to him. We sold to a store in Manchester and he was playing for Manchester United at the time. It was quite a strong look.Ĭan you tell us more about how Eric Cantona got his hands on some GForce pieces? The style was built to last - heavy duty stitching, mainly British fabrics, often industrial fabrics. So, a lot of denim and a lot of oversized garments. It’s quite difficult to explain, but I would say it was one of the style forerunners of what is classified as streetwear today. So we didn‘t actually buy anything in, it was all produced.įor those who aren’t familiar with GForce, how would you describe the style? Back then, we sold everything in the store as well - whatever we made was sold. We probably produced around 500 garments a week which we sold across Europe and Japan - which was our biggest market in the late eighties. We had stores in London, Nottingham, Paris and Brussels, so it was quite big. From there it became something I did regularly with any chenille curtains they got in.Ĭan you tell us more about the brand’s journey?Īt our height, we had a factory in the Lace Market that employed in the region of twelve people. I made them into fitted jackets with a big collar and took them back to the store where she hung them up and sold them. I said to the girl, “I think I could make something out of them, what do you reckon?” And she told me they don’t sell them so I could take a couple and see what I could do with them. I remember there was a vintage stitch shop opposite the uni and they had these chenille curtains hanging up. I studied fashion at Nottingham Trent University and by my second year, I was making and selling things mainly to support the course but also because I enjoyed it. It’s clear GForce was really special, but can you tell us how it all began?
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