trees with equal or better trees. and i think it's very important to note that directly, these eight trees will be replaced with 11 trees that are equal or better. and these 11 trees are part of a coherent landscape plan that was approved by seven community groups to plant 34 trees at the

site. and a park to create a uniform aesthetic in effect. again, we've challenged web corps who we think is one of the best builders in san francisco to come up with an alternate solution. and they could find none that would not require hoisting these large panels directly in front of the area where it needs to be installed. i guess in closing, this is a project that went through 3 1/2 years of the public process. it went through an e.i.r. it was part of the eastern neighborhood's plan. with unanimous support of sampack, clemon tina cares, and multiple community groups. a letter was written by another neighbor. alexis apartments, a senior group support this project all about this revitalized landscaping plan with all new trees consistent, we're going to replace the entire sidewalk and curbs and went through the planning commission. it went through the board of

supervisors. with unanimous approval. all included was this -- in totality, which is a new landscaping plan a. new tree planting program new sidewalks. and again our reading of the ordinance because our experts as providing the declaration can find that there is no other way feasibly to install the unitized window systems. it does create a hazard as defined in the ordinance. and there's no feasible maintenance means that can abate the hazard. so we ask that you grant the removal, conditioned upon we repalatial the eight trees with 11 trees as part of the landscaping plan that are equal or better value than currently existing. thank you. >> i have a question or a couple of questions. if this staging area that you had on the diagram you put on the overhead, can you put that, please, back up.

is that -- are you saying that that staging -- can we have the overhead? the staging area, that's the only possible location for purposes of hoisting -- did you say unitized window system? >> that's correct. imagine that this is the building. >> ok. >> in front of you, folsom street. large panels that are shipped from china. typically you put pieces of a wall in the window. these are unitized premanufactured curtain wall systems that are shipped over large -- on large palettes and hoisted up. swinging by crane. and then moved onto the wall and affixed. so they have metal-glass-steel all connected. so they have to be hoisted and applied right directly in front of where that wall is going to apply to. >> that's how the whole building is being restructured? >> they just go down.

>> are there trees or any or hazards on other sides of the building that have presented themselves that don't -- that don't need to be removed? >> all the trees need to be removed. at the negotiable hearing, most of the trees -- initial hearing, most of the trees -- how many were granted to be removed? >> 24 -- i think there was 12 trees that were granted removal that were -- >> and granted removal for purposes of this hoist? >> right. and i guess part of it, what we did understand is it is a consistent process throughout the whole building along all sides. so it should have been we thought would have been granted for all of them,it was a mix of.

and the lingerie. one part was the lingerie. i did it i think in 1981.

i came out with the collection in 1982. of course, i was inspired by my grandmother. but something else. musical. i saw a musical in new york. something like about the life of fellini. they made a movie of it -- only a few years ago, which was not so good, but the play was excellent. it was broadway. there was one scene where all the women were preparing themselves for the show. all in corset, like satin, salmon color. and i was fascinated with it. i enjoyed the show, but i was only thinking about that, i must say. after that, there was the corset of my grandmother, and at that i have to do it, but it will be a dress. i did attend different dresses.

long, shorter, even like a gym suit. i didn't like my souvenir of the one of my grandmother. and it was -- i did it like my souvenir of my grandmother. and it was a lace up. there was a party at the palace, which was a club. she wanted to wear that. she cannot drink because i did it truly like a real corset. laced up all along the back. no drink, because to go to the toilet, what can she do? she could not put it back. [laughter] she would be in little to nothing. [laughter] >> the title of this exhibition is the idea of going from the street to fashion. from looking at things that are in the street and turning them into fashion or is it the other way round.

do you in fact look at the street and see immediately things that are already fashion? are you inspired by that? >> i should say that i have, to be honest, i did not see very clearly by what i was inspired. i do not know if there is, like, a first-time -- i think it can be everything. but i know i was touched by the things that i think a beautiful, and things that are from the street. like maybe why i also have a kind of obsession, i love to work with denim. it was not so well cena that time. i am born in 1952. in 1958, some boys had denim trousers. for my parents, they felt it was not very elegant. so it was not so nice, not so clean. so me, i fantasy about it.

and maybe i was looking more and people that were wearing that kind of close, sometimes going to buy a jacket. there is a movie of marlon brando. but i must say, i remember it was a time in the 1960's, it was some boy from the suburbs. i suppose little gangs who were supposed to be bad boys. maybe i was a very polite boy. i was a little fascinated by bad ones. [laughter] it came from my fascination with movies, with james dean, most of all marlon brando. all wore rebellious close. i find it very attractive and very interesting. of course, i should say that i love a lot of other things. cinema was also showing that kind of rebellion of the street. for me, maybe it became like those things are not that bad.

and they're already recognized. they show some kind of people that i am not at all part of. but also, i use it may be after -- it inspired me. i love to make them all. the code of what is decent and a decent. what is elegant, not elegant. what is luxurious or not luxurious. changing to the time. >> let's talk now about one of the frontiers that you broke down. you're one of the first to do. you went into the streets of paris but not to the streets that we know that are in front of the palace but the streets with a very mixed community. in those days, even more so. and that inspired you to do collections. this was in a way breaking a parisian code, wasn't it? instead of pretending these

immigrants were not there, you're actually inspired by their colors, their hair, their clothes, and you turn them into your collection. >> definitely. i was very inspired by different people always. maybe -- with me, i felt a little different. a project at school. for example, not doing football. i was more touched by people that are a little different or could be rejected. they inspire me also because i do not know it was another world. for inspiration, for example, because close very clearly, very early became my attraction -- clothes became nmy attraction, a subsection.

as more attractive to addressing people than addressing myself. it was not my objective desire, my own person. so i think that if i looked, the market inspire me. people different in it the streets or inspiring me. not what was fashion. maybe i was a finding something to were very inspiring. laurant. i like the ones that are different and have their own style. i like the ones that are different. they have style. i love them. so everyone that was different, i'd love it. i was not inspired by the jet set. at that time in 1960's, it was like very -- [unintelligible] for example, when i started to

work, i am not all in the quatorze address. that is where some young girl -- among the young, i find more creativity, more interesting fashion in paris than in london. the sense of humor makes them to play more with the clothes and everything. in paris, i could see what was chic in what was not. one time i was working and was arriving at an industry job, and i was wearing boots. they looked at me and said, [unintelligible] as a reproach. i thought, ha ha, very funny.

[laughter] but it was beautiful, which can be true but it can be awful, too, a beige. it is not because it is beige, but it could be the absolute beauty, no. it depends how it is done, how it is made, how it looks like. so i was like, let's say, killing the french fashion. i should say france in general. so absolute. it has to be like that. things that i did not feel like. i think it's time i was going, i felt really in love with london. i felt more freedom. when i was going there, it gave me -- [unintelligible] sending like, yes, go on to do the things you feel are good. because it is very conservative in paris. >> only you had come to san francisco. >> yes. >> i can only imagine what you

would have produced. [applause] >> that is true. >> here is this good little boy who is be heading classically and is very charming and wonderful and working hard. how did you turn into a bad boy? [laughter] and tell us about the whole business of putting sexuality on the map, as it were. when you go into the exhibition here, it is still shocking to see some of the clothes which are suggesting a kind of pervert petit, never against women. you see a lot of flash and tattoos and in the clothing. it must've been completely taboo when you started doing the mine in 1970's and early 1980's. >> i think it was, yes. it was, to be honest, all the things i did that were supposed to be provocative or maybe that make me called a bad boy to the

french, because some of the journalists saw that was making jokes and things like that, provocative things. it was not as a provocation. my goal is to be known, so i have to make them be seen this way. it was more because of my reflection and also what i was seeing around me. i mean, people were thinking that i was going out a lot in going to all the parties. no, i was working, working a lot. but i have eyes on my fashion. my fashion as to see video savoy year. complete voyeur. i love to see. i tell you through tv, a lot of movies. the images make me react. and maybe make me understand also sometimes. sometimes in the wrong way. through image sometimes it is

true that you have not to consider that all you see in the images real. they can make you be more creative. so what was going around, it was the post-rebellion of the woman. and it was some kind of girl in the group in paris, the queen of the pink. make me meet farida. they were beautiful girls dressing up. the love to dress it up there were very chic. at that time, one of them was wearing old chanel from the flea markets. we were a lot going to the flea market. a chanel jacket. and me, i was thinking about my

grandmother. of course, it was before. transparency. and they were smoking. that was provocative in a way. but it was going well with the time, the moment of sexual liberty and freedom because of the hippies. like in san francisco but also a stage of freedom, you know? after that, it was known as a way that the girl wanted to be like madonna, to be strong, to be as strong as a man. showing a little bit of their strategy. it does not mean that those girls were very -- >> easy would be the simple word

to say it. [laughter] >> at the time of the 1960's, there was the first one to do that. he made me do dress or a company scared, know. but there were in shorts as well. that was provocative. >> this provocation and not just about the girls, about women feeling their sexuality. it is also about men. i have seen all your shows and i think i saw them all. but i do not remember in the men's collection for yves laurant, seeing a man powdering his nose going down the runway. >> yes. because he did things that were already very much about at the time. i was very admired.

that is true. we did big steps. vocabulary. i have enormous admiration. i was also speaking social society, which was what was going on in society. me, to my grandmother, i was like feeling. too close to say something indefinitely. yes, why did i do the men like that? because i work around it sex. i saw that what was showing, it was the men in this world where the woman was strong. then have to be equal of the men. and i wanted to show it. there was some interest in like a blazer, a jacket, double- breasted. you have the men's jacket with the inside pocket. it is a pocket for the wallet. the women did not have that. why?