We shouldn't be afraid to fail- if we are not failing we are not pushing. 80% of the stuff in the studio is not going to work. If something is not good enough, stop doing it.

There was a 'Wired' cover that had a big Apple logo with a crown of barbed wire as thorns, and underneath it just said, 'Pray.' I remember this because of how upsetting it was. Basically saying either it's going to just go out of business or be bought.

I get an incredible thrill and satisfaction from seeing somebody with Apple's tell-tale white earbuds. But I'm constantly haunted by thoughts of, is it good enough? Is there any way we could have made it better?

I left London in 1992, but I'm there 3-4 times a year, and love visiting.

It is sad that so many designers don't know how to make. CAD software can make a bad design look palatable! It is sad that four years can be spent on a 3D design course without making anything! People who are great at designing and making have a great advantage.

Growing up, I enjoyed drawing, but it was always in the service of an idea. I drew all the time, and I enjoyed making.

True simplicity is, well, you just keep on going and going until you get to the point where you go, 'Yeah, well, of course.' Where there's no rational alternative.

I think that we're on a path that Apple was determined to be on since the '70s, which was to try and make technology relevant and personal.

Unless we understand a certain material - metal or resin and plastic - understanding the processes that turn it from ore, for example - we can never develop and define form that's appropriate.

The thing with focus is that it's not this thing you aspire to, like, 'Oh, on Monday I'm going to be focused.' It's every single minute: 'Why are we talking about this when we're supposed to be talking about this?'

I discovered at an early age that all I've ever wanted to do is design.

I am keenly aware that I benefit from a wonderful tradition in the UK of designing and making.

Designing and developing anything of consequence is incredibly challenging.

People's interest is in the product, not in its authorship.

It's a very strange thing for a designer to say, but one of the things that really irritates me in products is when I'm aware of designers wagging their tails in my face.

Perhaps I'd like to design cars, but I don't think I'd be much good at it.

Apple's goal isn't to make money. Our goal is to design and develop and bring to market good products.

One thing most people don't know is that Steve Jobs is an exceptional designer.

Make each product the best it can be. Focus on form and materials. What we don't include is as important as what we do include.

There is a clear goal and it isn't to make money. The goal is to desperately try to make the best products we can. We are not naive - if you trust it, people like it, they buy it and we make money. This is a consequence.

If something is not good enough, stop doing it.

Apple's Industrial Design team is harder to get into than the Illuminati, and part of the reason is because no one leaves. In the last 15 years, not one of the 18 designers has ditched Apple for greener pastures.

There are 9 rejected ideas for every idea that works.

Our goal is to desperately make the best products we can. We're not naive. We trust that if we're successful and we make good products, that people will like them. And we trust that if people like them, they'll buy them. And we figured out the operation and we're effective. We know what we're doing, so we'll make money, but it's a consequence.

It's great if you can find what you love to do. Finding it is one thing, but then to be able to practise that and be preoccupied with that is another.

Manufactured objects testify to who made them; they describe values.

It's easy to think that craft can't change but important to remember that all craft process was at some point new, at some point challenged convention - not to be contrary, but enabled by some breakthrough, some newly discovered principle, or sometimes some wonderful accident.

When something's made in the smallest volume - as a one-off couture piece - or in large quantities, deep care is critical to determine authentic, successful design and, ultimately, manufacture.

Even in high school, I was keenly aware of this remarkable tradition that the U.K. had of designing and making.

It's important to remember that Britain was the first country to industrialize, so I think there's a strong argument to say this is where my profession was founded.

When we started work on the iPhone, the motivation there was we all pretty much couldn't stand our phones, and we wanted a better phone.

The form of computers has never been important, with speed and performance being the only things that mattered.

Our goal is simple objects, objects that you can't imagine any other way.

Deep in the culture of Apple is this sense and understanding of design, developing, and making. Form and the material and process - they are beautifully intertwined - completely connected.

The iPhone was broadly dismissed. The iPod was broadly dismissed. The iPad was probably more copiously written off as a large iPod.

If doing anything new, you're very used to having insurmountable obstacles.

The benefit of hindsight is we only really talk about those things that did work out.

I am very aware that I'm the product of growing up in England and the tradition of designing and making, of England industrialising first.

Successful collaboration, in your mind, could be that your opinion is the most valuable and becomes the prevailing sort of direction. That's not collaborating.

I feel that it's lovely when, as a user, you're not aware of the complexity.

Innovation at Apple has always been a team game. It has always been a case where you have a number of small groups working together.

Often when I talk about what I do, making isn't just this inevitable function tacked on at the end.

One of the things that is particularly precious about working at Apple is that many of us on the design team have worked together for 15-plus years, and there's a wonderful thing about learning as a group. A fundamental part of that is making mistakes together.

So much of my background is about making: physically doing it myself.

When you feel that the way you interpret the world is fairly idiosyncratic, you can feel somewhat ostracized and lonely.

I think it's important that we learn how to draw and to make something and to do it directly. To understand the properties you're working with by manipulating them and transforming them yourself.

What I think is remarkable is the force of habit and the fact that while we can have a practice for doing something that has been repetitive and established over many, many years, it doesn't actually mean there's any virtue to doing it that way at all.

I always like when you start to use something with a little less reverence. You start to use it a little carelessly, and with a little less thought, because then, I think, you're using it very naturally.

That's just tragic, that you can spend four years of your life studying the design of three dimensional objects and not make one.

We won't do something different for different's sake. Designers cave in to marketing, to the corporate agenda, which is sort of, 'Oh, it looks like the last one; can't we make it look different?' Well no, there's no reason to.