Working with Uniqlo is probably the most incredible template of democracy in fashion, and it's nice that my design can be accessible to anyone, on all different levels.

If you're going to collect things because you think they have value, then don't collect. For me, you have to be obsessed, and there has to be something educational.

Ultimately, I think to be successful in fashion, you have to turn into the most incredible HR person. It's about politics. I'm massaging egos and keeping everyone happy.

I've always loved collecting arts and crafts - I have pieces by Charles Rennie Mackintosh and William Morris at home in east London.

Collaborations are incredibly important in design.

I always try to design fashion that is interesting and innovative, and I like to break traditions and challenge people's expectations.

I think fashion shows are a full stop. You need a point where there's no return, and fashion shows create a 'That's it; that's the finishing line.'

One thing I think is great is that if you use social media really well - in a natural, personal way - you can kind of see what's missing. You can see when you're bored of something or of someone.

My parents were extremely liberal. They didn't believe in being Catholic or Protestant, and that was a big deal at the time.

I collect primarily ceramics but also black-and-white photography and some bits of contemporary.

Acting is about portraying something... that dedication or learning the script of it is really important in really getting to know a topic.

Fashion is an archetype: you're trying to build a silhouette, and that is very similar to building up a building because you're trying to create a new structure, a new proportion, a new shape, and you're using a material to cut which is a bit mathematical. That idea of finding something new in terms of proportion is something that drives me.

When I think of Uniqlo, I think of things that are perfectly made, that people have spent a lot of time considering.

During the 1990s, luxury became something exclusive and elitist. I think fashion got lost. It forgot about craft and culture.

If designers are willing to take risks, I think buyers should take risks, as well with press taking risks.

You have to be slightly uncomfortable with what you're doing, and you have to be able to try to find moments of newness.

Loewe should be a cultural brand.

Buttons, for me, are very sculptural things, and they are so fascinating.

I have a huge amount of respect for all Japanese designers because I think there is consistency and respect to craft.

Wood carving is such an amazing skill and very underrated; once you cut it, it's hard to go back.

Creating the future means having a global vision and an extreme focus on the approachability of what we're creating.

Design is an expression of one's most deeply rooted internal values.

As Chief Product Officer, I lead our product team to create simple, intuitive user experiences.

When the car was introduced in 1908, people could experience a brand new way to travel that was more efficient than a horse and buggy. Can you believe that cities tried to outlaw cars in the United States? Can you imagine driving a car for a year then having to go back to a horse and buggy?