I sometimes sit and draw people on the bus, or some fantasy hybrid animal. You know, wherever the hand will lead.

I've always drawn a lot. I like the idea of turning a 2-D sketch into a 3-D thing very quickly. And clothing is really good for that.

My friends and I used to take two-hour trips to the record store in Newcastle, and we started buying copies of The Face and i-D. And then I went to art school, and as time progressed, I ended up where I am now.

Students are up to their eyeballs in loans, and it's going to get even worse. It's going to be hideous, actually. Students are going to be saddled for life. It's going to put a lot of people off going to college, which is a shame.

People should just get over themselves.

At a certain period in time, the fashion industry was portraying this image of a totally unrealistic woman, women who are not allowed to be themselves.

With couture, you're going right to the consumer, and that's something we learned from doing trunk shows. You're meeting the client; you're finding out what they like and what they don't like. You've really got your customer there in front of you, so you know what works and what doesn't.

It can be refugees, it can be a pregnant mother, it can be a 15-year-old... homelessness can happen to everybody.

A lot of people's circumstances can change very, very quickly, and people can move jobs, relationships can break down, something else could happen, and the next thing you know, you can't pay your rent, you can't get the support you require, and you're out on the street.

I've always been a big supporter of homeless charities across the board, ever since I first moved to London.

With all my clients I work with, they all have their absolute specialness about them.

I've always liked historic jewellery that's got a kind of quirkiness or playfulness to it; I like that it's not too serious.

Let's be honest: not everybody can afford to buy £5,000 dresses, so the jewellery is a nice of way of getting the Giles product out into the world and introduce it to people not familiar with the label. QVC is a really good partner to help us do that.

My designs at Ungaro are a lot more sexual, in more of an obvious way: my personal designers are a little bit more sideways.

I always find the idea of Britishness a bit of a boring old concept, to be honest. That world of Britishness always comes off a bit twee and only about cream teas and that sort of things.

I don't design for wallflowers.

Just because something is less expensive shouldn't mean it is less well designed.

Fashion designers seem the busiest people on the planet.

I go to L.A. three or four times a year. It's great for research.

People are often a bit more adventurous with swimming costume prints; they like the idea of something a bit more jolly.

Even if you have a lot of money, you may not want to spend a lot of it on clothes.

The reason I wanted to work with New Look was that they wanted to stick with one designer and do lots of collections a year.

Cecil Beaton was Andy Warhol before Andy Warhol, really.

I was never one for just sitting in front of the telly.