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.
For me, menswear is an experimental ground to play with something. There is scope to be gained there - you can create a new normality.
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.'
I always think the great thing about shirting is that it goes with jeans, and jeans are probably the most modern, functional garment that ever existed. That is what is so great about shirting - it is an up-play-down-play.
I believe that collaboration is one of the most important things in any field.
When I do a fashion show, it's not done until it exits out of the door.
When I started at Loewe, I took a year out before we did a collection because I felt we needed to work out all the fundamentals. The pencils, the door handles, the style of the press release, the stone of the buildings, the choice of photographer.
We put something on Instagram, and it gets reposted, and it's everywhere, and a minute later it's gone, over. I don't see that as a negative thing; it's the way my mind works, too.
The minute you can be predicted, as a brand, you've got a problem.
I find it difficult to go to museums. I prefer houses.
Sometimes you fall out of love with what you do. Some days, you wake up and wish you worked on a farm.
I've realised that when fashion is really good and really challenges and takes a risk, it is incredibly artistically powerful. It makes people dream.
Luxury stores are such a difficult thing because, ultimately, their purpose is to sell, but I do think you can get more out of a store.
Britain and America are two examples where social media will only show you what you like.
I grew up in Northern Ireland, in the middle of nowhere, and when you are poor, you are really poor. And when you are rich, you are very rich. This is not a new phenomenon.
When I was a kid, I remember the fear of going into big brand stores. You didn't want to go in because you felt like you couldn't afford anything.
What's so important with fashion imagery and with imagery in general is that it ultimately evokes an emotion.
Sunspel is about British craft and community - both of which are very important to me.
I never set out to work on the concept of androgyny. For me, it was more about trying to find a wardrobe that would fundamentally appeal to both men and women: Trying to find the right shirt, the right jeans, the right trouser - but on different landscapes.
