My grandmother, Amalia Pia Emilia Vignola, whom I called Nonna, brought out the fairy tale in everything. She used to tuck me into bed so vigorously that I never felt anything less than comforted, and then afterwards, she would sit on a cane basket box next to my bed and read Hans Christian Andersen to me.
— Emilia Wickstead
I put myself into another world and another identity, and I design not for how my life is but for how my imaginary life is.
Here in London, you can go for picnics and have a barbecue; you can go to a park and wear bare feet, much like New Zealand. But there's just so much buzz going on; you can be inspired by anything and everything. There's always something to do. Always.
I was so young when I started, my taste has changed and developed, and I've gone from being a little bit safe to trying different things.
It's about having that nice balance. I think that's the answer to today's modern girl who is on the run. She's throwing on something before she goes out, but I still believe in the glitz and the glamour of everything and making that come to life.
I wore one of my own designs on my wedding day.
There is so much talent in British fashion: a real cookie jar of different aesthetics with designers like Mary Katrantzou, Erdem, Christopher Kane, J. W. Anderson, and Simone Rocha.
To escape and sit quietly on the beach - that's my idea of paradise.
It's quite funny. I grew up with my mother: as a designer, she was always working, and I actually used to say to her, 'Whatever you do, never leave me your business.'
If I'd really known how hard I was going to have to work behind the scenes to have any kind of business, I think I would have stopped.
I saw a niche in the market where made-to-measure wasn't being done in a modern, fresh way or in a short period of time. Traditionally, bespoke orders take a very long time, but I thought, 'Here we are with all these fashion-forward ideas - why not?'
It's almost like a chintzy floral that I play on, and sometimes it can get a bad rep. It doesn't necessarily feel modern, but with different silhouettes and cuts, it can.
We're creating a brand image which didn't exist in the beginning, and I want to grow that. And in the way that the clothes and services we offer are a luxurious niche, I want to be doing that with accessories.
I strongly believe that many of the best decisions are made on gut instinct.
I want to offer a wide range of classic and contemporary bridalwear to suit all personalities, readily available to try on.
I love seeing a woman in a beautiful dress and pairing it with a light shoe that shows skin - I really believe in toe cleavage.
I love wearing interesting shoes that work well with my outfit.
A lot of people ask, 'How did you start the business, and how did you do it money-wise?' And the truth is that I had three jobs. A day job, an evening job, and then designing my collection as well. That's just how we did it.
The AW14 collection is inspired by Film Noir. Elements of masculinity and femininity were reflected in the fabric, tailoring, and features.
I don't come from family money, and neither does my husband.
I don't like the word 'ladylike.'
It is important that every bride feels comfortable in her chosen dress, and fabric choice has a big part to play in this.
The most wonderful thing about having a small business is that every person we dress gets a really intimate process.
As for design, I gravitate to traditional styles but mix it with an element of surprise. Whether it's a big sash bow in the back or an unexpected fabric, it all needs to work together.
Old images and films are my main source of inspiration.
