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.
— Jonathan Anderson
I am a huge obsessor with photography.
Britain and America are two examples where social media will only show you what you like.
Sometimes you fall out of love with what you do. Some days, you wake up and wish you worked on a farm.
The minute you can be predicted, as a brand, you've got a problem.
During the 1990s, luxury became something exclusive and elitist. I think fashion got lost. It forgot about craft and culture.
I believe that collaboration is one of the most important things in any field.
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.'
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.
I've collected John Ward pieces for years. Ward represents ideas of nature and of sediments.
If you do generic things, you know, after a while, brands or designers become stagnated.
I've always loved collecting arts and crafts - I have pieces by Charles Rennie Mackintosh and William Morris at home in east London.
I love collecting things from auction - we Brits really are hoarders and collectors.
For me, fashion should always be evolving so it remains exciting and unexpected.
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.
When I became a teenager, I got very into clothing. I remember cutting Gucci advertisements and sticking them on my wall.
When I was younger, we went to Ibiza a lot because my parents bought an apartment there. I feel like that has always stuck with me.
Sunspel is about British craft and community - both of which are very important to me.
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.
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.
I find it difficult to go to museums. I prefer houses.
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.
When I do a fashion show, it's not done until it exits out of the door.
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.
For me, menswear is an experimental ground to play with something. There is scope to be gained there - you can create a new normality.
Collaborations are incredibly important in design.
I'm very open about my referencing; I'm very open about who I work with.
For me, fashion is exciting, and it should be exciting whether you get it wrong or right.
When I visit any cathedral, it reminds me of being with my grandparents. They weren't particularly religious, but my grandfather was obsessed with architecture.
Trend-wise, I hope to keep bringing completely new collections to the industry that will make people think and defy the norm.
I try to live my life free of regrets, but I do have one style regret that makes me laugh and cringe at the same time. Mum used to dress my brother and me in bright neon bike pants and big baggy t-shirts that were so long you could barely see our bike pants.
I think, in history, everything is about the remix.
My brother and sister were very sporty. They all did rugby. I was very into performing arts. I went to the National Youth Music Theatre. I was one of those singing, clapping children.
I was very into swimming, but I was never into contact sports. I think it was because I knew I wasn't going to get damaged.
What's so important with fashion imagery and with imagery in general is that it ultimately evokes an emotion.
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.
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.
To be able to make furniture has always been a fantasy of mine.
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.
Everyone has something to learn from one another. When different disciplines meet, it creates this amazing unpredictability.
If designers are willing to take risks, I think buyers should take risks, as well with press taking risks.
Acting is about portraying something... that dedication or learning the script of it is really important in really getting to know a topic.
When I think of Uniqlo, I think of things that are perfectly made, that people have spent a lot of time considering.
You have to be slightly uncomfortable with what you're doing, and you have to be able to try to find moments of newness.
I collect craft. It inspires me.
When I first came to Wakefield Cathedral, I thought, 'How does man conceive to build something like this?' It's a building that has transcended time over the centuries, and you appreciate the magnitude of humankind's power and vision. When you're inside, you feel as though the rest of the world doesn't exist.
I always try to design fashion that is interesting and innovative, and I like to break traditions and challenge people's expectations.
No one reads anything. They just look at images.
People get bored very quickly.
My parents are huge influences on me. My mother was an English teacher. My father played professional rugby and coached rugby for the Irish rugby team.
