Jonathan Anderson Quotes
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I grew up during one of Northern Ireland's most complex periods.
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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.
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I'm really into very 'naive craft,' like Second World War playing cards.
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We need to articulate luxury differently. We live in the world of the 'like' culture. As a society, we're consuming so much imagery, it's like gorging on sugar, and the only way to find depth in a 'like' culture is by presenting the unknown.
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The team I have to work with at Loewe is incredible, from the architect to the archivist.
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I've collected John Ward pieces for years. Ward represents ideas of nature and of sediments.
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My parents were extremely liberal. They didn't believe in being Catholic or Protestant, and that was a big deal at the time.
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I think ceramics are so amazing because they're incredibly educational - you can buy something made in the 14th century, and it looks like it was made yesterday. There's something to be learned there, and ceramics can tell you the history of the time because they're functional vessels, ultimately.
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Doing something with Uniqlo means you come up with a wardrobe which is universal and quirky.
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I'm not the best at getting myself breakfast, but if I do, I'll normally have toast and marmalade.
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We have this perceived illusion of what the fashion designer does. As an industry, we make it out that this one individual changes the entire face of the earth. I have never said 'me'; it's always 'we.' I am just the big salesman.
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I find it difficult to go to museums. I prefer houses.
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Sunspel is about British craft and community - both of which are very important to me.
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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.
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I collect primarily ceramics but also black-and-white photography and some bits of contemporary.
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For me, fashion should always be evolving so it remains exciting and unexpected.
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For me, fashion is exciting, and it should be exciting whether you get it wrong or right.
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I think I am obsessed with Lucie Rie. I love the way she collaborated with Miyake, who for me is probably the most important fashion designer of the 20th century.
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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.
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During the 1990s, luxury became something exclusive and elitist. I think fashion got lost. It forgot about craft and culture.
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No one reads anything. They just look at images.
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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.
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When I think of Uniqlo, I think of things that are perfectly made, that people have spent a lot of time considering.
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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.