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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Sunspel is about British craft and community - both of which are very important to me.
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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 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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I've collected John Ward pieces for years. Ward represents ideas of nature and of sediments.
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Ultimately, I think to be successful in fashion, you have to turn into the most incredible HR person. It's about politics. I'm massaging egos and keeping everyone happy.
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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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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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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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Doing something with Uniqlo means you come up with a wardrobe which is universal and quirky.
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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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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 read up a lot about ceramics and collect them, but when you make something, it's very difficult to like it. I quite like appreciating and supporting what someone else does.
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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.
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No one reads anything. They just look at images.
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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'm not the best at getting myself breakfast, but if I do, I'll normally have toast and marmalade.
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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, the creative process is this giant patchwork of information.
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I find it difficult to go to museums. I prefer houses.
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For me, fashion should always be evolving so it remains exciting and unexpected.
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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.