Jonathan Anderson Quotes
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Everywhere I go, I buy something. I probably have an issue with shopping.
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Wood carving is such an amazing skill and very underrated; once you cut it, it's hard to go back.
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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.
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People get bored very quickly.
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I think, in history, everything is about the remix.
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You have to be slightly uncomfortable with what you're doing, and you have to be able to try to find moments of newness.
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When I do a fashion show, it's not done until it exits out of the door.
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My grandfather, who's still alive, has always been involved in art, antiques, and things like that. I think I learned so much from him.
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Fashion is an archetype: you're trying to build a silhouette, and that is very similar to building up a building because you're trying to create a new structure, a new proportion, a new shape, and you're using a material to cut which is a bit mathematical. That idea of finding something new in terms of proportion is something that drives me.
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Loewe should be a cultural brand.
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I think I've always had an obsession with collecting, as most people do.
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The first thing I do in the morning is have an espresso - straight up - and read the papers. I like 'The Independent,' 'The Times,' and the 'Financial Times.'
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Part of the reason Loewe has diversified into so many other categories is because what we can't do any more is simply say, 'Here's more stuff you can buy.'
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If you do generic things, you know, after a while, brands or designers become stagnated.
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For me, doing an interview with someone is like having therapy.
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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.'
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I would say I work very emotionally: I have a very compulsive way of working, where I love something to the moment I am sick of it. I have no addiction outside of work, so my addiction is that process.
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I find it very difficult to see the boundary between womenswear and menswear. It's bizarre the ways in which society reacts; they find it difficult to comprehend seeing parts of the body on a man. I think it's fascinating.
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You always need a textural landscape. I think that's what fashion is about, and I think when you come to a brand and you're trying to re-instill its history, the history only comes through being personal.
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For me, menswear is an experimental ground to play with something. There is scope to be gained there - you can create a new normality.
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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.
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I'm very open about my referencing; I'm very open about who I work with.
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I've always loved collecting arts and crafts - I have pieces by Charles Rennie Mackintosh and William Morris at home in east London.
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I love the immediacy of Instagram. My feed really is my train of thought. If I'm really excited about something, I'll just put it up.