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.
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.
The team I have to work with at Loewe is incredible, from the architect to the archivist.
I love collecting things from auction - we Brits really are hoarders and collectors.
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 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.
I've always loved collecting arts and crafts - I have pieces by Charles Rennie Mackintosh and William Morris at home in east London.
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.'
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.
I always love to look at something that I couldn't make, because I feel it's enlightening. It means you are not invincible: you can respect something and look up to it and go, 'Wow!' It's a skill that I don't have, but I can understand the merit of it.
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.
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.
You have to be slightly uncomfortable with what you're doing, and you have to be able to try to find moments of newness.
For me, menswear is an experimental ground to play with something. There is scope to be gained there - you can create a new normality.
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.
I didn't reinvent clothing; I reinvented the edit.
I think, in history, everything is about the remix.
Buttons, for me, are very sculptural things, and they are so fascinating.
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.
