Top 99 Quotes & Sayings by Jonathan Anderson

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.

I love jeans, T-shirts, and things you can jazz up and down, a bit of a mish-mash.

As a child growing up in Ireland, you would have to go to Dublin if you wanted to go to the luxury brands. And I remember my mother being too uncomfortable to go into some of those stores. I want to get rid of the barrier.

I've always been massively aware of clothing.

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.

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.

I could binge-eat cheese - I love any blue cheese. Make it strong; make it deadly.

Buttons, for me, are very sculptural things, and they are so fascinating.

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'm Irish, working for a Spanish brand, owned by a French company.

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.

I think I've always had an obsession with collecting, as most people do.

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.

I collect primarily ceramics but also black-and-white photography and some bits of contemporary.

The problem with me and TV shows is once I start watching them, I have to watch them all because I'm so impatient. I need the entire series to be on TV, and then I'll sit all day and watch the entire thing. So I did that with 'Homeland,' and I did that with 'Veep.'

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.'

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 grew up during one of Northern Ireland's most complex periods.

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.

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.

The minute you see that everything is going one way, you get the hell out.

I believe that collaboration is one of the most important things in any field.

For me, fashion should always be evolving so it remains exciting and unexpected.

I think, in history, everything is about the remix.

Sunspel is about British craft and community - both of which are very important to me.

In London, what I do on the weekend is be a person and have my own life. In Paris, it is going from this hotel to the office and back again. But I love it.

When I became a teenager, I got very into clothing. I remember cutting Gucci advertisements and sticking them on my wall.

For me, the creative process is this giant patchwork of information.

For me, doing an interview with someone is like having therapy.

I have a huge amount of respect for all Japanese designers because I think there is consistency and respect to craft.

Everywhere I go, I buy something. I probably have an issue with shopping.

I'm not the best at getting myself breakfast, but if I do, I'll normally have toast and marmalade.

I wasn't very good at school and appalling at English.

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.

I feel like if you have balance in life, you have to be consumed by your job because, ultimately, it will never be a job; it will never be something that you feel you're working on.

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.'

I've been a fan and collector of Lucie Rie for years.

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.

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.

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.

My parents were extremely liberal. They didn't believe in being Catholic or Protestant, and that was a big deal at the time.

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.

Loewe should be a cultural brand.

I'm really into very 'naive craft,' like Second World War playing cards.

To be able to make furniture has always been a fantasy of mine.

I'm completely dyslexic - it's the writing part. People read what I've written, and they have no idea what I'm trying to say.

Whether I'm at home in London or in Paris for Loewe, I always like to walk to work.

To restart a brand, you have to make people forget what it was.

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.

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.

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.

Doing something with Uniqlo means you come up with a wardrobe which is universal and quirky.

I just don't ever want it to be nice. I'd prefer someone had a violent reaction to my collection than ever call it 'nice.'

I didn't reinvent clothing; I reinvented the edit.

Wood carving is such an amazing skill and very underrated; once you cut it, it's hard to go back.

If you do generic things, you know, after a while, brands or designers become stagnated.

Work is an addiction. I've always done too much. It's in my nature.

Real life is difficult - some people find that hard to process.

If you're going to collect things because you think they have value, then don't collect. For me, you have to be obsessed, and there has to be something educational.