What I do is look at ancient African tribes, and the way they dress. The rituals of how they dress. . . . There's a lot of tribalism in the collections.

People don't want to see clothes, they want to see something that fuels the imagination.

I oscillate between life and death, happiness and sadness, good and evil.

There is no way back for me now, I'm going to take you on journeys you've never dreamed possible

If you're an open book, there's no allure.

I am constantly trying to reflect the way women are treated. It's hard to interpret that in clothes or in a show but there's always an underlying, sinister side to women's sexuality in my work because of the way I have seen women treated in my life. Where I come from, a woman met a man, had babies, moved to Dagenham, two up two down, made the dinner, went to bed. That was my image of women and I didn't want that. I wanted to get that out of my head.

There has to be a balance between your mental satisfaction and the financial needs of your company. (But) I always remember that it's the fantasy, the artistic side, that makes customers want to buy the straightforward black pants.