The biggest challenge and the thing I find most enjoyable about being a designer is taking everything in and assimilating it for your perspective, hopefully making it relevant and interesting to people.

I like using odd materials or odd components for embroideries. I've always liked that Elsa Schiaparelli world of playing with unusual objects to make something really beautiful. That's part of the game. We can do things that are lighthearted and playful but we also do things that are quite dark and sinister. I oscillate between the two.

In the end, we all are who we are, no matter how much we may appear to have changed.

I suppose the marine biology was a post-teen thing. I was kind of on my way but I was one of those teenage boys who got to 13, 14 and had no idea what I was going to do. I liked natural history. I liked the outdoors. And I found the sea quite interesting.

I discovered lots of music; electronic synth bands from the mid-'80s like Depeche Mode, Soft Cell and Cabaret Voltaire. My friends and I used to take two-hour trips to the record store in Newcastle and we started buying copies of The Face and i-D. And then I went to art school and as time progressed, I ended up where I am now.

I've always drawn a lot. I like the idea of turning a 2-D sketch into a 3-D thing very quickly. And clothing is really good for that. You can draw an idea in the morning and you can see it by the end of the day. I think if it were something like a four-month process to get from the idea to the final thing, I would get quite bored.

Katie Grand often comes in from a very different angle than what I've been thinking about. And that really gives it that extra something, because designers can often get stuck in their own view of how the collection can look. I always love the way that she turns it into something else and I kind of let go at that point.