Unfortunately, some of the young talants are becoming fashionable. And anything that's fashionable can become unfashionable. So one has to watch that. And it's very easy today because there are so many events - art fairs, gallery openings, etcetera. In fact, that's another thing that concerns me, the quantity of gallery openings. In my office in London, I get back after a week, and I have 30 invitations. It's too much.

I was always a little bit of a collector and a hoarder. And whenever I got involved in anything, whatever it was - even when I was a kid and I collected cigarette cards - I really got into it and had the most. So when it came to paintings, once I got the bug, I always wanted to buy something. But I really knew nothing about art.

Your eye becomes more mature. What you don't see the first time, you keep looking, and eventually you'll see it. And when you are confident with what your eye sees, you know you've got to have it.

I went to a job and sat down as a proper apprentice, learning how to make jewelry. It involved a lot of remodeling and repairing. It was a bad time in England in those days and people didn't have much money - they would repair a ring rather than buy a new one. They would thicken up the gold. I learned all the ways to make something look new again.

I went to an auction in the late '70s and bought a small Renoir. People said, "Why did you buy a Renoir that size?" I said, "I can put it in the safe with my diamonds." And that was a true story. I bought it to put it in the safe.

One of the great things about collecting contemporary art is that you mix with contemporary people.

I'm attracted to the work of younger artists, and it's affordable compared to mature art, so you can take a chance much easier on a younger artist. I can't say that I've found an artist who I think is going to be the next Bacon or Warhol. You shouldn't have to do that really. You go forward, and you find something new.