I often ask students: 'Is this what you would show Tom Ford?' and they say: 'No, we'd have done more work' or 'We'd have dressed better.' So I say: 'Why don't you do that here?'

Students may feel the criticism is harsh, but I think it's possible they haven't had criticism before. It's my job to point out when something is badly done, or when there's no point of view. To build a brand you have to have something about you. If not personality, then some thought process. I'm 40, and they're young, so they're meant to be informing me. They should be bringing me a book or something that I haven't seen, not like some obscure chant book by Dominican monks, but an image of the way they see the world.

You can't subvert knowledge until you have knowledge... At the same time, I respect a student coming at it from a totally different position and trying to move it forward, and not falling into the rattrap of work that came before.

Students sometimes turn up at my course and they look a bit like they're going to Bali with only Wellingtons and a map, and they never leave their hotel room because they didn't think to bring a bikini. I'm full of bizarre analogies like that.

Of course, there's some you think, well I wouldn't let them in the door, but there's not many. It's very important to know that it's a mutual thing, that there is respect and a form of teamwork. With quite a few of them it can be traumatic, but there are moments in here when they do extraordinary things with their designs. There are things of beauty I get to see in this office.

I've always believed that you have to have the skills before you destroy the skills. If you want to be crude, be crude, but don't be crude because you don't know how to do it, because you're not perfect at drawing and pattern-cutting.

A lot of people believe that you don't need to know the history and that creates newness. I disagree: we should always be informed and then destroy it.