It was also never wanting to be part of any group or movement or anything that was the done thing. I hated organization. When you have a group, you have a leader who is going to put down the rest of the group.

There are no limits - I endeavor to make clothes that didn't exist before.

There's always a pattern in order to make a thing, but the starting point must be something I've never seen before. It's not two-dimensional, but it's like a sample. I work with patterns like a sculptor. I try to get [the team] not to work on a body, [but] to work on a free space, on a table. The work is basically on flat surfaces.

In the '70s, if anything, it was a more interesting time in fashion. It was a time when things were changing, especially in London.

What I want to express is a feeling-various emotions that I am experiencing at the time-whether it is anger or hope or anything else, and from different angles. I construct a collection and it takes concrete form. That's probably what appears conceptual to people because it never starts out with any specific historical or geographical reference. My point of departure is always abstract and multileveled.

For something to be beautiful it doesn’t have to be pretty.

The first thing we do is sit around a table and discuss what we could pick up from daily life, from space. That's how it starts, completely abstract. There's no kind of, "Oh, let's do Peru," or "Let's do pleats," you know?