I realized that the way I approached architecture was with a somewhat fashion brain. That didn't get me very good marks in school, because everyone thought fashion was lightweight. In architecture they say, "Well, why is the door pink? Where does it go? What does the pink mean? What does it symbolize? All the other doors are beige, why is that one pink?" I was like, "Well, it's pink because it's pretty."

Style. People talk about it being stylish and beautiful, that's at the service of the story. Style for me means nothing without substance and there are moments and things about the film that are stylish but hopefully at the service of the story.

Just because one is spiritual doesn't mean that one doesn't like crocodile, cashmere. We live in a material world. We still experience these things. It doesn't mean to completely disregard them.

One of the most important things is to figure out what your look is — I don't wear this black suit-white shirt combination all the time to try and be iconic — but because I'm most comfortable in this. Cary Grant never turned up in a pink jacket and hot pants and I don't feel the need to experiment when I know I like dressing this way.

Fashion is much more collaborative than one might think. You have to have an idea and vision and you have to communicate that vision to a team of people and you have to create an environment that allows those people to give the best that they can give.

I have a driver in London because I am slightly dyslexic and cannot drive in the U.K.; after all, the traffic runs the opposite way to that in the United States.

I think loneliness comes with being creative, because you are obsessed with creation. And it is so satisfying that sometimes, I have noticed, I completely neglect my friends and my family, and they fall away.