Quotes of All Topics . Occasions . Authors
Single-sex private schools, especially in the middle of nowhere on a bleak hill in County Durham - I don't think they make sense.
Rooney Mara is someone I'd like to dress; we've not worked with her before and she certainly has very interesting personal style.
I am really looking forward to walking past people on the street wearing my clothes and know I am designing for an everyday woman.
People are always saying, 'You use irony,' and it's like, actually, we don't use irony: we use wit and playfulness and irreverence.
DAKS is a much more restrained silhouette, and there's a real emphasis on daywear, outerwear, and tailoring. It's more stripped-down.
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.
One day I'll do a Dorian Gray, and there will be a picture in the attic. I'll look like Helen Daniels from 'Neighbours' after her stroke.
I like women to have life, personalities. Women who would perhaps cause some trouble on a night out and have a lot to say for themselves.
The name Holly Fulton has become synonymous with daring, bold graphic prints which you just know if you wear you'll have a brilliant time in.
With couture, the great thing is that each piece has its own character, and you have space to explore and continue themes season after season.
I don't really see the point in planning to show off-schedule. I think it's things like showing on-schedule that helps London be organised as it is.
At a certain period in time, the fashion industry was portraying this image of a totally unrealistic woman, women who are not allowed to be themselves.
I go to contemporary galleries all around the world when I can. There's always something historical and something contemporary; those are my rock references.
I'll spend a couple of days in Paris, a couple back in London, some time at the factory in Italy... I like travelling, but it can be a struggle to get home for weekends.
My recent drawings that personal ones aren't fashion-related. I sometimes sit and draw people on the bus, or some fantasy hybrid animal. You know, wherever the hand will lead.
My longest collaborative working relationship is with Katie Grand, the editor-in-chief of 'Love' magazine. Katie's an inspiration and a sounding block. She's got such great taste.
My mother was a housewife. My father worked in the agriculture business, but they were very encouraging about everything. When I said I wanted to do art, they were very supportive.
I am more interested in people's attitude than someone who is a perfect face. Every time I walk the streets of London, I see someone who interests me. It doesn't matter how old they are.
I always find the idea of Britishness a bit of a boring old concept, to be honest. That world of Britishness always comes off a bit twee and only about cream teas and that sort of things.
If you've invested money in buying a piece, you don't want it to just disintegrate. We all have that first wash anxiety, when that great t-shirt you've just bought shrinks away to nothing.
I'm lucky that I've worked with the biggest divas in the world. We've had Miss Piggy and Minnie Mouse, so I've got to be careful who I say now, but obviously, I'd love to dress them again.
I think when wedding dresses are talked about, every woman has a different set of factors in her mind of what it could be because they've been thinking about it possibly for such a long time.
I went to public and state schools - not at the same time. I did my art foundation course at Harrogate College of Arts. This brilliant tutor suggested I apply to Central Saint Martins. I adored it.
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.
There are some great skinny girls, but it's about characters, isn't it? That's what I find attractive. People who've had interesting lives and tell you something that you don't know or are really good fun.
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 had a great teacher who was really encouraging and said I should go to Central Saint Martins. So I worked my socks off, and I managed to get a place there. It was there that I developed a real love for design.
I don't ever think about being a straight man in fashion. It's fine from my perspective. There are a lot of straight men in fashion, believe it or not. But it's fine. Journalists seem to be really interested in it.
Everybody's got a lot to their personalities. You're not just one element. There are some days you want something that can be a bit stricter or a bit more disciplined or something a bit more floaty and a bit freer.
Women I've known have always been quite strong and confident women. Sure, I've got some friends who aren't so overtly confident, or at least don't appear that way. But when you get to know them, they are very much so.
Students are up to their eyeballs in loans, and it's going to get even worse. It's going to be hideous, actually. Students are going to be saddled for life. It's going to put a lot of people off going to college, which is a shame.
Let's be honest: not everybody can afford to buy £5,000 dresses, so the jewellery is a nice of way of getting the Giles product out into the world and introduce it to people not familiar with the label. QVC is a really good partner to help us do that.
I don't believe in a recipe for success. You have to work hard; you may not always get it right - you have to bounce back from situations, and you have to be really focused and determined. It's important to have fun as well. Work shouldn't be a torture.
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 like things that are well cut, things that are considered within their detailing. Fabrics that are very developed; specialist jacquards and prints. My clothes are statement pieces. They're decorative, but there's always a subversiveness or an othersidedness to them.
A lot of people's circumstances can change very, very quickly, and people can move jobs, relationships can break down, something else could happen, and the next thing you know, you can't pay your rent, you can't get the support you require, and you're out on the street.
With couture, you're going right to the consumer, and that's something we learned from doing trunk shows. You're meeting the client; you're finding out what they like and what they don't like. You've really got your customer there in front of you, so you know what works and what doesn't.
My designs are slightly subversive in their way; it can be in the cut or the colour, but they're always obtainable: they're not so difficult that a 40-year-old woman wanting to go to a cocktail party looking foxy and a little bit different in something well-made would be alienated by them.
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.
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.
People often think that the world fashion is so full of a certain pretense that it can't just be about going for something because it suits you and looks great, and it's nicely cut and is made of beautiful fabric. You know, if it has a bit of lightness and playfulness to it, then I think people just respond to that really well.
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.
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.
We design for a whole range of ages and body types, and we always have done. What's great about us is that the common thing that they all like is an accessible eccentricity of an accessible flamboyance, and I think the super thing about that, it isn't age-specific: you're not only dressing 25-year-olds; we're dressing women from 25 to 65+.