I think I've always had an obsession with collecting, as most people do.

As a child growing up in Ireland, you would have to go to Dublin if you wanted to go to the luxury brands. And I remember my mother being too uncomfortable to go into some of those stores. I want to get rid of the barrier.

The first thing I do in the morning is have an espresso - straight up - and read the papers. I like 'The Independent,' 'The Times,' and the 'Financial Times.'

I think ceramics are so amazing because they're incredibly educational - you can buy something made in the 14th century, and it looks like it was made yesterday. There's something to be learned there, and ceramics can tell you the history of the time because they're functional vessels, ultimately.

I'm really into very 'naive craft,' like Second World War playing cards.

My brother and sister were very sporty. They all did rugby. I was very into performing arts. I went to the National Youth Music Theatre. I was one of those singing, clapping children.

When I became a teenager, I got very into clothing. I remember cutting Gucci advertisements and sticking them on my wall.

My grandfather, who's still alive, has always been involved in art, antiques, and things like that. I think I learned so much from him.

Everyone has something to learn from one another. When different disciplines meet, it creates this amazing unpredictability.

When I visit any cathedral, it reminds me of being with my grandparents. They weren't particularly religious, but my grandfather was obsessed with architecture.

I've been a fan and collector of Lucie Rie for years.

I was very into swimming, but I was never into contact sports. I think it was because I knew I wasn't going to get damaged.

I always think the great thing about shirting is that it goes with jeans, and jeans are probably the most modern, functional garment that ever existed. That is what is so great about shirting - it is an up-play-down-play.

People get bored very quickly.

I love the immediacy of Instagram. My feed really is my train of thought. If I'm really excited about something, I'll just put it up.

We put something on Instagram, and it gets reposted, and it's everywhere, and a minute later it's gone, over. I don't see that as a negative thing; it's the way my mind works, too.

Whether I'm at home in London or in Paris for Loewe, I always like to walk to work.

I'm not the best at getting myself breakfast, but if I do, I'll normally have toast and marmalade.

I think, in history, everything is about the remix.

You always need a textural landscape. I think that's what fashion is about, and I think when you come to a brand and you're trying to re-instill its history, the history only comes through being personal.

I am a huge obsessor with photography.

I've realised that when fashion is really good and really challenges and takes a risk, it is incredibly artistically powerful. It makes people dream.

For me, fashion is exciting, and it should be exciting whether you get it wrong or right.

I never set out to work on the concept of androgyny. For me, it was more about trying to find a wardrobe that would fundamentally appeal to both men and women: Trying to find the right shirt, the right jeans, the right trouser - but on different landscapes.

I collect primarily ceramics but also black-and-white photography and some bits of contemporary.

What's so important with fashion imagery and with imagery in general is that it ultimately evokes an emotion.

For me, menswear is an experimental ground to play with something. There is scope to be gained there - you can create a new normality.

The minute you can be predicted, as a brand, you've got a problem.

I grew up in Northern Ireland, in the middle of nowhere, and when you are poor, you are really poor. And when you are rich, you are very rich. This is not a new phenomenon.

I think fashion shows are a full stop. You need a point where there's no return, and fashion shows create a 'That's it; that's the finishing line.'

I just don't ever want it to be nice. I'd prefer someone had a violent reaction to my collection than ever call it 'nice.'

Trend-wise, I hope to keep bringing completely new collections to the industry that will make people think and defy the norm.

I always try to design fashion that is interesting and innovative, and I like to break traditions and challenge people's expectations.

Collaborations are incredibly important in design.

Working with Uniqlo is probably the most incredible template of democracy in fashion, and it's nice that my design can be accessible to anyone, on all different levels.

I've always been massively aware of clothing.

Sunspel is about British craft and community - both of which are very important to me.

Britain and America are two examples where social media will only show you what you like.

To be able to make furniture has always been a fantasy of mine.

Wood carving is such an amazing skill and very underrated; once you cut it, it's hard to go back.

When I was younger, we went to Ibiza a lot because my parents bought an apartment there. I feel like that has always stuck with me.

I've always loved collecting arts and crafts - I have pieces by Charles Rennie Mackintosh and William Morris at home in east London.

I love collecting things from auction - we Brits really are hoarders and collectors.

The team I have to work with at Loewe is incredible, from the architect to the archivist.

Luxury stores are such a difficult thing because, ultimately, their purpose is to sell, but I do think you can get more out of a store.

My parents are huge influences on me. My mother was an English teacher. My father played professional rugby and coached rugby for the Irish rugby team.

I've collected John Ward pieces for years. Ward represents ideas of nature and of sediments.

We need to articulate luxury differently. We live in the world of the 'like' culture. As a society, we're consuming so much imagery, it's like gorging on sugar, and the only way to find depth in a 'like' culture is by presenting the unknown.

When I do a fashion show, it's not done until it exits out of the door.