Top 66 Jonathan Anderson Quotes

I find it very difficult to see the boundary between womenswear and menswear. It’s bizarre the ways in which society reacts; they find it difficult to comprehend seeing parts of the body on a man. I think it’s fascinating.

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.

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

For me, doing an interview with someone is like having therapy.

Doing something with Uniqlo means you come up with a wardrobe which is universal and quirky.

Everywhere I go, I buy something. I probably have an issue with shopping.

I’m completely dyslexic – it’s the writing part. People read what I’ve written, and they have no idea what I’m trying to say.

I wasn’t very good at school and appalling at English.

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.

Loewe should be a cultural brand.

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

Acting is about portraying something… that dedication or learning the script of it is really important in really getting to know a topic.

I read up a lot about ceramics and collect them, but when you make something, it’s very difficult to like it. I quite like appreciating and supporting what someone else does.

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

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

I’m very open about my referencing; I’m very open about who I work with.

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

Sometimes you fall out of love with what you do. Some days, you wake up and wish you worked on a farm.

My parents were extremely liberal. They didn’t believe in being Catholic or Protestant, and that was a big deal at the time.

I collect craft. It inspires me.

Real life is difficult – some people find that hard to process.

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

I try to live my life free of regrets, but I do have one style regret that makes me laugh and cringe at the same time. Mum used to dress my brother and me in bright neon bike pants and big baggy t-shirts that were so long you could barely see our bike pants.

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

When I started at Loewe, I took a year out before we did a collection because I felt we needed to work out all the fundamentals. The pencils, the door handles, the style of the press release, the stone of the buildings, the choice of photographer.

I grew up during one of Northern Ireland’s most complex periods.

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

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.

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

I find it difficult to go to museums. I prefer houses.

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.

If you do generic things, you know, after a while, brands or designers become stagnated.

I could binge-eat cheese – I love any blue cheese. Make it strong; make it deadly.

You have to be slightly uncomfortable with what you’re doing, and you have to be able to try to find moments of newness.

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

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

I’m Irish, working for a Spanish brand, owned by a French company.

In London, what I do on the weekend is be a person and have my own life. In Paris, it is going from this hotel to the office and back again. But I love it.

For me, fashion should always be evolving so it remains exciting and unexpected.

The minute you see that everything is going one way, you get the hell out.

One thing I think is great is that if you use social media really well – in a natural, personal way – you can kind of see what’s missing. You can see when you’re bored of something or of someone.

Part of the reason Loewe has diversified into so many other categories is because what we can’t do any more is simply say, ‘Here’s more stuff you can buy.’

I have a huge amount of respect for all Japanese designers because I think there is consistency and respect to craft.

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.

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

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

When I first came to Wakefield Cathedral, I thought, ‘How does man conceive to build something like this?’ It’s a building that has transcended time over the centuries, and you appreciate the magnitude of humankind’s power and vision. When you’re inside, you feel as though the rest of the world doesn’t exist.

When I was a kid, I remember the fear of going into big brand stores. You didn’t want to go in because you felt like you couldn’t afford anything.

The problem with me and TV shows is once I start watching them, I have to watch them all because I’m so impatient. I need the entire series to be on TV, and then I’ll sit all day and watch the entire thing. So I did that with ‘Homeland,’ and I did that with ‘Veep.’

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 jeans, T-shirts, and things you can jazz up and down, a bit of a mish-mash.

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.

When I think of Uniqlo, I think of things that are perfectly made, that people have spent a lot of time considering.

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.

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

I didn’t reinvent clothing; I reinvented the edit.

During the 1990s, luxury became something exclusive and elitist. I think fashion got lost. It forgot about craft and culture.

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.

No one reads anything. They just look at images.

I am a huge obsessor with photography.

Buttons, for me, are very sculptural things, and they are so fascinating.

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