British - Designer | 1973 -
I had my daughter, and with that came a deep sense of responsibility; my time for work had become precious, and it had to have more meaning.
Phoebe Philo
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I don't know whether that comes from having a family - having something very important at home that needed to be protected.
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Things have to sell, of course, but if I don't want to put bags on the runway, we don't put bags on the runway. I have complete creative control.
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I wouldn't want to even try to begin to describe our customer, as I think she likes a certain amount of anonymity. I try to offer clothes that allow that. I myself do not like being defined so readily, so I imagine that she is similar?
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What I love is this idea of a wardrobe, the idea that we're establishing certain signatures and updating them, that a change in colour or fabric is enough.
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I never had a massive desire to buy clothes. I liked to customise the clothes I already had or was given when I was younger. If I didn't like them that much, I made them how I wanted them to be.
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My relationship with fashion is playful and very expressive of what I'm feeling at the time.
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When I was deciding whether or not to take the job at Celine, I didn't really look at the history of the house. I had other offers to come back, but they weren't right, or they wouldn't let me stay in London, which was non-negotiable.
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Time is my biggest luxury. Finding time to do things outside of fashion, which I think for a designer is incredibly important.
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I feel very much that I am a human being, with human limitations, and I need to respect that.
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I don't believe in making fashion difficult.
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My favourite eras for styles are still the 70s and 40s, and there will be a few iconic pieces to build the wardrobe around, like there were at Chloe, but I want there to be a feel of mix-and-match.
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