Fall 2013 was inspired by the 1970s equestrian lifestyle. I wanted to incorporate the moody and romantic - intricate baroque detailing and classic menswear elements - with something tougher and edgier in a nod to London's rock n' roll underground.
I was about 14 when I started with a theater group; it was like a stage group on the weekends alongside school. And it was run by a group of guys who'd been to drama school themselves in London. So they introduced us to techniques that they'd learn about, and they kind of informed us about improvisation and screenwriting and all of that stuff.
The British invented the classic look. Men's apparel was created in London, the great English style. You have to respect this country's suits, shirts, shoes, luggage.
I rap and I sing, so then you've got a bit of hip-hop in there. I'm Jamaican, so you got a bit of dancehall. And I'm from London, so there's a bit of London things in there... And at sometimes, it's a little bit Afrobeat.
[Paul McCartney] never, at the time, was going back to leaning back on the roots of his old band. He always built upon where he was, which was in London. And he didn't overuse synthesizers. He used them just enough. It's such a cool sound.
There's all this stuff that is happening in Edinburgh now, it's a sad attempt to create an Edinburgh society, similar to a London society, a highbrow literature celebrity society.
Although I always said that I wanted to be a writer from childhood, I hadn't actually done much about it until I came to London.
I studied in London, so I was high street fashion conscious. For me it was more about fitting in rather than standing out.
I'd never have written the big books in London.
