I've been influenced by some of the greatest designers. Charles Eames. And Bruno Munari in the '50s in Italy - when they had to retool the industry of war into an industry to help society. In a way, I'm influenced by designers that were there at a radical time of change.
As the Industrial Age is drawing to a close, I think that we're witnessing the dawn of the era of biological design.
It's aggravating that Hollywood has never gotten credit for the role it played in promoting modern design.
In the Eighties, Japanese fashion designers brought a new type of creativity; they brought something Europe didn't have. There was a bit of a shock effect, but it probably helped the Europeans wake up to a new value.
My aim is to change people's perceptions of what a hat can look like in the 21st century.
Fashion is made up of paradoxes. There was a key moment in fashion. When the Japanese first arrived - Comme des Garçons, Yohji Yamamoto, and all - I have to humbly admit that I didn't understand the importance of it at all. It was Jean-Jacques Picart who explained it to me. They had a huge influence in that they showed that aestheticism could be different from prettiness, that there was beauty and that beauty was beyond pretty.
I think that designers and architects need to educate the people who don't quite know what they do and make a strong case for why it's valuable and why it changes the game. I think waiting for people to come around to it just won't do.
I changed the layout of comic books in general. When I came in, layout design wasn't really part of what you did. It was all just panels, panels, panels. So when I came in, I thought, 'Nah, let's change that,' and I designed the page.
