Stella McCartney
The beliefs I was raised with - to respect animals and to be aware of nature, to understand that we share this planet with other creatures - have had a huge impact on me.Collection: Respect
My job is to make desirable, luxurious, beautiful clothing and accessories women want to buy. My first decision is always based on, 'Can I do this in a more sustainable way without sacrificing design?' If I can, then there is no reason not to.Collection: Design
I literally have meetings at eight o'clock in the morning, and I finish at nine o'clock at night. It sounds pathetic, but I don't even have time to go shopping.Collection: Morning
I've got my organic veg patch and fruit; we're very garden-obsessed, my husband and I. He designed a garden for me for Christmas, so beautiful! Alasdhair's very good at the proportion and ground work, and I come in and do the planting and the color scheme.Collection: Christmas
I am a fashion designer. I'm not an environmentalist. When I get up in the morning, number one I'm a mother and a wife, and number two I design clothes. So the main thing I need to do is create, hopefully, exquisitely beautiful, desirable objects for my customer.Collection: Morning
Sustainability goes across everything I do with Adidas and everything I do with my own house, so the Olympic kit is no exception. It is incredibly environmental in the way that it is manufactured. For example, there's no leather; it's free from PVC. There's lots of woven materials, which means a lot less waste.Collection: Environmental
Very early, I thought I would go into music, but I was aware that it would bring a set of obstacles I didn't find particularly attractive. Also, I'm not a great performer! For a while, I thought I would do something in landscape gardening. But it was always fashion for me.Collection: Gardening
What you wear in the evening is important for women because it's so personal, and it's so complicated to get it right. I like trousers for evening, especially when they have that width and attitude to them.Collection: Attitude
My job at the end of the day is to design timeless, desirable, beautiful products. It's not about just designing a bunch of organic jumpers. I have a balance within the brand. If you try to create something people enjoy, and it happens to be made in a responsible way, then that's when you can really strike an incredible balance.Collection: Design
There's no excuse for fur in this day and age.Collection: Age
I'm incredibly sad that my mother's not here to see my kids and that my kids don't get to know her. And she didn't meet my husband. That's one of the hardest things. I don't even know how to put that into words.Collection: Sad
It's important for us as a family to go and sit in the woods sometimes.Collection: Family
My mum had a massive influence on me, not just in what she wore and how she looked, but in her spirit. She was married to one of the most famous men in the world, and she didn't wear any makeup, ever. I mean, have you ever seen the wife of a man like that rock up with no makeup on? Because I haven't since.
I like doing slightly masculine, Savile Row tailoring. A nice jacket. Wearable - it's almost a dirty word in fashion, wearable, but that's what I do.
I'm obsessed with not chucking away food. I'm lucky enough to have a gardener, so we grow sweetcorn, tomatoes, beetroots, cabbages, pumpkins, lettuce. I'm trying to get into blanching it and freezing so I don't have to buy veg over the winter, but then you need loads of freezers, and that's not ideal.
When I was younger, I always assumed that when I grew up, I would be living in the country, and my kids would be going to a state school. But that's not how things have turned out. I can't see myself being able to leave London.
Mum was a big style icon for me: her natural sexiness and natural confidence.
I wanted the collection for Target to reinterpret all the must-haves of Stella McCartney for winter and to make my designs more accessible to a wider audience in Australia.
As a British fashion designer, it is an amazing, once-in-a-lifetime opportunity to be creative director of Team GB as the hosting nation of the London 2012 Olympic Games.
When I first started designing sportswear, I felt that women weren't represented in sports performance. I felt that men were dressed really well both technically and visually, and women were almost like an afterthought.
When I say I don't do fur or leather, in my world it's a massive shock, but when it comes into the sporting arena, it goes without saying. It also influences what I do on the runway: I get really excited when I discover an environmentally-friendly print process that doesn't use water, and I'll try and mimic that in my ready-to-wear.
We've all got to come together, and we've got to protect what's left of our ancient forests on this planet.
I did always say I wanted to infiltrate from within. That was always my reasoning behind going into partnership with a luxury group that uses a lot of leather in their products.
I was brought up in a way that was based purely on the senses. Everything in my upbringing was a reaction to growing up on an organic farm or to the emotions of animal cruelty, as well as the visuals of my mum's and my father's art - he was also an art collector.
I was so aware of the stage clothes versus the everyday-life clothes, and the extremeness of the stage clothes that my parents had designed. Even coming across my dad's old Beatles suits from Savile Row and the history attached to them - the masculinity and simplicity compared to the '70s glitz and glamour of Wings.
Pretending that the fashion industry isn't in part based on leather would be quite stupid of me, but at the same time, there is another way of doing things - even outside of leather. I don't use PVC either, for example, because it is harmful.
I grew up on an organic farm in England. And I was a vegetarian from an early age - not just for health, not for the environment - just because I didn't believe in killing animals to eat them.
My fragrance is rose and amber, and I was just very specific. A lot of what I've done, at the stages I've done it, I've been a little naive, which brought with it a kind of charm. I did Stella a while ago. It's now a bit of a classic.
Asia has always been a really exciting part of the world for me, personally. And it actually was the first part of the world that bought my brand, strangely enough.
I think I always dreamt of having a brand that really was represented globally, that had a voice - that had a clear voice and a clear vision that made women feel great about themselves. That really spoke to women on a personal level. And that women could wear.
I am very aware of my family name. I'm very aware of the legacy that that kind of carries with it. And I think that I didn't want to lose any kind of hold of that. And I think once you're born into something that you're proud of and that you're aware of, you don't take it lightly.
It's more expensive for me to make my shoes. I don't use animal-based glues or fish-based glues. So that costs me more. And, you know, like anything in life - mass marketing of anything - mass manufacturing of anything costs less.
Ninety percent of the people who come to my stores have no idea I don't work with leather.
I think the reality is that, for me, real fur is extraordinarily old fashioned. I think you look old. Even if you're 20, and you've got a real fur coat, you just look like an old, unaware, unconscious being on the planet. It's not relevant, it's not sexy, it's not fashionable, and it's not cool.
The majority of fragrances are designed by people who have no idea what the house does. But for me, it had to be honest. That's where it becomes personal.
From an early age, I was very interested in all things fashion... and the change from tomboy to ultrafeminine glamour in old films. There was a Doris Day film I loved: 'Calamity Jane.'
My mum and dad had creative jobs, but our family was a working family - so there wasn't an option of, 'Oh, when you're older, you're not going to have to work.'
When I first started, it was a dirty word to say you made clothes for people to wear... I was a little ashamed of it. You didn't always feel you were this amazing creative force.
I think my differences were, and my differences still are, that I don't really approach fashion in a fashiony way.
I was never drawn just into fashion. I was drawn into it because I am really interested in serving women and providing women with solutions, trying to figure out what we need and why we need that and why we wear stuff, how it makes us feel. That was always my starting point, you know.
I did have quite a different upbringing to a lot of my peers. We all have a sort of code that we get, especially as Beatles kids. It's an unspoken sort of word of understanding. But I'm comfortable around a lot of different types of people.
Some days, I get overwhelmed and a bit breathless... I've probably cried at work, but I'm limited with my crying: I'm the boss; I'm not really allowed to cry at work.
When I was about seven, I remember spending a lot of time in my parents' wardrobe trying on their bespoke suits.
We have captured a luxury and richness with our fur-free fur, which is proof to the fashion industry that killing animals for the sake of fashion is unnecessary.
Everyone can do simple things to make a difference, and every little bit really does count.
We try to make earth-friendly decisions whenever we can, as it's part of our brand DNA.
What I really want, what I always really want, is baked potato and grilled cheese. But then I'd be really fat.
I think the fact that my parents weren't conventional - especially considering their position - had a big influence on the way that I conduct myself now in design and business. It had a huge impact on my wanting to do something a bit more than just designing a pretty dress and putting it on a runway and making it glamorous.
I think deep down I'm spiritual, but there's nothing I practice.
I was brought up to understand that we are all here on planet earth together.