Kettle’s Yard, Cambridge
I first discovered Kettle’s Yard many years ago. I became really into modern British art – people like Henri Gaudier-brzeska and Ben Nicholson. I’ve been many times. As an environment it has been an influence on me.
It was nice to show things out of their usual context. Pre-collections have become so important, it’s how to tackle them. I find it difficult to produce clothes for the sake of it so there needs to be some kind of context. The boots [pictured, right] were such an object in the space. It was a very interesting marriage of things.
I think what is so incredible is that the overall space is an art piece. It’s about one man’s vision because we do that anyway in life – we attract things into some sort of persona around us. As a designer you have to live in some kind of odd fantasy.
A Way of Life [a guide to the house, which Anderson gave his guests as a parting gift] is such a beautiful book. After I went up recently I became obsessed with the shadows in my house. I would love to knock a wall down so you have light coming in from one side to the other. You learn something from a book like this – it makes you look at life. It’s all about value. That’s what I love about Kettle’s Yard: it’s about the pebble which is free; the feather which is free. It doesn’t have to be perfect. I think we are obsessed with this idea of perfect lives. Sometimes it’s about the broken plate. When I went to Shanghai recently I found a plate for a pound, 17th century, broken in four but it had been nailed together with rivets. I loved that.