I go to L.A. three or four times a year. It's great for research.

Fashion designers seem the busiest people on the planet.

Just because something is less expensive shouldn't mean it is less well designed.

I don't design for wallflowers.

I always find the idea of Britishness a bit of a boring old concept, to be honest. That world of Britishness always comes off a bit twee and only about cream teas and that sort of things.

My designs at Ungaro are a lot more sexual, in more of an obvious way: my personal designers are a little bit more sideways.

Let's be honest: not everybody can afford to buy £5,000 dresses, so the jewellery is a nice of way of getting the Giles product out into the world and introduce it to people not familiar with the label. QVC is a really good partner to help us do that.

I've always liked historic jewellery that's got a kind of quirkiness or playfulness to it; I like that it's not too serious.

With all my clients I work with, they all have their absolute specialness about them.

I've always been a big supporter of homeless charities across the board, ever since I first moved to London.

A lot of people's circumstances can change very, very quickly, and people can move jobs, relationships can break down, something else could happen, and the next thing you know, you can't pay your rent, you can't get the support you require, and you're out on the street.

It can be refugees, it can be a pregnant mother, it can be a 15-year-old... homelessness can happen to everybody.

With couture, you're going right to the consumer, and that's something we learned from doing trunk shows. You're meeting the client; you're finding out what they like and what they don't like. You've really got your customer there in front of you, so you know what works and what doesn't.

At a certain period in time, the fashion industry was portraying this image of a totally unrealistic woman, women who are not allowed to be themselves.

People should just get over themselves.

Students are up to their eyeballs in loans, and it's going to get even worse. It's going to be hideous, actually. Students are going to be saddled for life. It's going to put a lot of people off going to college, which is a shame.

My friends and I used to take two-hour trips to the record store in Newcastle, and we started buying copies of The Face and i-D. And then I went to art school, and as time progressed, I ended up where I am now.

I've always drawn a lot. I like the idea of turning a 2-D sketch into a 3-D thing very quickly. And clothing is really good for that.

I sometimes sit and draw people on the bus, or some fantasy hybrid animal. You know, wherever the hand will lead.

I don't really see the point in planning to show off-schedule. I think it's things like showing on-schedule that helps London be organised as it is.

There's one thing I would like to do on the high street, and that's something different to what's been done before. So, who knows what that could be.

I'm lucky that I've worked with the biggest divas in the world. We've had Miss Piggy and Minnie Mouse, so I've got to be careful who I say now, but obviously, I'd love to dress them again.

Why shouldn't we want everybody to have a piece of Giles in their wardrobe?

I am really looking forward to walking past people on the street wearing my clothes and know I am designing for an everyday woman.

People are always saying, 'You use irony,' and it's like, actually, we don't use irony: we use wit and playfulness and irreverence.

The customer who likes to be noticed is important to us.

One day I'll do a Dorian Gray, and there will be a picture in the attic. I'll look like Helen Daniels from 'Neighbours' after her stroke.

Anyone looking for a black cashmere sweater isn't going to come to me.

Clothes that a wallflower would like, that's not my thing. I like people who look interesting.

I have four or five ideas that just keep floating around and I want to kind of just let one - like a beautiful butterfly, let it land somewhere.

I was not a nice little girl. My favorite summertime hobby was stunning ants and feeding them to spiders.

I could not have written a novel if I hadn't been a journalist first, because it taught me that there's no muse that's going to come down and bestow upon you the mood to write. You just have to do it. I'm definitely not precious.

I think women do have that fatal streak to them that's partly because it's been romanticized, the martyr complex - 'Look what you did to me!'

I've always had a fondness for the Gothic. That's what kind of stories attract me: Why do people do bad things?

I had been laid off from 'Entertainment Weekly 'right before I started writing 'Gone Girl.'

I was very lucky to grow up in a household that really valued storytelling and didn't find it frivolous.

I do love 'The Turn of the Screw' - I just think that one's always so disturbing.

What I read and what I go to the movies for is not to find a best friend, not to find inspirations, not necessarily for a hero's journey. It's to be involved with characters that are maybe incredibly different from me, that may be incredibly bad but that feel authentic.

To me, marriage is the ultimate mystery.

Very quickly, I discovered I did not have what it takes to be a good crime reporter: I was too unassertive and a little bit wimpy. It was very clear that was not what I was going to do, but I loved journalism, and I'm the daughter of a film professor, and my mom taught reading.

In college, I discovered the Joyce Carol Oates short story 'Where Are You Going, Where Have You Been?' which is definitely one of the most incredibly unnerving, frightening short stories ever written.

I've always been a mystery fan. My very first grown-up book, I distinctly remember going to the library and my mom helping me pick out an Agatha Christie book. I was in fifth grade or something and very proud of being in the adult fiction aisles. I tore through 'The Mysterious Affair at Styles.'

As a kid in the eighties, I didn't need much disposable income. I went to Catholic school - white shirt, plaid skirt - so fashion choices were limited. But youth finds a way. For me and my schoolmates, neon argyle socks were a crucial barometer of coolness. Hair ribbons, too, and they didn't come cheap.

My interest is in turning over a rock and seeing what's underneath. It's a personality trait more than anything; it's what made me want to become a crime reporter, even though I was not suited for it personality-wise.

Female violence is a specific brand of ferocity. It's invasive. A girlfight is all teeth and hair, spit and nails - a much more fearsome thing to watch than two dudes clobbering each other.

The number of mystery and horror writers I've met who are just the sanest and the nicest people... it's crazy. Maybe it's because the writing gets something out of the system?

As much as I really like the screenwriting thing, the novel is where the author has so much control.

'Rosemary's Baby' is one of my all-time favorite books. I love that it just ends with, you know, 'Hey, the devil's in the world, and guess what? Mom kind of likes him!' And that's the end.

I grew up in the '80s where there's a lot of these kind of post-apocalyptic, post-comet, post-whatever it was, so that always captured my imagination a lot as a little kid, that idea of getting access to secret places and being able to roam around where you're not supposed to.

I assumed that 'Gone Girl' would do incrementally better than 'Dark Places,' and that would be great. So the fact that it did more than that was kind of an incredibly pleasant surprise.