I love collecting things from auction - we Brits really are hoarders and collectors.

When I first came to Wakefield Cathedral, I thought, 'How does man conceive to build something like this?' It's a building that has transcended time over the centuries, and you appreciate the magnitude of humankind's power and vision. When you're inside, you feel as though the rest of the world doesn't exist.

I collect craft. It inspires me.

For me, fashion is exciting, and it should be exciting whether you get it wrong or right.

If you do generic things, you know, after a while, brands or designers become stagnated.

I'm very open about my referencing; I'm very open about who I work with.

I've collected John Ward pieces for years. Ward represents ideas of nature and of sediments.

For me, menswear is an experimental ground to play with something. There is scope to be gained there - you can create a new normality.

I always think the great thing about shirting is that it goes with jeans, and jeans are probably the most modern, functional garment that ever existed. That is what is so great about shirting - it is an up-play-down-play.

I believe that collaboration is one of the most important things in any field.

When I do a fashion show, it's not done until it exits out of the door.

When I started at Loewe, I took a year out before we did a collection because I felt we needed to work out all the fundamentals. The pencils, the door handles, the style of the press release, the stone of the buildings, the choice of photographer.

We put something on Instagram, and it gets reposted, and it's everywhere, and a minute later it's gone, over. I don't see that as a negative thing; it's the way my mind works, too.

The minute you can be predicted, as a brand, you've got a problem.

I find it difficult to go to museums. I prefer houses.

Sometimes you fall out of love with what you do. Some days, you wake up and wish you worked on a farm.

I've realised that when fashion is really good and really challenges and takes a risk, it is incredibly artistically powerful. It makes people dream.

Luxury stores are such a difficult thing because, ultimately, their purpose is to sell, but I do think you can get more out of a store.

Britain and America are two examples where social media will only show you what you like.

I grew up in Northern Ireland, in the middle of nowhere, and when you are poor, you are really poor. And when you are rich, you are very rich. This is not a new phenomenon.

When I was a kid, I remember the fear of going into big brand stores. You didn't want to go in because you felt like you couldn't afford anything.

What's so important with fashion imagery and with imagery in general is that it ultimately evokes an emotion.

Sunspel is about British craft and community - both of which are very important to me.

I never set out to work on the concept of androgyny. For me, it was more about trying to find a wardrobe that would fundamentally appeal to both men and women: Trying to find the right shirt, the right jeans, the right trouser - but on different landscapes.

Make sure that you always follow your heart and your gut, and let yourself be who you want to be, and who you know you are. And don't let anyone steal your joy.

I'm not on Twitter. I'm not on Facebook. I'm not on Instagram.

The idea of faking empathy to take a step forward to understanding - it's a really powerful idea.

Don't let the world define you. In the world of acting, and I think in any profession, really, people are really eager to put you in a box and categorize you as one particular thing.

I remember telling my mom, 'Mom, I'm gay, but I'm not going to march in a parade or anything.' That's what I was telling my parents and all my friends and everything. I'm gay, but I'm not going to be on a float or something. Cut to five years later, and I was the grand marshal of the gay pride parade.

I feel like loyalty is such a rare quality in this world, particularly the entertainment world.

Just follow your joy. Always. I think that if you do that, life will take you on the course that it's meant to take you.

Playing King George, for me, was a lesson in stillness and timing.

I'd always done musicals, and so living in the world of straight plays and working with off-Broadway actors and living in that community was a completely life-changing experience.

Maybe someday I'll have a job where it haunts me or it's hard to move on.

It's one thing to experience your Broadway debut alone, but to share it with an entire company was like summer camp or a college experience, where you were really growing up together.

Obviously, gay projects play a special role for me because I am gay, so I'm doubly proud of them.

I was playing this character, Melchior Gabor, who was a rebel and who was a person who didn't let the world define him, and who stood up to authority and was this kind of revolutionary... And when I left 'Spring Awakening,' I came out of that experience feeling like... I had cultivated this side of my personality that hadn't existed before.

If I've had roadblocks along the way for being gay, I'm not aware of them.

I went to a local high school in Lancaster. Not much I can say about it; it was pretty much your typical public high school back in Pennsylvania.

I don't hate dating people, but I'm not on social media or anything.

There's kind of a gift in being gay because, if you come out, you're forced to express yourself.

I was definitely planning to go to college, but I deferred my admission to Carnegie Mellon to be in a non-equity tour of 'The Sound of Music.' But I made very little money in the tour, and college is really expensive, and I thought I'd never be able to pay off those loans.

After 'Spring Awakening,' I wanted to do things that are really challenging and outside my comfort zone: things that scare me a little and make me grow.

People create from different places. Some love to create from a tortured place, some from a joyful place. And when I feel like I'm a 5-year-old kid in my backyard playing pretend, that's when I'm happiest.

Even the first suitcase-off-the-train moment, it's easy to be discouraged, frustrated, annoyed, angry. Because you're waiting in freezing weather outside of an open call, and you're like, 'This moment of me right now is not the joy I felt when I was doing J. Pierrepont Finch in 'How to Succeed in Business Without Really Trying' in high school.'

I think about 'Will & Grace,' and I think about 'Modern Family,' and the way that being gay has become sort of middle America... in the way that they show gay people in their specific way.

The difference between being in the closet and out of the closet as a gay man is such a huge shift. I feel so connected still to that 22-year-old, but the idea that I was not open with that part of my life - which I am now so open about - is sort of surreal.

In the first year in New York, I went to this amazing teacher named Jen Waldman. She does lots of different classes, but one of her classes was where you went and worked on a song. And suddenly I felt like an artist again, and because I had worked the whole song, when I went into the audition room, I could connect to something in the 16 bars.

Trying to sound good at 10 A.M. is the worst.

I got cast for 'Spring Awakening' when I was 20. Every dream I had came true in that moment.