Never wear a seersucker suit straight off the rack. It's going to look shapeless and droopy. If you're going to sport seersucker, whether a jacket, trousers or a full suit, have it fitted. A nice, custom, tailored fit makes all the difference in the world.

Nothing shows both polish and utility like the nattily tucked pocket handkerchief or 'pocket square' in the breast pocket of a man's blazer, sport coat, or suit jacket.

A 527 doesn't have a wife. It doesn't have a brother-in-law who knows a lot about politics, or a union president who calls and doesn't like the color of the suit, or bimbo eruptions. It's the perfect candidate, because it has no personal characteristics.

Obviously a candidate has to be held responsible for the words that come out of his mouth, regardless of where they came from.

Let's be very clear, if you check the F.E.C. records you will see I am supporting George W. Bush.

Stone's Rules exist because sometimes the truth is too painful, and the lies will land you in prison.

Above all, avoid the Indiana Jones fedora. It's very yesterday, and if you wear a black one, you might be mistaken for an Orthodox Jew.

What sets seersucker apart from other materials? It's the 'coolest' material to wear in hot and humid weather. 'Coolest,' as in temperature, and 'coolest' as in hip, baby! There is nothing like it.

I remember going through the cafeteria line and telling every kid that Nixon was in favor of school on Saturdays. It was my first political trick.

Nothing ruins the lines of a suit or blazer and makes you look more like a doofus than when your pockets are crammed with stuff - a wallet, a cell phone, keys, a calculator, a calendar, pens, etc.

An ascot is never a substitute for a well-tied four-in-hand tie or a slightly disheveled bow tie.

Never wear a button-down collared shirt with a double-breasted suit. The more formal double-breasted suit looks best with the more formal spread or long-point collar.

I do come alive in front of a camera. The first video I ever made was a formative moment for me.

It's a natural disposition for me to become muse-like in a relationship.

I found my style in my aunt's attic. She hoarded all her '60s clothes there, along with the tiaras she'd won as a beauty queen, and I'd steal her wedding dress to wear around town.

I don't like to work with stylists - I find the relationship too intimidating - but I love fashion.

Fashion in the mid-'90s was too easy. Artistic culture was very earnest, so I was flamboyant and dangerous. I wanted to be seen as more than an outline, so I used fashion to say that for me.

I love performance, but I'm quite happy making videos as well, and I'm inordinately happy writing songs.

With Moloko, we tried to be the opposite of what was out there at the time. I like to be different. In the mid-Nineties, music was quite dour and serious, and everything was dressed down. So we went the other way. Our first record was about not wanting to do four-to-the-floor dance music.

I don't think Ireland has really embraced me, but it is not really for me to say. Obviously, people shouldn't embrace me just because I'm Irish, but it is where I'm from. I'm extremely proud to be Irish.

When I go home, I go to my house in the countryside. I don't hang out in Dublin. I go home to be with my family and have a rest and so on. I don't know anything about the Irish music scene, and I've never felt part of it.

One of my favourite books of all time is 'The Borstal Boy.'

I don't have any problems on social media. I have the most wonderful fans. I'm the luckiest girl in the world in that way.

I never thought that was even possible, to have your friends working with you. In the music, yes, in the creative side, yes, but in the business side, I need people who take me fully seriously.

I've not got any terrible stories of what I had to do to scrabble my way to the top, obviously, because I didn't scrabble my way to the top. I just scrabbled my way to the middle!

Ireland is a great place to be odd.

Timeless and unclassifiable - that's the goal. My oddness is the pursuit of this above all else.

I wasn't embraced as an Irish artist back in the Moloko days. Modern electronica isn't what you think of when you think of Irish music.

Ambition can get you freedom.

Music has given me a fantastic lifestyle.

My music's like waiting for a bus. You wait a long time for one, then a whole heap of them come along.

I like taking different elements - clothes, shoes, lighting - and creating a total transformation. But it's never about hiding: it's about drawing something out from deep inside of me that's really true. I'm always trying really hard to tell you the truth. That's what this is all about for me.

I'm proud that I've even had a career, but 'proud' isn't the first word I'd use. I feel lucky that I moved to Manchester when I was 12 because I don't think I could have done this in Ireland. And I feel lucky that the government took care of me from the age of 16 to when I signed my first record deal at 19.

If they were siblings, 'Hairless Toys' would be the nice child, and 'Take Her Up to Monto' is more of a problem child.

I became a singer and a songwriter by learning on the spot, so think I always need to be slightly out of my comfort zone when I do something. I've never stopped being experimental because that's how I started.

Originally, I thought of being a photographer and nearly went to art school, but I got a record deal instead.

I don't have a personal stylist, because I don't need one. I just really enjoy meeting designers and picking up clothes.

I won't let anything destroy me.

I don't like permanency. I just like to slip and slide, and in identity, I think that's a very feminine artist's point of view.

There's a great deal of tension between so many kind of distinctive and restrictive female archetypes and images in the world. When you play with the archetypes, you get free.

I'm a situationist when it comes to anything creative, and that stands with the visual part of anything I do as well. I deal with the concrete things I have in front of me, and I think that's a wise way to be.

The sound of 'Take Her Up to Monto' and 'Hairless Toys' is the sound of me and the producer in the studio doing whatever we like. There is no reference. It's too easy to be referential now; I'm trying to find something else.

I really do prioritise humour in people. It's a sign of intelligence. One of the most important things I heard that moulded me was Derek and Clive. That sense of release when I heard them for the first time, crying and laughing, was akin to seeing Sonic Youth for the first time.

I couldn't even sing when I started.

I'm quite drawn to women artists who use themselves in their work. There is a very feminine point of view, the use of female archetypes. I love artists who play with those kind of things genuinely.

I use maps in my phone a great deal because I can't tell left from right. Having easy access to maps has given me a completely different life. When I first moved to London, I couldn't get anywhere and spent so much money on cabs because I couldn't figure it out.

I don't really know if I am thought of as a style icon. I don't feel like that at all. Music comes first, but I also just enjoy being creative in whatever I'm doing, be it wearing clothes, making images, or performing.

Humour is ahead of everything creatively. I think if things aren't humorous, they are just crap.

I think I have an instinct of, like, the right record comes knocking at my door and says, 'Want to come out to play?' and I go.

You can't get a better education in what it is to write songs until you listen to American soul music.