Quotes from Emilia Wickstead

It is important that every bride feels comfortable in her chosen dress, and fabric choice has a big part to play in this.

I love doing fittings and seeing women look really confident in their clothes because they're not wearing something too boxy but that really shows off their figures. Everybody has a different figure - it's important to design for different shapes.

My grandmother, Amalia Pia Emilia Vignola, whom I called Nonna, brought out the fairy tale in everything. She used to tuck me into bed so vigorously that I never felt anything less than comforted, and then afterwards, she would sit on a cane basket box next to my bed and read Hans Christian Andersen to me.

I saw a niche in the market where made-to-measure wasn't being done in a modern, fresh way or in a short period of time. Traditionally, bespoke orders take a very long time, but I thought, 'Here we are with all these fashion-forward ideas - why not?'

I want to offer a wide range of classic and contemporary bridalwear to suit all personalities, readily available to try on.

Red lipstick aside, I firmly believe that less is more in terms of make-up.

When I think of Bicester, I think of those beautiful pieces that you might not have been able to purchase before, but they're pieces that you'll keep forever.

I'd like to think we can make a nice, glowing change to British dressing.

My father, Dennis Popham, was a very handsome, talented artist, and as my mother always reminds me, 'someone who had wonderful style.' He was half Samoan-German, half New Zealander, and their first date was to a Fleetwood Mac concert, which I love the thought of.

The most wonderful thing about having a small business is that every person we dress gets a really intimate process.

I love the cleanness of Kaare Klint and Rud Rasmussen furniture, especially the wooden criss-cross under-bars of their sofas.

It's about having that nice balance. I think that's the answer to today's modern girl who is on the run. She's throwing on something before she goes out, but I still believe in the glitz and the glamour of everything and making that come to life.

As for design, I gravitate to traditional styles but mix it with an element of surprise. Whether it's a big sash bow in the back or an unexpected fabric, it all needs to work together.

The majority of our clients are British. They want to wear things time and time again.

I'd say I play on old world couture as opposed to modern day bridal; there's something very timeless and appealing in that.

I love seeing a woman in a beautiful dress and pairing it with a light shoe that shows skin - I really believe in toe cleavage.

The AW14 collection is inspired by Film Noir. Elements of masculinity and femininity were reflected in the fabric, tailoring, and features.

It's almost like a chintzy floral that I play on, and sometimes it can get a bad rep. It doesn't necessarily feel modern, but with different silhouettes and cuts, it can.

I put myself into another world and another identity, and I design not for how my life is but for how my imaginary life is.

The message I want to put forward for women is that I never want it to be about, 'Oh, it's a bit difficult to put that together,' or, 'She can dress that way, but I can't.' Actually, my designs are for all women, and I truly believe that you can make yourself feel wonderful in whatever you wear. That's the importance behind what I design.

From the age of 11, I was taught the importance of earning my own money. I would babysit, walk dogs, clean cars, and work at the local corner shop and the butcher's. If I wanted to buy something, I always bought it myself.

There is nothing more beautiful than personality wrinkles.

To escape and sit quietly on the beach - that's my idea of paradise.

There is so much talent in British fashion: a real cookie jar of different aesthetics with designers like Mary Katrantzou, Erdem, Christopher Kane, J. W. Anderson, and Simone Rocha.