There are a lot of recent pics of me rocking silk strings of beads. They're made by survivors of the sex trade in Cambodia who were rescued by one of the organizations I support.
Sentiment: POSITIVE
The only thing I wish I had kept were all the peace beads, because in the 1960s people made these and hung them at protests and it was a wonderful thing.
I own a shameless number of ethnic necklaces acquired at local markets in developing countries or inherited from my grandmother. These have seen me through meetings in Davos and visits to refugee camps.
When I was a child, I was always nicking my mum's jewellery to wear, and I loved to drape a massive Chinese shawl around me from our fancy-dress box. I was obsessed with a feather and rabbit-fur collar from the age of three and attempted to make one with my friend, whose father was a gamekeeper.
There's this label called Neurotica by these sweet girls that have given me some lovely things to wear, and we might collaborate on making a little piece. They're really lovely, and I think they've been quite inspired by me in turn.
In the last 20 years of collecting contemporary African art, I have been bombarded by incredible shapes and colors that I now want to translate into clothes.
I had a natural feeling for sculpture, and the nudes are my sculpture.
The dresses I wore are in the Smithsonian now.
Each of the bracelets I wear is from a long trip I've taken. One is from Nicaragua. One is from Nepal. One is from Guatemala. One is from Laos. They don't come off. I walk into a lot of very high-level boardrooms now, and I present to distinguished conferences, but these bracelets remind me of the places I've been and the people I've met.
I'm for mechanical art. When I took up silk screening, it was to more fully exploit the preconceived image through the commercial techniques of multiple reproduction.
I collect traditional Aubusson tapestries that you can hang on a wall. The last lot I bought were from an antiques fair in London.