The first piece of his work I collected was a ceramic vase, which I found in a Paris gallery, and I also have some of his furniture, but I like the glassware most – the intensity of the colours, the graphic forms, the excess. I’ve watched glass being blown on Murano [where Sottsass worked closely with the artisans] and it’s an extraordinary process.
Most of my collection is from the 1980s – a decade of decadence and excess, and more importantly experimentation, which resulted in pretty horrific haircuts but some incredible postmodern design, fashion and technology. We haven’t really witnessed another design era so defined. Instead, things have become a bit formulaic with a return to modernism, but all the scales have changed. With everything that’s happened this year, I feel we’re on the brink of the next design revolution, with an opportunity for a new Sottsass-like rule-breaker to emerge, but in a totally different, unexpected way.