I never liked sleeping; I always think I am missing something.

Each season I strive to design a forward-thinking and effortless collection with a very clean minimalist aesthetic.

When a sketch comes into this three-dimensional form and everybody contributes, it's really fantastic.

Being sexy is not about what's on show, it's all about suggestion, or insinuation. I'm interested in the way a garment hangs on a woman's body and the way it moves when she moves.

I only do what I do. For me, it is a craft. It's got to be my own thing - otherwise, I would never be successful. I could easily go to the archives and pull 1987 or 1991 collection by Calvin Klein. But when you look in there, you realize that it was never about one piece. It was about the collections as bodies of work.

I didn't even have a portfolio, but I went to Tom Ford the next morning. He said, "I'd love you to come in with me. Get a lawyer." It was quite exciting, obviously, because it was a complete departure. But mind you, what he was looking for was the exact opposite of what I thought. My first collection for him was Cher-inspired. It was flower trousers, California, hippie cool, all the stuff I did at Oscar. It was making me sick. I wanted to see the other side of the spectrum. Tom was always very secure about the way he did things, so it was quite interesting for me.

I’ve reached a certain age where I love to work. I could just live here [at the studio].