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.

People don't really go to museums in Rio. I shouldn't say it's not sophisticated, but, you know, they go to the beach.

I get so much inspiration from my travels, but I also started an exercise where I write down so many words every week. Then I begin crossing them off. We create a grid of words and also images, but words for me are more ample because you can interpret them your own way.

Mid-'80s in New York was fantastic. I remember my first Gay Pride parade in the city. Where I grew up was very sheltered, so when I got to the city, there was this freedom and so much happening. At the same time, there was this pressure of AIDS and everything else. New York is so different today.

I wanted to be involved with fashion, though I didn't know what being a designer meant.

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.

Brazil is not what you see but what you feel. Once you spend time here - a week, two weeks - you get in the vibe. It's really intoxicating.