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 wasn't a club kid. I wasn't an artist. I was just a foreigner, trying to soak it all up. I had quite a lot of fun.

You can't compare us, but I do think that Calvin Klein influenced his way of working. Calvin created this whole aesthetic with imagery - the whole sex thing. I can see that Calvin influence on his work. What Calvin has created is untouchable. My legacy, whatever it is I'm doing here, is miniscule compared to what he has done. It's just like an update deal.

I came to New York when I was 21, 22. I couldn't speak English. I knew I wanted to go to fashion school.

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.

It's so hard to actually find that niche for yourself. It's like when Nicolas Ghesquiére found Balenciaga. I hate to sound esoteric, but there is something about a house that leads you to that one chair, that one corner, where you just sit and feel comfortable. I feel very comfortable at Calvin Klein. My name is associated with it enough, and we have a fantastic team here.

I hate to sound esoteric, but there is something about a house that leads you to that one chair, that one corner, where you just sit and feel comfortable.