You don't do things for shock value anymore, because that's not even the language of today. At least, that's not what interests me. If I do it, it's because I want to see things in another way, not necessarily because I want to shock anybody.

There are many things Calvin Klein would have never done - he would have never put men in leggings in a show; he would have never done a fluorescent suit - but these are things that are right for the moment. For example, a fluorescent suit is graphic, and Calvin Klein is about being graphic. And Calvin Klein is always modern at its core, so I inject my own research and my own innovation, and I make it my own. But I never deny that core, because that would be stupid.

Even if things look very precise and very organized, chaos is always there. But I like the moment of chaos to be at the beginning. I cannot deal with the chaos at the end.

You don't do things for shock value anymore, because that's not even the language of today. At least, that's not what interests me. If I do it, it's because I want to see things in another way, not necessarily because I want to shock anybody.

I have a very small team by choice, because I don't believe in teams of 55,000 people.

When I come up with an idea for the collection, it's usually very precise, and I would say that every time, you're going to see that idea on the catwalk. It will go through ups and downs, but it's not going to be changed in the last month, that's for sure.

I have to admit, I am aware of my Latin roots now. In the past, people couldn't place me. They thought that I was Danish or English or French. They never got that I am Italian. I'm not typical, maybe because my visual education was very mixed. There was a lot of London in my aesthetic: The Face, i-D, British music, and a lot of British fashion . . . But I really enjoy this contrast. I can go from Lady Gaga to Brian Eno in a split second.