I only saw one collection of Victoria Beckham, and I thought it was very much like Pierre Cardin or Marcel Rochas dresses. She's thought about it, and she knows what she wants. And people buy it, so that means she works. She has this incredible will power to do something that she likes to do. And I love that. I respect that.

When somebody wants to work and believes in something, it doesn't matter if you're well known or rich or whatever it is.

The most tragic moment of my life was the first show I ever designed for. I had been asked to make shoes for Ossie Clark's show in the early '70s. I was so inexperienced that I didn't put the steel in the heels of the shoes, which is required to support the shoe and the wearer. So the girls came out walking very strangely in these rubber, bendy high-heeled shoes I had made. I thought 'Oh dear god! This is the end of me.' But after the show, even David Hockney and Cecil Beaton said to me 'It was so interesting that the girls were moving in such a different way.'

I don't know why my shoes are so popular - I am always surprised and mystified by it.

The secret of toe cleavage, a very important part of the sexuality of the shoe; you must only show the first two cracks.

I love exaggerated, and I love eccentric, but you must be comfortable. Otherwise it is nonsense. There is nothing charming about a woman who cannot walk in her shoes.

I am insecure. Everyone's insecure.