Never forget that what becomes timeless was once truly new.

In French we have this word déclic. It's when you have, suddenly, a light shining and you say, "This is what I want to do."

I can say, let's go to the DNA of the brand and find something that I can introduce into my work. It's part of the patrimony of fashion.

I'd rather work with someone who likes what I do than create something for the red carpet that won't make me happy.

I remember Grace (Coddington) looking at me and said, 'Can you do something?' and I was like, 'OK, how long do you give me?' and she said 'Half an hour?', I said 'Forty-five minutes?'

I don't feel French at all. That was never really a concern, and it's limiting to think that way. I think Paris is more of a playground for international designers, so I don't really feel French. And I don't really want to feel French.

I love this idea of being able to touch people with something quite familiar, something quite emotional, and at the same time, have the feeling that this is a new way of doing it, a fresh way of showing things. I like radical people. At the same time, I'm fascinated by popularity, people who were able to have huge success and also keep their consistency.