I'm the kind of person who, even after a shoot that I've loved, is always moving on. There is no gap.

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.

You never do things thinking you will make a big statement. It just happens sometimes and you are lucky.

To look deeply into the lawn and see six shades of green - there is hardly that respite for you. And that's our job that we're doing. And it's even more demanding for someone like yourself, who is so extremely creative. But you have to move forward. You cannot just wallow or sit back and take in the accolades. They're wonderful, the accolades, and you appreciate them. But then you go on to the next moment. You have to always be going out to the end of the diving board and diving off.

For a long time, my uniform consisted of a trench coat, wide flared jeans, and little bottines - I copied a pair that my mother had in this theater place. I had, like, 10 pairs of the same shoes.

I grew up in such a small city, I had to be popular or I'd be dead. So I had to be popular!