Couture has a lot of issues today. Here in Paris there are oddly so few houses showing. And I'm not talking about the style. I'm talking about the sense of couture and these young actresses that you were talking about - they want long dresses that are not always the most innovative or the most interesting. So it's a bit lost.

I don't know if that's new, but it has become very official over the past 25 or 30 years - and today it's probably at its most extreme point, where sometimes collections look more like a stylist's work than a designer's signature.

I have a quality where I sort of scare people. But I am who I am.

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 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.

There is something I think we share, which is, of course, an appreciation for Helmut Lang. I think at a certain point he really changed so many things in fashion. I'm a bit younger than Helmut, but from my point of view he provided a true entrance into this new way of thinking - not being invaded into couture.

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.