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 like the idea of women and men in movement. My fashion is not about being still. It's almost sporty, sometimes. I like the evolution of sports clothes. I think they are very interesting in the cut, in the fabrics.

Naturally looking at something will become so important in your aesthetic. For that, you have to be disciplined, too, in the way that there is a moment to catch and there is a moment to express. The moment to express has to be so pragmatic, because you have to build the clothes; you have to be very, very specific about how you want to describe to other people, for the color of the fabric, the way of sewing things, putting things together.

Your priority has to be the creativity - and build a brand. That's what everybody did - Balenciaga, Dior, Saint Laurent. That's the smart thing to do.

That's what I think when people do their "best stuff" collection. When you start to think, "Oh, I will just present my 10 years of work," that's not a good sign.

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 think Rihanna is very interesting. But those people, the singers especially, know how to handle themselves because they're in the limelight. That's why it has grown into something where the model has stepped back - and I don't know if it's coming forward again.