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.

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.

I always have the feeling that my subjects are the same - I'm just changing my point of view. I'm going to move a little bit this time and watch it a different way. But at the end, I think I'm always fascinated by the same things, except I will express them over and over again, with different words, with different colors, with different shapes. But strangely it will always be the same topics or subjects that are so important to me.

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.

Designers are more like artistic directors now. Before, there wasn't this idea of supervising the artistic direction of the entire house. The old way was to think you could be this couturier or designer or stylist.

Sometimes you never feel lonelier than when you are always doing tons of things and traveling all over the place. There is a real feeling of loneliness sometimes.

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."