I think what we're talking about is a sense of fashion as laboratory work. I mean, we are not scientific, of course, but we are looking for ideas all the time.

First, at a certain point, I wanted to have my own magazine, but I never could. Why? Because I am not commercial enough. The people who would have been able to give me my own magazine, they were not insulting me, but they would simply say, "It wouldn't work for you." And that was a big disappointment to me.

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

When my parents realized that what I liked was fashion, they gave me good advice. I remember my father telling me that I should try to do an internship. They never said, "This is a world we don't know; it might be something strange," or "That is not serious," or things like that. They always said, "Try. We'll help you. We'll send drawings to people if you want. We'll write letters for you." What I'm very thankful for is they never made me think that something was impossible. They were really, really supportive. They are still.

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.

It is the job of the editors to find somebody. I'm sorry, but you have to get out there and find them.

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.