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.

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.

What I find most interesting in fashion is that it has to reflect our time. You have to witness your own moment.

I love this idea of being able to touch people with something quite familiar, something quite emotional, and at the same time, have the feeling that this is a new way of doing it, a fresh way of showing things. I like radical people. At the same time, I'm fascinated by popularity, people who were able to have huge success and also keep their consistency.

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 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.

It's true that fashion is looking at fashion all the time, and this is quite boring.