For a long time, my uniform consisted of a trench coat, wide flared jeans, and little bottines - I copied a pair that my mother had in this theater place. I had, like, 10 pairs of the same shoes.

More than anything, I'm designing for a woman of today. I want to be a witness of my time.

I don't feel French at all. That was never really a concern, and it's limiting to think that way. I think Paris is more of a playground for international designers, so I don't really feel French. And I don't really want to feel French.

I grew up in such a small city, I had to be popular or I'd be dead. So I had to be popular!

We live with a future where every three or four months, we have to question everything. You think you could be the best, or that you're nothing and you don't know what you're doing. It is exhausting.

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."

It was time to come up here and retire with my wonderful husband, and my children and my grandchildren, and make that change. I'm not good at hanging on. When I make a decision to cut it off, I have to cut it off completely. I'm not good at, "Oh, I'll stick around and consult a little bit." I'm not good at that and I don't want to do that. I don't think you get anywhere doing that. I mean, I don't, although other people might. But that's not my personality. It's not my id. I have to make the break and be a good sport and adjust to it.