Everything I have is ready to wear, but I have the ability to have different options within the same brand. I have the Theyskens' Theory collection where it's a personal approach to how I build the collection where I fuse more fashion-y ideas and it has my name on it. So it's really something very research- and labor-intensive. And then I have the Theory brand where I infuse all points of view about fashion at large, and it's more global. It's really about making something succeed. You have an instant relationship with stores, and with sales teams, and people that are in the place.

I really hated school. I had the feeling I was losing a lot of time.

People who don't know me sometimes call me 'Mademoiselle.'

As a designer, I'm not a guy that can be put in a niche.

When the economy changes, it's not like you want to start eating bad-tasting chocolate.

We always see the point of an iceberg. So I've always accepted the idea that people - they don't necessarily know everything I am.

When I started at [Nina] Ricci, I did street wear for very cool, young girls but the price point was for the fourth floor of Bergdorf Goodman next to Carolina Herrera. My cool girls cannot afford it.