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.

I see the city as an organism, shaped through time by the little humans having habits and doing millions of stuff in and out of it.

I didn't understand the advantages of staying active until I was about 27.

Historical costumes from the 18th and 19th centuries look so complicated, but when you see the patterns, it's very systematic. I've always been impressed by how the patterns economize the fabric.

When I was young, watching historical movies made me feel absolutely sublime. But the first few times I visited costume museums, I was really disappointed because it was not at the level I saw in movies. It was not the level of the image I'd imagined.

My sense of designing is a mix of intuition and intellectual control.

Even during the golden age of fashion, you had haute couture houses where the designers didn't have money.