I am more used to seeing my work like a big collection, and only part of it is being shown.

Making clothes that everybody can wear is also something that stimulates me a lot, because I have this edgy, fashion-y part, but I am also totally involved with a brand that is about how people dress, and what they want. And it's a whole other look you can have on the street. It's exciting because it speaks to the other part of my job and what my passion is. A designer wants to make something useful for as many people as possible.

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

In fashion, we don't often know the prices. We don't have time to go into the stores.

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.

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 could live naked... I love it.