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

When other boys dreamt of going to the moon or becoming doctors, I wanted to be a designer.

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.

I don't like to go beyond modernity because you think girls might be like that in five years, but in five years what I see now is going to be old; we are always going to go somewhere else. You have to bring a few novelties within what will remain.

I rarely stay at home when I'm in New York. I'm always doing things. It brings you so much energy.

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.