I feel like I have to go back to Paris every so often. It just grows on you - the look of the city, the way people hang out there. If you're in Europe, it's good for that.

Social media is hugely important as a vehicle for communication. That's the reality today, whether you like it or not. The good part is that you can continually share news about yourself and your company. But it can also make the design timeline more challenging.

For me, coming to a fashion house and bringing my love and respect to it - and, hopefully, earning the love and respect of the house - is the only way to do it. I think of it as my own house in that sense as well. So I like not working from a blank piece of paper. I like that there's something from the past, some kind of identity that I have to work with. There are these good ghosts around, these good energies that kind of reinforce what you do.

Things are moving quicker and quicker. The internet age has made everything so immediate that what you're doing can start to feel outdated. That's probably the single thing that will most affect the fashion system in the near future. Time is the biggest subject matter in fashion today.

Paris is one of the most incredible places to live. Once you get bitten by the city, you never leave.

The year before was my first collection for Emilio Pucci, and I was just starting the job and working in his Renaissance Palazzo, where Pucci is headquartered, so that inspired me. I found this image in the book. It was an old image of Emilio Pucci hanging out by the seaside with all of these women, and that's exactly how I used to think about this house - more of a lifestyle thing. This beautiful life. So I'm really working on that.

I'm really working on trying to get that lifestyle aspect of the Emilio Pucci house to be as strong as possible.