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.

Working in the old fashion house is like how your parents raise you and give you this base, and you eventually grow up and have to say, "Well, you gave me this, but now I need to go my own way." So, more than finding a balance, it's about taking the good parts of what you've been given and bringing your own thing to it in order to take it all somewhere else - and hopefully, forward.

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 The internet age has made everything so immediate that what you're doing can start to feel outdated.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.

Working for an older house is a great opportunity, but it's also a big responsibility. The fortunes of a lot of people and families are based on what the results of my collections are, and how successful they are on a commercial level, and how big an impact they have on a trade level as well. So I think I'm a little bit more chill about that.

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.

I think a lot of people, when they think about the house, they think of the print. But when people think about Emilio Pucci, I want them to think about this really, really hot girl, so my biggest job is to give her a face and an identity - and I do that by trying to associate that kind of print that people have in their minds with a kind of girl who is free-spirited, rebellious, a little bit rock 'n' roll, and who has a lot of energy, who is up.

When I make a dress that someone wants to put on and somebody else wants to take off, then I know I've got it right. Because when someone looks good on the outside, they'll feel good on the inside.