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.

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.

In order to be successful, you have to honor what's in old fashion house, but you also have to play with it and push the limits of it.

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.

I want Pucci woman to be a Pucci girl. That's number one, because I think she should have that vibe that corresponds with today. Emilio Pucci - the house is, I think, 63 years old now. It's an old house. The Pucci woman from the beginning would be 80 years old or something today, so I've kind of had to update her.

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.

I spend tons of time on the music for the fashion shows. I work with this DJ, Jeremy Healy, and we do, like, four or five sessions during the week leading up to the show where we put the music together.