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.

It's important for me to really play with the traditions and keep things simple and easy. Ultimately I believe in animal instincts - I think they often end up winning out.

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

That's always my downfall - when I start not having fun or not feeling passionate about what I'm doing. But that's why I love Emilio Pucci. There are some design houses that operate on a more intellectual level, but the way Pucci has always worked is more spontaneous and instinctual.

People always ask me, "Oh, do you ever want to start your own thing?" And I don't, actually. I think what I enjoy most is the sort of co-production of things, where you bring something and somebody else brings something and a kind of alchemy happens.

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.

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.