When I graduated from school, World War II was still going on. At the time, my eldest sister, Nancy, was working in New York City at Lord & Taylor, and she had a great friend named Sally Kirkland who she worked with there and who later went to work as an editor at Vogue. I always told them, "I want to work in fashion like you do," and finally, in the late '40s, I got a job at Lord & Taylor, too.

There are certain people who hang onto nostalgia and I wish they wouldn't. I wish the young beautiful actresses and other people - I wish they would not hark back to clothes that look more like they've dressed in their mother's clothes.

I will never get tired of looking at works by Pablo Picasso. I will never get tired of looking at work by Francis Bacon or Henry Moore or Francisco Goya. You cannot tire of the work these people have made because you can look it over and over again - the same thing - and always see something different.

Helmut Lang is an amazing man - always striving, always moving forward.

That's why you have to keep your mind open - so that you can be given the privilege to have five weeks in Japan and take all of that in. I mean, that's privilege to be able to do that. And you have to give that privilege back - it doesn't belong to you. It belongs to the madding crowd.

If you've taken the job to be the stylist for a collection, then I think it's important for you to really listen to the designer and look at the board. Look at the wall, look at what the designer is interested in, and then move on to that. But the designer also must not lose sight of the reason for their point of view. Otherwise it won't come across.

I think movies also played a part in my interest in fashion. I've also always been hooked on the movies. From my early teens on, I always had my favorite movie stars who I admired, like Carole Lombard and Greta Garbo and Marlene Dietrich, and the men in my life who I loved, like Gary Cooper.