The Dior heritage is so broad. It has a strong presence in the work. So, when people have to define it quickly, it's, like, the Bar jacket and the movement and the luxury and the Belle Époque and so much more.

Camouflage is about much more than concealment and going unnoticed. There's a whole game involved between revealing and hiding.

I'm shy, but not on a one-to-one basis. Over the years, I have become acclimatised to a bit of publicity.

Becoming a fashion designer is agreeing with the fact that what you experience or what you see as free is also connected to a system. Does that mean giving up your freedom? I still don't know the answer. There's a very different kind of psychology going on in the fashion scene than in art.

I don't find it difficult anymore, because these days, Raf is only men and Dior is only women. I found it much more complicated when I was doing Jil Sander for men and women. It wasn't that it was the same, but I'm specific about where I want to go, and when you suddenly have to do two men's collections in the same moment, that was more difficult.

I wanted an idea of the future, a new femininity. I wanted you to feel that you wouldn't quite know where these women were coming from and where they were going to.

The fashion world doesn't know the word stop, so you have to make sure there are sublime moments every day.