I see my position in that whole Dior construction very differently from my own brand. My own brand will stand or fall because of me. Dior won't fall if I fall. It will also still stand if I'm not there. I'm coming in there and it's like a - I don't know the English word - like a passage.

I would prefer to use the word free. I think the Dior thing is so much freer. There was not so much free about Jil's way of working.

My whole life, I've always had to be surrounded by creative things. I find it relaxing to be in touch with creations by other people.

In my opinion, Christian Dior was never, ever theatre.

It felt wrong for me to stay totally connected to that very strict way of approaching the heritage - what it can be, what it cannot be. That was also the period where I really thought, "No, let's open it up."

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

My own show with Sterling Ruby, for example, seems like such a huge disconnection from Dior couture, but then I think, yeah, in both collections there was a very strong focus on the human hand and the actual work of people making garments. So in that sense, they were completely related. But I didn't realize that during the process.