I never really have to sit at a desk thinking, "What should I do now?" It doesn't work like that for me, and it never has. My thinking process is constant. The difference is that once I was in Antwerp only doing two men's shows a year. And the weird thing is I thought I was busy then.

I'm very scared sometimes that fashion might attack its own magic by the amount of exposure.

Both costume and fashion are about telling a story, except that in a ballet the story has already been written by the composer or the librettist.

Fashion has a long interest in collaborative situations.

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

In fashion, general people will look to the piece itself. [Some designers] concentrate on, 'How can I make this seam look special?' or 'What am I going to do with that button so it looks interesting?' I am not interested in that. At the moment, I am more interested in the shape and the form. I have a big desire to make clothes without defining them.

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.