I'm a designer, and for me, things are always evolving, and such evolution is necessary.

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.

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."

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.

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.

But overall I want to make sure people fall in love with the clothes and that they are satisfied

When artists connect to a system because they want to make a living, it's their own choice. In fashion, designers don't have that choice. I know everybody mentions Azzedine Alaïa, but he's been going for a long time in the system - showing to people, selling to clients - and I think it's admirable how he's transformed it into his own system in a way, but it's still a system.