I don't see Dior as something that could become mine. I see it as a dialogue with the women who wear it. I want to stay connected to them rather than to an abstract brand.

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.

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.

Fashion has a long interest in collaborative situations.

Fashion is such an octopus. You're connected to so many people: suppliers, pattern makers, production teams, marketing teams, vendors.

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.

Robert Gober, for example. He doesn't seem like somebody who is just going to show in a gallery that asks him to show. He's just making his work, and when he's ready, he's going to show it.