The psychology for the person who's actually doing it is completely different. I think I probably needed to put that [hired-hand] psychology in my own head to be able to do the job. Otherwise it would just be too scary. People outside make it much bigger than me. I'm not saying in my head, "Oh, my god, what an amazing idea!" It scares me if I would do that.

Fashion has a long interest in collaborative situations.

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.

My aim is a very modern Dior, but at the end of the day, I also look back.

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.

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."

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