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

Contemporary art for me is a real driver; it propels us into the future. And at the same time, it's what connects us to the past, from a perspective of artistic evolution in which the succession of eras and styles gives meaning to creation.

For me, Warhol made so much sense.

And even being in the middle of it, at the LVMH group with Dior, there are certain parts of it that I'm just not really in, because it's not in me or my nature. The whole scene around it, the events, the photography ... It's never really been my thing. But I don't take a critical position on people who are very much about that either.

I'm shy, but not on a one-to-one basis. Over the years, I have become acclimatised to a bit of publicity.

I'm not an isolated person. The more I connect to people, the more I have the feeling that things work.

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.