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

I always try to connect with what's happening in the world-reality, modernity, the 21st century, all that - and with Jil it started to feel very disconnected from the outside and how women were looking at fashion, experiencing fashion, interpreting fashion.

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."

My dad only ever talked about two things: bicycles and Mercedes.

You do what you do. Or you do what you have to do. I don't know how to explain it better. I think that in the moment, you can't see connections, but sometimes afterwards you do.

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.

My whole life, I've always had to be surrounded by creative things. I find it relaxing to be in touch with creations by other people.