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.

I have so much respect for John [Galliano]s technical skill and the fantasy, its just something that I dont find relevant now, especially when it restricts a woman, because in every other area they have so much freedom.

I’m very attracted to things that I can’t define.

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

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

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 own show with Sterling Ruby, for example, seems like such a huge disconnection from Dior couture, but then I think, yeah, in both collections there was a very strong focus on the human hand and the actual work of people making garments. So in that sense, they were completely related. But I didn't realize that during the process.