I dont want to show clothes, I want to show my attitude, my past, present and future. I use memories and future visions and try to place them in todays world.

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.

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.

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 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.

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

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.