I don't find it difficult anymore, because these days, Raf is only men and Dior is only women. I found it much more complicated when I was doing Jil Sander for men and women. It wasn't that it was the same, but I'm specific about where I want to go, and when you suddenly have to do two men's collections in the same moment, that was more difficult.

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.

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

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.

The Dior heritage is so broad. It has a strong presence in the work. So, when people have to define it quickly, it's, like, the Bar jacket and the movement and the luxury and the Belle Époque and so much more.

I find it fascinating to see the fact that women want to buy things that they see on men.

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."