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

Fashion has a long interest in collaborative situations.

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."

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.

Sometimes it’s more a matter of collaboration which matters in a collection.

I think it's different in fashion, because even if I would be an outsider, I would still be in the middle of the whole world of contemporary fashion. But it's interesting to think what outsider fashion could be. Does it mean to be completely disconnected from the regular system or just disconnected style-wise?

When it's only clothes, that is not satisfying enough for me. I don't think I could do this for 10, 20 years if that was all. It also has to be about a psychology or a mentality or a concept.