There are no limits - I endeavor to make clothes that didn't exist before.

Not only in the creative world but also in the sports world. The most successful achievers in sports are people that are really driven and have that spirit of hunger.

In the '70s, if anything, it was a more interesting time in fashion. It was a time when things were changing, especially in London.

I'd rather [the collection] have no title. Journalists like titles. That's why I give them to you.

The first thing we do is sit around a table and discuss what we could pick up from daily life, from space. That's how it starts, completely abstract. There's no kind of, "Oh, let's do Peru," or "Let's do pleats," you know?

What I want to express is a feeling-various emotions that I am experiencing at the time-whether it is anger or hope or anything else, and from different angles. I construct a collection and it takes concrete form. That's probably what appears conceptual to people because it never starts out with any specific historical or geographical reference. My point of departure is always abstract and multileveled.

If I do something I think is new, it will be misunderstood, but if people like it, I will be disappointed because I haven't pushed them enough. The more people hate it, maybe the newer it is. Because the fundamental human problem is that people are afraid of change. The place I am always looking for-because in order to keep the business I need to make a little compromise between my values and customers' values-is the place where I make something that could almost-but not quite-be understood by everyone.