I started with wanting to think about witches, about strong women who have special powers - who are often misunderstood. Then I found some beautiful blue fabric, so I made Blue Witches. My creative process is always like that. Organic, text, theme, subtext, each day evolving and trying to make strong, beautiful clothes. It's that simple.

I am kind of like the guide, the leader of this discussion. It could be from me, it could be from other people, it could be a mixture. It's a real sort of guild. I lead it and direct it and inspire it.

In Comme des Garçons, I hardly do any sketches; there's no fittings on bodies, there's no models that come in and say, "Oh, a little bit like this." In the beginning, there isn't even a theme. It's like getting the whole world at your feet - to empty your mind of everything that's ever happened before, to get an empty space.

In terms of creation, I have never thought of suiting any system or abiding by any rules. In this respect I have remained free. The necessity has grown, as we have gotten bigger, to think about commercial aspects of the business more and more, because of the responsibility we have toward our staff and our factories.

The freedom I give myself for the business is in deciding to take part in the Paris collections, but also having other retail strategies that are unlike anybody else's. Not necessarily going into malls, doing the business my own way - having different brands to cover different concepts, to be able to have the cash flow to carry on.

I identified very much with punk, not only in the fashion sector, but in every other sector. The very nature of doing something new and free meant something that was against authority.

What's good about many people liking the work is that when I want to collaborate or am interested in the synergy of artists working together, nobody ever says no to me when I ask to work with them.