The couture client wants the latest things, but she wants the clothes to be super-special - the fabrics won't even touch or go near anything like prêt-à-porter.

I like when a man has one strong accessory. If it's a watch, it has to be major. If you have strong shoes, it should just be the shoes. I don't like when a man is overdone-that's just bad taste. Coco Chanel was always saying you have to watch yourself in the mirror, put on a lot of things, and then take them off. I think it should be that way for men as well.

If I am in fashion, it is really due to very few designers that I admire - not because I don't like the rest, or that the rest are not beautiful, but because I am very selective. I adore Versace. I adore Helmut Lang, despite the fact that it's over.

It's super-essential. Even though I don't have a very big team, for me, the word muse may be démodé or not. I adore it, but I am also one, in my delirium, to be quite classical. For a designer - especially a male designer - he absolutely has to have that female voice by his side, which he listens to, he filters, he digests. It's a huge need, because when you see through the eyes of a man, you see a woman a certain way, and how they have little tricks of their own.

I am super-Italian, not even European - Italian. And this is very precise. It's like houses. Over time they stabilize themselves in the terrain. I am still at the first step of a long staircase.

When I was 12, I used to dress as a woman in the house. At the time, cross-dressing was a big taboo in Italy. It was better to have a son who was a drug addict than a cross-dresser.

My first stage was couture. Boom. Couture. It has changed because women have evolved. Back in the day there were princesses. Today, there are still princesses, but she no longer rides around with horses and a carriage. She parties, she goes on vacation, she goes on boats. She wants to be dynamic. I understood this and I kept going. We do prêt-à-porter, men's, and couture.