I tried to never exclude people. I know what it means to be left out.

If you buy a Cartier ring you want people to know it is a Cartier ring or a diamond, or a piece of art that's giving an emotion - then people read it and say, "wow that's really amazing". With prêt-à-porter you see people in the street, in a club, in a restaurant or whatever, and you think, "Oh my god, he's wearing my trousers!" In a way it's more open - people can put together the way they want - mixed with other designers.

I'm very well off but I can stay with normal people. I can do a super-luxury life, but I can do a very normal life and I'm not scared.

When I arrived here at Givenchy, there was a lot of confusion. Before me, there had been some great geniuses - John Galliano and Alexander McQueen are great masters. They marked history. But when I came in after Julien Macdonald, it was also a bit of a mess, because not even I could understand what the true identity of Givenchy was. Everyone thinks that it's only Audrey Hepburn, but there is a whole other world behind it.

In the beginning I didn't want to do a menswear collection. It felt a little forced. And then I found that it was an amazing world.

Sex is something I live very well, but it is something I revealed very slowly in my fashion. What I do is emotional. For me, there is a base, which is my Italian roots. It's a strong passion for fashion, a passion for sensuality and dressing for one's self.

Even at the beginning when I arrived at Givenchy, there were certainly people who supported me, but not everyone loved me. They were saying, "Why an Italian who acts Gothic?" Never mind the fact that Italy is one of the main exhibitors of Gothic art in the world. But it was like, "No, Italians should only do sexy!"