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 do the final fitting because the client wants me there. They're not spoilt, they really understand that you're very busy, but they just want you to say what you think - for just ten minutes. They really want to know your opinion because it really is a service at the end of the day, a luxury service.

In the beginning, I was very punk. I was very revolutionary. When they asked me to do Givenchy, I didn't want to do it. My friends pushed me. But the situation with my family was so bad financially. I really did it because, when they told me how much they would pay me, I saw that my sisters and my mom could have a better life.

I always think about the streets because that's where I come from and that's where I'm going to die one day. That is my life.

There are some people whom I esteem and want their opinion first, but that's my way. It is difficult for me to delegate. In the end, I do have two or three people on my team who I listen to.

I remember that my sisters gave me this beautiful, like, empty book for Christmas. And I would draw all these beautiful women. Most of the time it was mermaids and a Minotaur: half human, half animal. I used to be obsessed with Minotaurs when I was a child.

I've always been obsessed with things that are half animal and half human - like mermaids and Minotaurs - because they are trapped in an animal body. And I felt trapped in my own life.