I don’t take drugs because if I did I’d love them–I’d be a junkie. And because I’m Jewish, I’d probably be a dealer, too.
I have a problem to do a collection that is a secondary line. I mean, you don’t want to be the stepsister. You want to be Cinderella. Show me one girl who wants to be the stepsister.
After every show, I say to Hania [Destelle, a friend], ‘They hated it.’
What we want is clothing we think we can fly in. That's why I opened the show with flying dresses.
I spend my time backstage at the Lanvin shows, and when I come out at the end, all I see are people's eyes.
I'm not going into the cool club. It's not my address.
I was a fat child; I was asthmatic. No wonder I'm a hypochondriac.
My dream is to be a doctor. I'm almost working in a laboratory, because I'm trying new techniques, new directions and fabrics, new weaving.
When I'm traveling the world, I don't ever look anymore at the geography - just enough to catch galleries and paintings.
Almost every collection I do has 200 different references. I don't have two of the same coat, two of the same dress. I have it in one color, in one fabric. I've tried to adapt the culture of couture, and the know-how and the heritage, but I try to update it.
At Yves Saint Laurent, I felt like the son-in-law - like I was part of the family, but not quite. When I was fired, I felt like the widow.
All I want is beautiful. I mean, I like grey hair, I love wrinkles. But this is me.
For me, Lancome was more than just a brand. There was something very nostalgic about the name, about the whole story.
I love and respect women. I work mostly with women.
If you take something out of the freezer, it's cold, but what happens when it melts? It's a cool party, a cool person, a cool collection. What does that mean? I'm more interested in things that are uncool, things that have a certain individuality, a certain soul, a certain longevity, emotion, fragility.
A singer can quit once he or she has made ten great songs; a director can finish once he or she has made five amazing films; a writer just needs to write three great books.
For me, the sketching of dresses was about fantasy and dreams. In my little room at home, I felt that I was somewhere else. In Paris, for instance.
Women can dream at 9 in the morning and at 10 o'clock at night - it doesn't matter.
I like having the freedom to dress as I desire.
When I was either 7 or 8 years old, I did a sketch every day of my teacher and what she wore. At the end of the year, I gave her the sketchbook. For me, the sketching of dresses was about fantasy and dreams.
I've always said fashion is like roast chicken: You don't have to think about it to know it's delicious.
We are comfortable with formulas, but the best happens when the formula doesn't work.
The problem with couture is not designers; it's what happens when the couturier will no longer be there.
The big room or big suite doesn't mean a lot to me. It is what the people do or don't do that matters.
I know amazing people in fashion who are anything but fake. They are very real and very sensitive. They are happy and sad. They are loyal friends.
