I dont want to show clothes, I want to show my attitude, my past, present and future. I use memories and future visions and try to place them in todays world.
I'm usually very attracted to things that I can't define. If something's too clear, it's very often not inspiring to me anymore.
I’m very attracted to things that I can’t define.
The future, for me, is romantic, I don’t understand people who say the past is romantic. Romantic, for me, is something you don’t know yet, something you can dream about, something unknown and mystical. That I find fascinating.
The fashion world doesn't know the word stop, so you have to make sure there are sublime moments every day.
When it's only clothes, that is not satisfying enough for me. I don't think I could do this for 10, 20 years if that was all. It also has to be about a psychology or a mentality or a concept.
I'm a designer, and for me, things are always evolving, and such evolution is necessary.
I'm not so rock and roll. I'm more techno.
Fashion has a long interest in collaborative situations.
My whole life, I've always had to be surrounded by creative things. I find it relaxing to be in touch with creations by other people.
Unlike fashion, art isn't applied. It doesn't have to serve anybody. It doesn't have to be there for any other reason than to give an impression of what the world is about.
In fashion, general people will look to the piece itself. [Some designers] concentrate on, 'How can I make this seam look special?' or 'What am I going to do with that button so it looks interesting?' I am not interested in that. At the moment, I am more interested in the shape and the form. I have a big desire to make clothes without defining them.
Fashion is such an octopus. You're connected to so many people: suppliers, pattern makers, production teams, marketing teams, vendors.
Camouflage is about much more than concealment and going unnoticed. There's a whole game involved between revealing and hiding.
Becoming a fashion designer is agreeing with the fact that what you experience or what you see as free is also connected to a system. Does that mean giving up your freedom? I still don't know the answer. There's a very different kind of psychology going on in the fashion scene than in art.
For me, Warhol made so much sense.
I find it fascinating to see the fact that women want to buy things that they see on men.
Contemporary art for me is a real driver; it propels us into the future. And at the same time, it's what connects us to the past, from a perspective of artistic evolution in which the succession of eras and styles gives meaning to creation.
Both costume and fashion are about telling a story, except that in a ballet the story has already been written by the composer or the librettist.
I wanted an idea of the future, a new femininity. I wanted you to feel that you wouldn't quite know where these women were coming from and where they were going to.
I'm very scared sometimes that fashion might attack its own magic by the amount of exposure.
If I see a fashion show with literal influences, it doesn't make me think any more. It doesn't make me dream.
My aim is a very modern Dior, but at the end of the day, I also look back.
I know this independence is what people like most about my brand.
I'm not an isolated person. The more I connect to people, the more I have the feeling that things work.
