I'm happy when I see a girl on the bus, or on the street, and start wondering about her. Sometimes I see a woman and I ask myself: Who is she? You want to know what her job is. Who she is? You start fantasizing. There's a certain aura, a certain charm that we try to reproduce.

It's very difficult to do street casting with girls, because a beautiful girl in real life won't necessarily have the silhouette or the presence needed for a show.

Fashion has always been nourished by the past. At the end of the day, where the inspiration comes from doesn't matter. It's what you do with it. How you treat it, how you translate it into a contemporary wardrobe. You put it in a shaker.

I am made of endless hours. Not just split seconds.

It's a completely independent atelier and company. We develop the prototypes here. There's a pattern maker, a sample maker, a commercial team, a head of sales, an in-house production team. That's the price of independence. And in the studio I work closely with Sarah-Linh on the collection, and Nao takes care of development.

I don't like clothes that constrict. The idea is that they should accompany and help you. There's nothing superficial about getting dressed. Clothes can give you self-confidence and help you be yourself.

We have a direct contact with our clothes they're like a little house. You have to feel good and at home in what you wear and. I think that's elegance. Chanel said something like: When a woman is badly dressed, one sees the dress, and when she is well dressed, one sees the woman. That's what I'm talking about.