It's one of my biggest internal struggles - the whole schooling system in London and the fact that my kids are going to a posh school. It freaks me out.
The photograph, the clothes, the sets - this was about 1974, and I started hanging out with my friend Richard Sold, who was playing in a band with Patti Smith.
I like to maintain my collection as a provocative collection that makes people think. While certainly my stamp will be visible on Black Fleece, it is meant for a wider audience.
When I was young, about 18 or 19, I read all the Dostoyevsky novels, which made me want to go to St. Petersburg. So I went, and I was so inspired.
I am not really brand-conscious; I pick out clothes that appeal to me regardless of the label, but I consider my style very American.
Using a forecasting company is like going to a fortune-teller. If you believe the company and the color does not sell, who do you blame? The forecasters? No, you blame yourself.
For my kids, I cook everything. We have dinner every night, pretty much, just the four of us: my husband and me and our two kids.
But the customer is the final, final filter. What survives the whole process is what people wear. I'm not interested in making clothes that end up in some dusty museum.
I do think that in order for a company to be interesting to the investment community, there needs to be a plan; there needs to be a bigger retail footprint. There needs to be this idea - DNA, lifestyle, words I hate.
For people that don't have any interest in the psychology of nuance, who need everything to be in their face, who don't want to analyze... those aren't the people I romanticize about dressing.
Ever since I was a little girl, I always loved fashion. I would watch my mother get dressed and suggest things she should wear.
I've always loved fashion so much and I didn't have access to the kind of fashion I really wanted, so I would do vintage shopping.
I realize I never stand out in a room unless I'm feeling balanced, centered and happy. It sounds really corny but it's very, very true.
I care about how you feel when you're wearing something, because I think that if you feel confident, you look beautiful.
I was raised in a very happy nest by very happy people, and I like to think that those are enough ingredients to make me succeed at Dior.
People who don't know me look at my world as something very hard-core, and I don't feel it that way. It's not what attracts me.
It is impossible to be completely abstract about clothes because they have no life unless they are worn. They must fit onto a body or they do not exist.
I would tell any aspiring designer to take the time to experience everything they can to really get a feel for what direction they want to go in. And most importantly, let your passion and your gut lead you.
Luxury is anything you don't need, right? I mean, you need food, water, clothing, shelter... but good wine, good food, beautiful interiors, nice clothes; those aren't necessities, they are luxuries - it's all luxury.
It's easy to impress me. I don't need a fancy party to be happy. Just good friends, good food, and good laughs. I'm happy. I'm satisfied. I'm content.
The '90s were extremely diverse, almost like a laboratory of the new century. There was much experimenting around, in politics, economics, gender and family structures, and also in fashion. There was a cloud of possibilities which kept us all dizzy.
