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I was always attracted to taking a novel position, but one grounded in the materials I'd been given, not made up out of whole cloth.

Initially, it was the unpractical in fashion that brought me to design my own line. I felt that it was much more attractive to cut clothes with respect for the living, three-dimensional body rather than to cover the body with decorative ideas.

I've got a real sense of three-dimensional geometry. I can look at a flat piece of fabric and know that if I put a slit in it and make some fabric travel around a square, then when you lift it up it will drape in a certain way, and I can feel how that will happen.

I have always had a fascination about what's inside a human being.

I've always been passionate about geometry and the study of three-dimensional forms.

From the beginning I thought about working with the body in movement, the space between the body and clothes. I wanted the clothes to move when people moved. The clothes are also for people to dance or laugh.

All of my work stems from the simplest of ideas that go back to the earliest civilizations: making clothing from one piece of cloth. It is my touchstone.

I need human feelings to fit garments. I couldn't do it just, like, on an object - it's too close to our body. It's like a skin you are making, so you need one's feelings to make a garment.

I don't like to attach myself to material things.