I think maybe that as time goes by there will be more newness but because I was part of what it was before it's not like coming into a house and saying it's all about me. I don't feel like that. It really is all about McQueen and the things that he was trying to say and about moving that forward, making it relevant, making it desirable, making it into what people want to wear.
I've been influenced by some of the greatest designers. Charles Eames. And Bruno Munari in the '50s in Italy - when they had to retool the industry of war into an industry to help society. In a way, I'm influenced by designers that were there at a radical time of change.
And somewhere in heaven, Versace sheds a single, perfect tear.
The only one who is alive today and still being talked about is Pierre Cardin.
I always have separated myself from my critiques of collections. My judgment is not about whether I would wear it - but how the collection stands in the lexicon of an established designer. As I am a maximalist, not a minimalist, I don't wear Armani or Celine - but I so appreciate what they have achieved.
Alexander McQueen's heartbreakingly premature death, at the height of his creativity and influence, has robbed the fashion world of a soaring and unique talent.
My aim is a very modern Dior, but at the end of the day, I also look back.
I think there's a sort of agony with all intelligent and very creative designers that it's only fashion, that in the end it's only the decorative arts. I had a feeling towards the end that Saint Laurent and Berge were very keen to attain that immortality that a lot of designers long for. You know, those endless exhibitions.
When I'm dead and gone, people will know that the twenty-first century was started by Alexander McQueen.
The Dior heritage is so broad. It has a strong presence in the work. So, when people have to define it quickly, it's, like, the Bar jacket and the movement and the luxury and the Belle Époque and so much more.
The media is looking every season for a designer to tell a story. I have a long story I have to tell, continuing fluently year after year.
I have a great admiration and tenderness for Azzedine Alaia. I haven't seen him in a while, but I guess he must be still sewing some dresses at night.
I hope people will say, 'Mr. Valentino, he did something for fashion, no?'
