Fashion is a way to transform yourself. By choosing your own silhouette and shape, you can constantly change who you are.
Christine and the Queens
I always wanted to be Romeo, not Juliet. Romeo is a much cooler way to be - Juliet's just up in a balcony, waiting.
My words are my sword.
On stage, I feel like I'm invincible, like nothing bad can happen. I can be myself. I feel like I shrink when I'm off stage.
For me, the male gaze is oppressive. And I hope if we are building a female gaze that it's inclusive, and it's about pure desire and not how I want people to look in order for them to be desired by me.
When you dance, you own everything you have. You are really in your own body. You do it with your muscles and your bones and your weight and your height - it's how to love yourself by moving.
Basically, when I like a song, I have to dance.
If I want to say I'm a man for three minutes, then be it: I'm a man for three minutes.
I use Twitter to be my best self: fun, dateable. I don't get paranoid with Twitter, only in real life. I write so I feel comfortable, not speaking.
I see theatre everywhere, actually. We're all kind of performing a version of ourselves every morning by choosing the clothes and how we appear - but the stage is so emphasising that I really feel comfortable in it.
I always knew I wanted to be a woman in men's clothing because I just feel good like that. I feel like I'm taking a different space: I move differently; I'm more at ease.
In real life, I feel tiny and quite embarrassed all the time. But when people come up to me in France and want to talk to Christine, it's okay. It's cool. Because they're really talking about themselves, their own Christines.
Male rock stars are sexy because they desire you first. I want to be like that.
I'm in love with artists that are really difficult to cover or to copy. You can only try to copy them, but you will never succeed because it's intertwined with really personal references and really personal ways to exist on stage. They are really strong individuals, and are writing their own songs and know where they want to go.
I remember growing up and feeling all the time not pretty enough, too rude, too loud, taking too much space because precisely I wanted to maybe be bossy and loud and unapologetic and not really smooth all the time, and those were not really qualities that were valued for me.
Tapping into a more masculine, macho culture, I got in touch with my femininity, but differently. Macho culture is also pride of the body and showing it off - a relationship to theatricality, to construction. It's about owning your narrative again.
I've always been the one who is more enthusiastic about Christmas than my family. I regress to a child state, chanting carols.
No matter what you eventually become - free, empowered - the lingering feeling of 'once an outsider, always an outsider' is very vivid for me.
Music is contagious and everywhere and democratic, and that's what drew me in. I was interested in acting and being a director, but one of the things that bored me about theatre was that it was not accessible to everyone.
For some people, it's impossible to escape binaries.
Every masculine hero narrative I could find I wanted to steal for myself and twist to my size.
I'm not a pop star. I don't feel like one. I'm always joking that I'm actually an eight-year-old boy dreaming about being a pop star.
I've always really been interested in observing people's postures, the way they speak with their hands, the way they communicate things with their body language.
I'm going to redefine what it means to be sexy, and it's going to be creepy as hell. Because I could never do the 'sexy' way of being sexy.
For me, everything is a performance.
I love the idea of constantly altering yourself.
I love when I dive into lyrics that give me human complexity and intricate narrative.
It's always odd to me when people say, 'Where does Heloise finish and Chris start?' It's the same thing. I'm just putting a theatrical form to my expression.
I love people who go on stage and blossom like a weird flower.
When I have to take phone calls, I start to sweat and panic. Being on the phone is so weird - hearing a voice without seeing the face so you can't really know the intention behind the voice.
I love trying to match a really hard expectation.
I don't remember my 20s as a good place.
Queer is about intense questioning that can't be made nice and glossy.
Festivals are happy places, and you don't really want to enjoy them on your own.
My whole life is queer.
I'm kind of resistant to being told no, not being wanted. It fills me with energy.
Because I'm experimenting so much with gender-bending and listening to everything that happens to me in terms of genderless energies, I have a hard time finding partners that can match me.
I'm kind of an obsessive person, and touring is repetitive in the best way.
The success of the first album was almost an anomaly, and it could remain a fantastic anomaly. It was not crafted for commercial success. I remember meetings with my label saying it had no radio singles. For me, the second album was a gesture of independence.
When the image that I built around the first album was crumbling, it was scary: the risk pays off, but the resonances of that risk are not always easy to deal with.
The gender question has always obsessed me.
That's part of what made me interested in theater as a kid. It made it acceptable to be a man for an hour onstage.
I invented Christine as a survival technique. I was inspired by the idea that everyone could have a Christine inside to wake.
I wanted 'Comme si' to immediately indicate that something changed in my life, mainly because I became the hero of my own desires instead of just dreaming about them.
When you write, you don't really think of how honest you are being - it's only when you record that you understand how much of yourself you're giving.
I have Googled so many things related to possible diseases, and it's always ridiculous. Like, 'My toe is hurting. Do I have cancer?' 'I have a scratch in my eye. Am I going to die soon?' 'Is eating a soup going to make me die?'
I love funny women.
I'm terrified of dying because of everything being too unfinished. I would be happy being a ghost.
I've always been obsessed with being on stage and putting shows together.
That's pretty much how I feel on stage, like I can let go of all kinds of baggage, or even disappear and change outfits. I want to remind people that they can grant themselves the license to do the same.
