In the design process, there's a need to be culturally comprehensive.

My office looks very empty compared with my house. The house is completely crammed full with things that Patrick and I love. It's very eclectic. There are things that have no value but which we like. We have a lot of Belgian painters; we have international painters. We have nice things; we have ugly things. I don't want that things are predictable.

I'm known for color and prints and embroideries.

When we were studying at the Royal Antwerp Academy, we were taught to seek inspiration from everyone, everything and everywhere. My parents and grandparents were also a great inspiration for me a very young age.

When I have to do something fast, I wear the most unflattering rubber pants over my pants and a big easy sweater. I can get on my knees in the garden in whatever condition, and when I'm done, I can take it off, get in the car, and drive to the office. It's the most practical thing.

I make clothes people can wear; I don't make art.

I'm a very big fan of winter-flowering shrubs and bulbs. You have the smell, you have the color - it's really like a present from God when something like that is in flower in the middle of the snow.

I'm a fashion designer, not a shoe designer. I like to design clothes.

To create a collection, you need a narrative - an explanation to tell the team.

Various different people have inspired me throughout my career. From Francis Bacon to Vassareli, Coco Chanel to Christian Dior, Cecil Beaton, musicians, architects... the list is endless.

I think by my father owning a store, I was definitely aware of the commercial aspect of selling clothes. His shop was a place I enjoyed spending time in as a boy, so I learned things almost by osmosis at times, by literally just being around all the action and not really despite myself.

I prefer to see a good exhibit sponsored by a brand than a bad exhibit due to lack of funds.

I have a responsibility to the people who work for me, the manufacturers I work with. There is no point to clothes that don't sell.

When I get very stressed, I make jam. I like things that produce a quick result, because fashion has such a long lead time. With jam, you start, and two-three hours later, you have 36 little pots, all full.

I prefer ugly things. I prefer things which are surprising.

Fashion shows are really my way of communication.

I have nothing against glamorous dressing.

One of the big luxuries of being in Antwerp is that I can easily walk in the city. In Paris and New York, I am more recognized.

My childhood was very, very, very, very traditional.

I love the journeys of research and discovery their development takes me on. I see prints as less 'decorative' than many might, and more fundamental to a garment's core.

I'm really hands-on. My team brings in elements, but, every season, it's kind of a personal struggle to find the balance and to see how far I want to push the elements.

I don't design for myself. I design something keeping in mind that it has to please a lot of women.

I was a kid at the end of the 1960s and in the early 1970s, so a lot of things changed. You had pop music coming up, with David Bowie, you had new television programmes and all these things. I was fascinated.

I try to be as independent as possible.

For me, restrictions are not always negative. Restrictions can push creativity. I like restrictions.

I prefer a scruffy atmosphere.

I like to choose my own way forward. I really do want to create something that I personally like a lot.

For me personally, there's too much fashion around in this world.

I collect objects I fall in love with more than antiques per se. Value is not a criteria that attracts me to something.

For breakfast, I usually have a slice of bread with some homemade jam made from fruit from the garden; the type of jam depends on what particular fruit is being harvested. I learned how to make it from my mother.

For me, a show is an event - something we work toward that focuses an idea.