I'd experienced the '40s and '50s by looking at my grandparents' old clothes, books, and magazines.
But the Milanese have made bad choices, bad fashion, and bad jewelry.
The notion of time bothers me. You look at thirty-year-old photographs and realize how the time has passed.
That was the idea behind glam clubs like Seven and The New Eve. You could eat and dance to live music. To enter you had to descend a grand staircase.
There's always some kind of hidden logic.
My first time in England, in the '60s, the interiors were somehow familiar to me, probably because of the books I'd read and the images I'd seen.
The idea of seeing everybody clad the same is not really my cup of tea.
But it seemed like the more we advanced, the more the future looked impossible, making us return to the more radical times in the past.
They say that the best furniture and clothing design from the '50s and '60s is Scandinavian or Milanese.
I translated Beatles songs for my English class.
We all look for lost time.
Much later, designers like Dior and Saint Laurent recreated styles form the '30s and '40s.
French design hardly exists, except as artificial modernism.
There are days when I'm completely depressed and able to do only one drawing.
In Italy, the Milanese are well organized but follow bourgeois taste. They adhere to certain codes of elegance, but not to individualism.
The Paris store Colette is successful because it's a filter for things that are made elsewhere. It's the kind of store France needs.
Italy is a divided country without a center.
Going out in Paris was like going out in the '30s dressed like the Andrews Sisters. It was everything I'd seen in books at my grandparents' house, only it was our generation.
For fifteen years I've had Swiss clients who tell me that it's a mystery how the French react to their own artists, especially the painters.