Born in New Zealand, Collette Dinnigan, 39, fell into fashion design and has gained worldwide success with her label, which started by selling bras and knickers. Her dresses have been worn by Angelina Jolie, Charlize Theron, Halle Berry and Kate Hudson. Dinnigan is the only Australasian designer to have been invited to join the exclusive Chambre Syndicale in Paris, where she shows her collection.

I've never been afraid of hard work, because I've always wanted to work harder than everybody else. I just wanted to prove to everyone that I could be successful. I dreamt of being a scientist or a marine biologist, but somehow I ended up in fashion.

My mother was very creative; she had a modelling agency and designed textiles, so I suppose it was in my blood. I moved to Australia to work in the wardrobe department at ABC television. Working on period-drama costumes influenced my work ¨C I started as a lingerie designer, then took it from underwear to outwear; pyjama pants became evening trousers and pyjama shirts became wearable blouses. The label started in 1995 in Paris ¨C the home of lingerie. Being an unknown designer from Australia and showing at Paris Fashion Week was thrilling.

My first show is still one of my favourites. We showed off the main schedule, which was fine for us, but some of the big names got quite upset because lots of journalists chose our show over theirs.

Barneys in New York was my first customer. Ironically, Australians wouldn't buy my collection; they thought it was just expensive silk underwear. Plus, in the mid1990s people wanted only clothes with designer labels stitched on the outside.

Putting on a catwalk show is not like producing a film; you can't just edit out the bad bits. The stylist doesn't turn up, there isn't time for a rehearsal ... it's a stressful business. You work solidly for six months for one moment, and then a journalist publishes something nasty. It's heartbreaking, but sometimes you learn from them.

I don't design for a certain type ¨C it takes the mystery away and makes the collection too obvious. I want my clothes to have longevity: I love the idea that they become heirlooms. It¡¯s not an easy industry: I'm one of the few designers who actually owns her own business. You know, everyone else is backed by a group or has a manufacturer or a partner. It's hard work, but I'm proud of what I do.

All my clothes pass ethical regulations in Australia. It's expensive, but I want to pass these ideals on to the consumer ¨C I don't want to have a bad conscience when I design. Youhave to be careful which factories you employ: you need to know what chemicals they use and how they dispose of their waste. The Western world cannot abuse a situation in a Third World country because of cheap labour. We work in India not because it's cheaper but because the craftsmanship is the best you can get.

It upsets me when I see a copy of one of my dresses on the high street because you wonder where it is produced. Australia has always been very environmentally aware. I had to recycle everything at school, and that was nearly 30 years ago. As a child I learnt that you can't use chemicals in your pasture because it destroys the potato crop next door.

A highlight of my life was in July 2000 when my clothes were shown at the Victoria and Albert Museum. I felt honoured. It was scary: I wasn't sure the clothes would be good enough. But I realised that they appreciated my craftsmanship. I opened a shop in London that year; I think I fell in love with the city.

Working in Australia does not make me feel isolated; it just makes me more resourceful. Plus, the fashion scene in Australia has really taken off. I don't know whether Australia is going to produce a John Galliano, but we have some exciting labels that are getting noticed internationally.

British girls like us because we tap in to the eccentricity of London. Because I have buyers all over the world, I notice how differently people dress in different countries. In Los Angeles everyone wants to look sexy; they love party dresses. New York is more business-orientated, and they love the showpieces. The Middle East is all about the long gowns and being really over the top. The Russians? They buy everything.