Simple syrup doesn't taste like anything.

I live and die by my SodaStream. I love sparkling water. When you're eating all the time, the bubbles are nice to help settle your stomach.

I was raised by my Depression-era grandma who taught me to use what you've got: Waste not, want not!

Whenever I get in a car and I'm going to or from the airport or the train station, I put on a TED Talk using the TED app. It makes the trip go by super fast, and it fills my sails.

When I first opened Milk Bar, I was also making desserts for the Momofuku restaurants. I will say that by day three or day four, I realized that operating a bakery was so different from operating a restaurant.

Fashion is a way to transform yourself. By choosing your own silhouette and shape, you can constantly change who you are.

Queer is about intense questioning that can't be made nice and glossy.

I don't remember my 20s as a good place.

For some people, it's impossible to escape binaries.

The way I dress definitely helps me embody and actually change my way of behaving and feel more confident.

My words are my sword.

Dancing, for me, is like a second language. It's the best way for me to get out of my shell and be expressive in a very personal way.

I love people who go on stage and blossom like a weird flower.

For me, everything is a performance.

I know that a song is working when I can properly dance on it.

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.

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.

I remember writing '5 Dollars' out of intense listening sessions of Bruce Springsteen. I don't know if it's obvious, but I was obsessed with how limpid Bruce Springsteen's melodies are: It's such a great way to do storytelling and to still be melodic and catchy.

Gendered performance is just constant theater.

I always wanted to be Romeo, not Juliet. Romeo is a much cooler way to be - Juliet's just up in a balcony, waiting.

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 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.

Every masculine hero narrative I could find I wanted to steal for myself and twist to my size.

I love sensual women like Beyonce who are very empowering and sexy at the same time, but if it's not what you want to do then you have to say no.

Festivals are happy places, and you don't really want to enjoy them on your own.

I love trying to match a really hard expectation.

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've always been the one who is more enthusiastic about Christmas than my family. I regress to a child state, chanting carols.

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.

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.

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.

No matter what you eventually become - free, empowered - the lingering feeling of 'once an outsider, always an outsider' is very vivid for me.

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.

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'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.

Typically, in France, someone in my position should keep their mouth shut. I'm an entertainer, operating in the realm of pop, and it's often looked down upon for a pop artist to take a stand, to have convictions or opinions. But I don't think the two are incompatible or mutually exclusive.

I think I used Christine, who is my stage character, as an excuse to finally be myself, as if I needed to say, 'Oh this character is going to be the woman I wanted to be.'

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.