I love writing, I love acting, going onstage and doing my little one-woman show, and I refuse to be defined by a number, by an age. I think that’s terribly old-fashioned and not relevant in today’s world.

But you have to be resilient in this business. Rejection is a part of it. I look with dismay at so many of my fellow actors, fallen by the way because of drink and drugs. My father — he was a theatrical agent — instilled in me that I should develop skin like a rhinoceros, and be like a marshmallow on the inside.

You also need patience. This business is a waiting game. For example, a script was written for me about the Duchess of Windsor [Wallis Simpson]. I’ve been wanting to do it since the 1980s. We got a green light only a month ago. Years ago I thought it would be wonderful to do a picture about growing up with my sister, Jackie. It just hasn’t come off.

It would be set when we were children, during the Blitz. At the time I didn’t feel fear. I didn’t know about the bombings. We would pick up shrapnel in the streets, and in the evening I would put it in my cigar box. We would draw silly pictures of Hitler. We were evacuated 10 or 12 times. We would be in the tube stations, and people would be playing their harmonicas and singing.

For those of us who grew up in the shadow of war, ambition was something natural, a vital drive. It was not so much a desire for fame and notoriety but rather an urge for personal fulfillment, a way to assert oneself outside the hardship and to overcome it. My mother and father taught me the value of commitment and hard work to get things done. It is a lesson that has never left me.

It took me some time to find my way. First, I studied medicine, then came La Rinascente [an Italian department store, where Armani worked in display] and Cerruti — fashion, in other words. That was the moment when I found my ambition, when I discovered the power of clothes not only to change the way you look but, more profoundly, to influence the way you are and behave.

I think the challenges — or problems — and the rewards of staying in the game go hand in hand if you do this work for as long as I have and if you remain present. The main pressure is staying relevant without giving in to the pressures of the moment, which often feel very urgent but are forgettable in the long run.

In truth, I don’t think about age much. In my head, I am the same age I was when I started Giorgio Armani. Situations and people change, but the challenges and problems are all the same in the end. My way of tackling them hasn’t changed — with great determination. Audiences evolve, however, and this cannot be underestimated. Stylistic coherence, therefore, must be elastic. Otherwise one becomes rigid. The ultimate gratification is to become a classic — outside of and above fashion — and to be identified with a style.

Being raised during the Depression, we all learned to be creative with what we had on hand. At Christmas or on my birthday, I always got art supplies, and I was jealous that my siblings got bikes and stuff. I realize now that my parents were fostering my creativity.

An early influence on my becoming an artist was Simon Rodia. My grandmother lived in Watts, and we would walk by the Watts Towers when they were being built. I was fascinated by how he used bottle caps and corn cobs and broken plates — trash, essentially — to make art, to make something beautiful. Then, much later, in the 1960s, I saw the work of Joseph Cornell. He refined the use of found objects and materials and boxes, and I thought, “Wow, I’ve kind of been doing that, too.” I didn’t know it was called assemblage, but it made sense to me and set me in that direction as an artist.

The main challenge, I guess, to being an artist is how to make a living. But being a creative person means you have to find ways to do this. I studied design at U.C.L.A., and after I graduated, I made greeting cards, I made jewelry, I got into printmaking and then sold my prints. I taught art classes in colleges all over the states. My creativity kept evolving with my needs as I got married and bought a house, had my daughters and put them through college. Through it all, I loved making art. It kept me going.

I still want to make art. Sometimes in the morning when I wake up, it’s hard to get out of bed, hard to get back into my body and get it to move. But I do it. Not everyone has a reason to get out of bed, something they love to do and that gives their life meaning. I am so lucky that I have that as part of my life. I don’t really think about my age, unless someone mentions it, though I guess I feel middle-aged — which for me is, like, 50 to 70. It would be kind of neat to live to 100, to have 100 revolutions around the sun. I’m pretty close.

This year I made time to grow the best vegetables, monster vegetables, that I’ve ever grown in my life. My houses are never done. And I’m writing my autobiography. That’s the scariest project for me because I don’t really like everything about myself — where I’ve been, what I’ve done.

I get up at 6:30 every morning. My housekeeper comes at 7, and I can’t be in bed when she arrives. That would be very embarrassing. I’m a bad sleeper, in any case. At times I’d rather watch a documentary. Other times, I might be anxious, not for me but for my grandchildren. If I wake in the night, I read the headlines to make sure we’re not being bombed.

Maybe a little uncertainty can help fuel ambition. When I left my job on Wall Street, I knew I had to create a career for myself. I became a caterer, catering parties every night. Still I thought, “Will there come a time when my granddaughter — she’s 12 — is asked, “What did grandma do?” And all she can say is “Oh, she made parties for people.” I thought, “I have to do something more than this.” That was in the 1980s, when I wrote my first book, the one on entertaining.

At that time I wasn’t keeping my eye on the home, even though I was known as a homemaker. It wasn’t enough for a marriage. Maybe I regret not having had more children. Maybe I regret that my marriage ended abruptly. We’d been together 27 years. That used to be considered a long time, so when a long marriage ended, it was like somebody died. Maybe I would have liked getting married again. I didn’t, but I don’t mind. Still, I’m curious about what could have been.