Quotes of All Topics . Occasions . Authors
I prefer a scruffy atmosphere.
I have nothing against glamorous dressing.
Change is not always bad. Change can be good.
Enjoy your life, fashion is not that important.
I'm known for color and prints and embroideries.
Fashion shows are really my way of communication.
I make clothes people can wear; I don't make art.
My childhood was very, very, very, very traditional.
We always say that fashion is a reflection of our times.
I prefer ugly things. I prefer things which are surprising.
Coincidence is important, the convergence of different ideas.
In the design process, there's a need to be culturally comprehensive.
I'm a fashion designer, not a shoe designer. I like to design clothes.
For me, a show is an event - something we work toward that focuses an idea.
There are boys and girls, there is night and day, but above all there is love.
Our role is to dream and inspire rather than collude in impacting the reality.
To create a collection, you need a narrative - an explanation to tell the team.
Clothes is just something you put on to cover yourself... fashion is a way to communicate.
I prefer to see a good exhibit sponsored by a brand than a bad exhibit due to lack of funds.
All my collections are very personal. It's also because I'm so involved in making the collections.
I don't design for myself. I design something keeping in mind that it has to please a lot of women.
For me, restrictions are not always negative. Restrictions can push creativity. I like restrictions.
I think in the same way when I'm cooking, when I'm gardening, when I'm choosing fabrics. It's a way of living.
I collect objects I fall in love with more than antiques per se. Value is not a criteria that attracts me to something.
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.
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.
The word 'fashion' I don't like because fashion is something that's over in six months. I'd like to find a word that's more timeless.
Picasso took scraps of wallpaper, and instead of using paint and a brush, he used all the existing elements which he made his artwork with.
My partner, Patrick, and I live in an old house in Belgium that was built in 1840 and is out in the countryside between Antwerp and Brussels.
I look back on shows now that I thought were good, and I don't like them so much anymore. Or criticism I didn't understand or agree with now makes sense.
Many a fashion designer's career was founded using packs upon packs of Polaroids, and though we love them, we forget that the image quality was often circumspect.
In the 1980s, I was quite well known for my knitwear, and a lot of inspiration came from carpets, where I found ways to use structures and colors and depth of colors.
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 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.
For me, it's really like, okay, if you go far with the unexpected materials and unexpected proportions or volumes, then keep the colors quite simple and straightforward for men.
I'm part of the fashion system, but I don't want to follow all the rules. I don't want to be contrarian - I just want to do my own things, which are most honest and correct to do.
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.
A few years ago, maybe it was more strange to be outside of the centers of fashion. Now, with the Internet and traveling that you can do, I think I'm more central than some people in Paris.
I like it when you have something happening by coincidence. Just something in a book is enough. But I prefer a fragment of an image so you are far more free to bring in elements of your own.
The garden is my second profession. It's 22 hectares, which is a big garden. I really need it, going from the flower garden, the shrubs and the trees, the vegetable garden, all these things.
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.
Sometimes, to stimulate your imagination you have to be careful you don't have too much information. You can Google something, and it's in your face, pow! You don't have time to dream any more about it.
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 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.
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.
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.
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 at a very young age.
I have my own office, and I'm there during the evenings and weekends. But during the week, I'm sitting in the middle of my studio, talking with everybody, deciding together every detail, every pallette, every yarn, every colour.
People get this very romantic vision of a fashion designer who in one night makes 25 sketches and in the morning throws them on the table and there are a lot of women in white aprons with the pins on the lapel and they start to grab the sketches and... It's not like that.
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.