Quotes of All Topics . Occasions . Authors
The age in which we live, this non-stop distraction, is making it more impossible for the young generation to ever have the curiosity or discipline... because you need to be alone to find out anything.
I’m not like most designers, who have to set sail on an exotic getaway to get inspired. Most of the time, it’s on my walk to work, or sitting in the subway and seeing something random or out of context.
I'm not like most designers, who have to set sail on an exotic getaway to get inspired. Most of the time, it's on my walk to work, or sitting in the subway and seeing something random or out of context.
If you look at the world today, there are as many solutions as there are problems. I think that is a big part of creativity. That's why I started Urban Zen. Because I wanted to dress and address people.
When I first started designing, all women were dressed like men, and I said, 'Hey, guys, let's be women, put the two together - it's not either/or. Let's celebrate our bodies. Our bodies are different.'
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.
The biggest challenge and the thing I find most enjoyable about being a designer is taking everything in and assimilating it for your perspective, hopefully making it relevant and interesting to people.
China approaches fashion with strong enthusiasm. And I believe that this enthusiasm can be translated into something interesting, economically speaking. Not only for my brand, but also for other brands.
I discovered Los Angeles in the late 90s. The city was not at its best at the time, but I fell for it right away. There is something almost haunted about it, a vibrant mythology I find rather inspiring.
I think my love of form is especially informed by my background, whether this is creating a wonderful silhouette in a dress or finding the perfect shape for a bowl or the 'just so' angle of a table leg.
The biggest lesson that I've learned is that fashion is this tightrope where you have to be consistent but inconsistent. You need the connective thread but at the same time you need a sense of surprise.
Women often don't want to admit that they like fashion. And yet fashion enthralls everyone, from the taxi driver to the mega-intellectual. I have often asked myself why this is. I don't know the answer.
I don't like it when a woman looks like a fashion victim. Some women think that if the look this season is minis, they have to wear minis. If you don't have great legs, there are plenty of alternatives.
Knowing yourself, and learning to love yourself as you are, is the beginning of beauty. I think the most important thing is to show off what's most beautiful about you and to hide what's less beautiful.
I wanted a maternity dress, but I couldn't find anything I liked. Everything was abominable. So I made one. Then I made a pullover. 'Elle' put it on the cover. Then WWD elected me the Queen of Knitwear.
A lot of the things I did - it's not going to sound anything but egotistical - if I'm lucky and I did the right thing, they will be at Zara way before I can get them in the store, and I don't like that.
Shorts are practically a uniform in every woman's closet. Tailored shorts are okay for running around, and if you're 18, you can get away with cut-offs. But it's very easy to make a mistake with shorts.
Very few designers today design - it's very important to be able to do your own sketch on paper and then explain [your vision] to the fabric cutters. Instead, lots of designers drape - it's the new way.
We have got to change our ethics and our financial system and our whole way of understanding the world. It has to be a world in which people live rather than die; a sustainable world. It could be great.
I've always been intrigued by cutout silhouettes. They are so intriguing, so poetic-the shadow of a soul. They tell everything about a character and they are open to be filled with one's own imagination.
If you are an investor, I hope that you will stay with me for three, four, ten years. But if you ask me to make profits in ways that I have to change my allure, I won't do that. I won't lose my identity.
Black is the most slimming of all Colors. It is the most flattering. You can wear black at any Time. You can wear it at any age. You can wear it for almost any occasion. I could write a book about black.
I'm like a little kid when it comes to music. I mean, the music is always blasting wherever I am that people always knock on my door and say, 'It's too loud!' But I think music gives so much inspiration.
Some men look great unshaven; others just look like they forgot to shave. Beards and mustaches can be really distinctive if you go for an earthy, rock-and-roll look like the Kings of Leon or the Killers.
I discovered Los Angeles in the late '90s. The city was not at its best at the time, but I fell for it right away. There is something almost haunted about it, a vibrant mythology I find rather inspiring.
When I close my eyes, I still see things no one should ever experience: a bright red light, the black cloud soon after, people running in every direction trying desperately to escape - I remember it all.
There's a lot of fashion that I don't respond to and I just walk on. I always look for things that make me happy, and in my work, all I'm doing is trying to convey that joy. Fashion should always be fun.
Everything I do with BLK DNM is more personal than anything I have done before. I've worked hard to go deeper in my true intuition, and therefore I am definitely more pure in my personal taste than ever.
People who do a job that claims to be creative have to be alone to recharge their batteries. You can’t live 24 hours a day in the spotlight and remain creative. For people like me, solitude is a victory.
Let me give you an idea of Fifties Britain. The war had ended ten years before, and most people had returned to their gardens and allotments hoping life would revert to how it was before the hostilities.
People always think that designers hate each other. And we're certainly a competitive lot, but we also enjoy each other's company. No one else knows what you're going through other than another designer.
It's so great to see a woman dressed in jeans and a lace-up boot with an extraordinary jacket. It's a moment where you do want to mix high and low, and it's not so much about a head-to-toe designer look.
It was mainly a growing farm, although we did have chickens and a few animals, but I did help to some degree with that. I have to say that it was not my favorite association.I did what I was asked to do.
The environment itself was culturally a vacuum, in that there was simply nothing that would inspire me in the arts. But my parents were always very supportive of anything that I explored or wanted to do.
Fashion has always had the ability to affect lives, to touch people. But for the longest period of time, we've said, 'Oh, we're just pages of a magazine; that's what we all look at.' It's more than that.
My own brand will stand or fall because of me. Dior won't fall if I fall. It will also still stand if I'm not there. I'm coming in there, and it's like a - I don't know the English word - like a passage.
My approach is simple. It is nothing other than what I am thinking at the time I make each piece of clothing, whether I think it is strong and beautiful. The result is something that other people decide.
As a designer, I think you just have to make sure you know what you want and stay true to it. You need to have conviction and really just want to make people think in regards to doing interesting things.
Hips are absolutely key to every shape I do, because whatever you do at the top or bottom, you want to keep it slim and narrow on the hips. One thing is for certain: No one, man or woman, wants big hips.
It's a philosophy of life. A practice. If you do this, something will change, what will change is that you will change, your life will change, and if you can change you, you can perhaps change the world.
When I decided to launch my first knitwear line, it was because I saw a void in the basics category. The editors were always looking for cool, fashion-forward tees and sweaters. So that's where I started.
When you see or hear something beautiful, it's like that thing is transmitting a kind of energy, and if that energy helped create the work, the only thing I can do is play it when I finally show the work.
Now, with social media, it's a whole different world, which is good and bad. Back when I was in college, when there was no Twitter, no one knew what Vera Wang looked like - there was no face to the brand.
So as a founder, you have an authenticity and a human factor that is really special and that gives an enormous amount of energy and fuel. But as a founder, you’re also not as cold, maybe, or as pragmatic.
My work today is perceived as being classic, but when I first started out, it was a break from the norm. Since then, I have continued to reinvent myself. I don't change my style, but I allow it to evolve.
Always I remember when I am young, I ask my mother, 'I really want to be a dress designer.' In that time, was quite difficult because, you know, my family always criticize me for it not to be a man's job.
I can speak Cantonese, but I can't speak about fashion - I learnt all my fashion in Europe, so often, during interviews in Chinese I just don't know the right word - it can be very hard to explain things.
I always think I'm lazy, maybe I could do better, I could make more effort and I always have the feeling that there is a glass wall that I cannot get through. But maybe when I get through, then it's over.
One should always try to do the best you possibly can. I'm not in a race to the finish line - I won't put anything out until it's completely ready. You want to keep it special and unique for the customer.
I don't think, 'Gee, I'd like to dress this person.' There was a picture in Us magazine. It was a jersey dress, and Courtney Love was wearing it. I have this thing about Courtney Love, this funny worship.