Quotes of All Topics . Occasions . Authors
One of the most important things about fashion is to dress as well as you can, look as attractive as you can, and at the same time be comfortable with yourself. Be easy about your clothes; forget about them.
You think 24-7 when you're a creative person. And I find pleasure in everything - if I'm in a flea market, I'm there on my downtime, but I'm also there searching for the collection. I don't separate the two.
From the beginning I thought about working with the body in movement, the space between the body and clothes. I wanted the clothes to move when people moved. The clothes are also for people to dance or laugh
I realized the importance of archiving. So I save key pieces from my collections, as well as any red-carpet things that become iconic. I always ask for that stuff back. I'm like, "It's going in my archives."
You'll see the most perfect person, and you are like, 'God, she's, like, perfect.' And then she'll tell you everything that's not perfect. Everyone has their own special set of problems - in their own minds.
I said, 'Okay, it's the year 2000, I'm getting a computer and a Palm Pilot.' I know how to check my e-mail, and I've listed some phone numbers on it. Half the time the battery has gone out so I can't use it.
A catwalk show is just how it's done; it's just what you do - it's central to the presentation of a collection. It will be a very brave designer who gives up the catwalk entirely in favour of a digital show.
Many of my clients have become close friends, and that informs the clothing I design for them. Julianna Margulies was introduced to me by her publicist many years ago, and we've been good friends ever since.
As far as preference between fall and spring collections, I have none that I prefer to design. With fall you have a lot more items, but of course I am from the Dominican Republic, so I love the warm weather.
I would tell any aspiring designer to take the time to experience everything they can to really get a feel for what direction they want to go in. And most importantly, let your passion and your gut lead you.
The Middle Eastern woman is sophisticated; she is modern. She knows fashion more than anyone else, and she is really sexy, and she does know how to live fashion, and I think we can all learn from each other.
My clothes are put together out of different basic elements so that a woman can express the way she wants to look, transform, metamorphosize herself not as the woman I decided but as she herself wants to be.
I can be negatively criticised, but this is actually a positive thing, especially if the critic is smart, and helpful. I am very attentive to critics, they let me go ahead and push myself harder to continue.
I don't think fashion has to change every five minutes. I'd like these to be clothes you can wear for a long time - ten, 20 years; pass on to your daughter. Why buy vintage when you can open your own closet!
Moving fashion used to be one of my chief goals. It's not necessarily any more. Fashion needs to change when life changes. You only need to move fashion forward when there's a reason to move fashion forward.
French people are charming, adorable but not extremely generous with foreigners, but they believe in what they do. I feel proud in exchange because what I did in restoration is something I did for La France.
I hate phones. All businesses are personal businesses, and I always try my best to get back to people, but sometimes the barrage of calls is so enormous that if I just answered calls I would do nothing else.
If someone's got good, clean skin, with not too much make-up on, and good, clean hair that's bouncy, and the nails are clean and not overly done, then you can put anything on her and she's going to look good.
I want women to really look like women from today. It's not from the past and not from the future, because I don't know what happens in the future. It is the woman of today (who) I think is a seductive woman.
I remember confuting one of Westminster's favourite maxims, "better the devil you know than the devil you don't". In the annals of popular wisdom, this is one of the most cretinous sayings I have come across.
You know, there's a thing about the woman across the room. You see the woman across the room, you think, She's so poised; she's so together. But she looks at you and you are the woman across the room for her.
I've never met a woman who is not strong, but sometimes they don't let it out. Then there's a tragedy, and then all of a sudden that strength comes. My message is let the strength come out before the tragedy.
I love building spaces: architecture, furniture, all of it, probably more than fashion. The development procedure is more tactile. It's about space and form and it's something you can share with other people.
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.
I got involved in fashion by accident. When I got to New York, my intention was to have enough money to eat and to stay and I don't have to leave. I just loved New York - the energy, the culture, the freedom.
I don't have a formula to pass on. I always did it my own way. Even today, I hold my independence close. It's what's most precious to me. Passion. Risk. Tenacity. Consistency. This is my professional history.
From the beginning I thought about working with the body in movement, the space between the body and clothes. I wanted the clothes to move when people moved. The clothes are also for people to dance or laugh.
It's quite a pure relationship, designer and muse. I think a beautiful dress on the wrong woman could mean nothing. It has to be the right woman and the right clothes. That's why you need that personal touch.
There was the Cultural Revolution just over the border, and Hong Kong felt quite dodgy. My younger brother's wife actually swam from China to Hong Kong to escape. I realised in the '60s that I had to get out.
I'm useless at staring at a piece of white paper. But if you put a piece of white paper with a black line on it in front of me, I'll say no that black line should be red and it should go this way or that way.
I find people sexy, and I find personalities fascinating and sexy and appealing and charming. So a sexy girl wrapped in a sheet is a sexy girl, and an un-sexy girl in a low-cut dress is still an un-sexy girl.
Because of the Prada name, I can do things that people normally would not care about in the culture. I can have an exhibit by some forgotten artist who I love, and because it's Prada, people will come see it.
My parents never understood why I didn't want to be a doctor or lawyer. They're Cuban immigrants who wanted to give their children the American dream, and, to them, that was more of what 'the dream' entailed.
I always design my own hats to complete my fashion thought....I like them slightly mad, like this huge black poppy. Right now I lift the bosom high on coats and dresses...I am using so many high curved belts.
It felt wrong for me to stay totally connected to that very strict way of approaching the heritage - what it can be, what it cannot be. That was also the period where I really thought, "No, let's open it up."
I've always said that growing up in postwar Japan, I never felt any connection to my work through those experiences. The work I do really comes from inside myself. For me, being born in Japan was an accident.
What you wear can largely govern your feelings and your emotions, and how you look influences the way people regard you. So fashion plays an important role on both the practical level and the aesthetic level.
I always believe in pants. You can play with your legs, your attitude, with pants. It's much more funny. It's much more sophisticated. It's much more arrogant, like a man with feminine attitude. I love pants.
I think loneliness comes with being creative, because you are obsessed with creation. And it is so satisfying that sometimes, I have noticed, I completely neglect my friends and my family, and they fall away.
The whole basis of my work is analysing what I do and building some sort of intellectual framework. The only possible effect one can have on the world is through unpopular ideas. They are the only subversion.
Sometimes I'm a psychiatrist and I tell people in my office that my door is open, and if they have a problem to come and talk to me. Sometimes I say, "I have to close the door because I don't want to hear it!"
I'm trying to be the messenger for the people that pay attention to me. And those people I want to help inspire because a lot of people maybe think it's - they're too cool for school. That's all I can ever do.
I'm a gastronome first and foremost. I have several bookshelves in my home full of cookbooks, foodie magazines and food writer books and I am always on the hunt for a great recipe or local foodie haunt to try.
If I was a woman in Russia, I would be a lesbian, as the men are very ugly. There are a few handsome ones, like Naomi Campbell's boyfriend, but there you see the most beautiful women and the most horrible men.
When you want to do something that is challenging or interesting or new, you never find the place. All the places are obvious or old or generic. And so you realize that the role of architecture is fundamental.
Tailoring was considered to be a world that was very traditional, and basically going out of fashion. Fashion designers did not have a real link with tailoring or tradition, so I fused the two worlds together.
The Dior heritage is so broad. It has a strong presence in the work. So, when people have to define it quickly, it's, like, the Bar jacket and the movement and the luxury and the Belle Époque and so much more.
It was also never wanting to be part of any group or movement or anything that was the done thing. I hated organization. When you have a group, you have a leader who is going to put down the rest of the group.
I've always said that, growing up in postwar Japan, I never felt any connection to my work through those experiences. The work I do really comes from inside myself. For me, being born in Japan was an accident.
Everything I do is really an expression of myself, through colors and shapes and, at the same time, I try to explain what I feel not only as a creator but also as a woman. I cannot separate one from the other.