Quotes of All Topics . Occasions . Authors
I know that people who have been closely involved with my work for many years are terrified of having to answer to someone else, someone who is not me, and that it won't be me to help them in their problems. This is my real problem.
My relationship with Paris began when I was working for Cerruti in the mid-1960s. When there was an important event in his store, Nino Cerruti very kindly took me with him. I was fascinated, and the city made a big impression on me.
I like the dynamism and the joy cabare creates. I have always taken my job very seriously, but have always liked to have fun, to play. I like tradition and classicism but I have always liked to mix it up, even if it shocks at times.
If you want to have longevity, then I think that you have to have a point of view, but at the same time still be elastic. Things evolve, the world changes, but people have to know you for who you are so they know what you stand for.
I think I'm just really in love with women, and I love to see them looking incredibly, truly beautiful. I think every time a woman wears one of my dresses, you know, in a matter of speaking, I'm having a little love affair with her!
I fantasise about what the future could be in terms of aesthetic and psychology. It's the most difficult thing to do because you have to start from the past - your favourite architect, your favourite song - you take it all with you.
I try to find people who love and believe in what I do - and people I can respect because they do what I don't do. I've had to bring in financial people and put them in positions where they could tell me, "Ralph, let's not do that."
In Italy, especially in '70s and '80s, there was a lot of racism between north and south. And my mom immigrated from the south to the north, from Puglia, the heel of Italy. But what made me feel different was society, not my family.
I run a lot. If I don't have time to go to the gym or don't have time to work out properly, I will go for a quick run. I think running is a great way to stay fit, and I really concentrate on fitting into a realistic urban lifestyle.
I hate fashion. Or the word fashion, which sounds colorful, extravagant, expensive and gorgeous. “I never wanted to walk the main street of fashion. I have been walking the sidewalks of fashion from the beginning, so I’m a bit dark.
When you make and drape clothing, the scissors are your tool. What can I say about them? They're my babies. And you have to take care of them correctly. You have to have them sharpened, and you can't use them for any other material.
Obama was 200 percent advertising. I promote myself to sell my brands. Because now I am a kind of celeb. I am in a different world than the fashion industry. I am with Mick Jagger, Michael Jackson, Madonna. I build me as a celebrity.
I love the strength of white blonde. Some people talk about having disasters while dyeing their hair - in my opinion you can never have a blonde disaster . . . I am always trying the latest products - whatever is new goes on my hair.
Russian women are now interested in clothes. But they will never attach supreme importance to fashions as do Europeans and American women, because they are too vitally interested in all the various projects going on in their country.
I can be working on a collection and a film at the same time. It can take a lot out of me, but the processes come from the same source. From a brief I set myself I can make a film, I can make a collection, I can make an installation.
You see it in the many bouncing clothes that are not just pleats. To make them, two or three people twist them - twist, twist, twist the pleats, sometimes three or four persons twist together and put it all in the machine to cook it.
Kate Middleton has a nice silhouette and she is the right girl for that boy. I like that kind of woman, I like romantic beauties. On the other hand, her sister struggles. I don't like the sister's face. She should only show her back.
My mind absorbs things in a funny way. I'm on planes quite a bit and I always take stacks and stacks of magazines and I go through them and tear pages out and fold them up, and they get stuck at the bottom of my backpack or whatever.
We're not waiting for the fashion cycle to have 180 buyers come in and see the collection and go, 'We like it, we'll buy it, and we'll have it in June.' The only one we're selling to is Net-A-Porter, and the rest is through our site.
In a funny way I think social media is making people less rather more experimental. People are too worried about looking good all the time. When I grew up you could get it all horribly wrong and it didn't matter, there was no record.
A woman and a dress, very often, fight against each other because they are not at the same place. Sometimes you see the woman moving the belt around. She is making the robe her own. She needs that. Otherwise, the dress doesn't exist.
It's a Japanese way of thinking, that I give value for my merchandise. So I don't want to sell unnecessarily expensive dresses and make just 10 or 20 and then feel satisfied. I want to design for real women who can afford my dresses.
My closet is organized by tops, pants, and outerwear, but not a lot of dresses. Gowns are in another room because I don't often dress formally, even though I design gowns. Like most designers, I have a uniform, and mine is a legging.
The main message of Climate Revolution is that climate change is caused by the rotten financial system we've got, designed to create poverty and rip off any profits for a small amount of rich people. Meanwhile, it destroys the earth.
I have certain signatures, certain cutting principles. It could be a raw-edged seam; it could be leaving the lining of sheepskin exposed so it's not perfectly finished. I invent new ways to do it, but the end goal is always the same.
I think that paying your bills every month, that's not so glamorous or fun, having a job, or when your child gets sick. That's why when there are those special things, they are even more important and you want them to have a purpose.
One of my most sentimental items is my grandmother's engagement ring that my mom gave me a few years ago. It's a Victorian-style setting that's closed in the back, so it doesn't sparkle the way diamonds do now. I wear it as a pendant.
Paul Poiret did wonderful things because he was so influenced by motifs, but Vionnet really understood the kimono and took the geometric idea to construct her clothes - and that brought such freedom into European clothes in the 1920s.
Styling is my form of painting. I can understand the process behind it, the being afraid to start, and the diving into it. I've learned not to be afraid of doing something that might not be right. If you don't try then you won't know.
Passion is passion. It's a sort of madness and possession of what you do or what you think. This is the difference of life: passion and commerce, which most of the people know as "P.C." But people have just got "C" now instead of "P."
I don't usually Skype. I've used it once, but my boyfriend had to leave instructions: 'This is how you Skype me.' We do it for the business, of course - we have the site and trade online - but, personally, I'm not passionate about it.
London has a very specific kind of style; it's very different to Milan, Paris, and New York. It's nice having that personality that we haven't lost. It's the English quirky style that people like to see when they come to Fashion Week.
One of the weird things about being a designer is guessing what the world will want about a year in advance of when they will want it. It becomes almost a psychological test in a way - how do I feel now and how do I want to feel then.
I owe my career to Latina women. I was surrounded by the amazing group: my mother, my aunts, my extended family. They didn't necessarily have access to high fashion, but they had great style and looked stunning naturally at every age.
One association with the arts that I vividly remember was a magazine called Normal Instructor, a teachers' magazine, that Miss George would hold up with illustrations of great artworks like [Vincent] van Gogh and Rembrandt [van Rijn].
When I was deciding whether or not to take the job at Celine, I didn't really look at the history of the house. I had other offers to come back, but they weren't right, or they wouldn't let me stay in London, which was non-negotiable.
Give yourself time to work on your dream. If you want to start a stationery company or if you want to start an Internet site... Whatever it is, pick the thing that you love, and allot the time, but know and value the downtime as well.
Berlin is in a state of transition. There are lots of people who don't stay here. They pass through. They might not 'clean up,' but they mature. It is a city where people spend a significant time in their lives, and then they move on.
I know I have to be like people expect, because people love to dream with me, they like to think that I love my boat of 50 metres, that I drink Cristal for breakfast, that I dance until five o'clock in the morning. I am not like that.
Depending on the season, between 20 and 30 percent of my collections contain some sort of eco or sustainable element, whether it's a beautiful organic fabric or a natural dye. And obviously I don't use animal skins or fur of any kind.
My fragrance is rose and amber, and I was just very specific. A lot of what I've done, at the stages I've done it, I've been a little naive, which brought with it a kind of charm. I did Stella a while ago. It's now a bit of a classic.
Fashion is, after all, a form of escapism, and in fact people are buying more special things than ever, nowadays. They deny and deny themselves, and wait and wait, and then they get sick of it and spend to make themselves feel better.
My father, Buddy Robinson, was superchic - a dandy. He always wore dinner jackets at night and espadrilles in the summer, but with his own flair. He was even well dressed when riding a tractor or listening to a ball game on the radio.
Red carpet dressing all depends on the climate. I think richer, deeper colours are more flattering on the body, but the opposite is true if you are in Cannes or St. Tropez where the light makes deep colours look heavy and unflattering.
What I think I sell with my clothes is confidence, so hopefully all my dresses, my accessories, are friends to the women. When you open the closet, and your eyes are swollen, and you don't like the way you look, you go to your friends.
All I can tell you is that 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 didn't finish my dress until about three days before my wedding - I had the flu and was stitching it from my bed. And the tulle came back from India all brown. We had to wash it for hours, but that didn't dissuade me from wearing it.
I don't feel French at all. That was never really a concern, and it's limiting to think that way. I think Paris is more of a playground for international designers, so I don't really feel French. And I don't really want to feel French.
I wouldn't want to even try to begin to describe our customer, as I think she likes a certain amount of anonymity. I try to offer clothes that allow that. I myself do not like being defined so readily, so I imagine that she is similar?
There is undoubtedly a lot of pressure that comes with recognition, which can be a good thing and bad thing all at the same time. But if you stay focused and don't lose sight of what you're doing and who you are, you can rise above it.