I was always the funny-looking girl. I couldn't compete with the Brazilian girls. My nose is off, my ears are too big. But I think it's my personality that these designers were drawn to.
Forget trendy designer labels. Jeans, a sweater or a t-shirt worn under a jacket that seems welded to you. When it's just right, when you don't see the effort, it's irresistible.
Designers have to keep the body in mind all the time. Think of the girl's undergarments: the bra is always key.
I love mixing and playing with different textures and the whole taking different designers and mixing them - I was one of the first, I think, to not do a full runway look, yet there's always a method to the madness, which is the harmonious discord.
When talking with a set designer the dialogue is more centered on locations, interior design, what I like and what doesn't work. There is a certain taste I'm drawn to and feel inspired by, and finding that inspiration is what keeps the conversation moving forward.
All movements begin and end, and all have been inspired by others that have come before them. They evolve and then deconstruct again. There are very few designers whose aesthetic I'm drawn to on a personal level. However, that's different from the ways in which I might dress the characters in my films.
I'm a woman for all seasons. I mix 'n' match, do designer and high street - keep all my good pieces. I design all my evening and cocktail dresses most of the time as I dislike what is out there.
There are some brilliant designers but their clothes only really suit 6 foot 20-year-olds.
I never looked at magazines before I started modeling. I was 13 or 14 and none of my friends were into magazines. We were into the fashion of the day, though. Designer jeans were really popular - Sasson, Gloria Vanderbilt, Calvin Klein, Jordache. Once I started modeling, I began to learn about these things, and magazines helped me to understand who was who.
We are talking about mutated women, the result of cruel genetic experiments performed by fashion designers so lacking in any sense of human decency that they think nothing of putting their initials on your eyeglass lenses. The leading cause of death among fashion models is falling through street grates. If a normal woman puts on clothing designed for these unfortunate people, she is quite naturally going to look like Revenge of the Pork Person.
I've been designing my own pieces for a long time. My mother's a jewelry designer, so we knew at some point we were going to do a line and dive into the fashion world.
Designers must be both conscious and unconscious at the same time. Clear thinking at the wrong moment can stifle talent.
A car designer is really a sculptor.
Colour disturbs people. I am confident in black, not in light. This dark side of life is attractive to me forever and from the beginning. I am a lazy designer when it comes to colour.
Mobile didn't create more unknowns for web designers. It just forced us to recognize the unknowns that were already there.
That the sight of people attracts still other people, is something that city planners and city architectural designers seem to find incomprehensible. They operate on the premise that city people seek the sight of emptiness, obvious order and quiet. Nothing could be less true. The presences of great numbers of people gathered together in cities should not only be frankly accepted as a physical fact... they should also be enjoyed as an asset and their presence celebrated.
Fashion is about affordable luxury ... To succeed, designers need to be affordable, wearable, accessible, and aspirational.
The costume designer, her name is Anne Hardinge. She's done "Shaun of the Dead" and "Hot Fuzz." She's really comedic costume designer, which was right up my alley. She was a joy to work with. She was like fabulous Geena Davis. She was just floating with her red lip and kind of fabulous.
Working with the actors, working with production designers, working with the creative people who surround the process is really fun, it's really inspiring and I take great pleasure in working with them. That's what's most fun about directing.
There are amazing designers like Riccardo Tisci (whom I consider like my godfather in the industry), who are aware that beauty isn't defined by being just one thing or perceived in a single way. Today we hear people's voices, thanks to social media, and that can change things. This change is happening right now!
To make good films, you have to have a good relationship and good collaboration as composer-director, composer-editor, composer-production designer-actor because you're working with the actors on screen.
If you view computer designers as artists, they're really into more of an art form that can be mass-produced, like records, or like prints, than they are into fine arts. They want something where they can express themselves to a large number of people through their medium, and their medium is technology and manufacturing.
The idea that hunting is one against one is ludicrous. It's one animal versus the hunter, the manufacturer of the rifle, the bullet maker, the designer and manufacturer of the telescopic sight, the auto manufacturer who made the car the hunter got to the edge of the wild in, the maker of his waterproof shoes, the various manufacturers of his mittens, glasses, overcoat - and that's only the beginning of the list. The "sportsman" who shoots an animal should then make a speech, like the actor who wins an Oscar does, thanking the multitudes behind the scenes who made this "victory" possible.
By trying to adjust to the findings that it once tried so viciously to ban and repress, religion has only succeeded in restating the same questions that undermined it in earlier epochs. What kind of designer or creator is so wasteful and capricious and approximate? What kind of designer or creator is so cruel and indifferent? And - most of all - what kind of designer or creator only chooses to "reveal" himself to semi-stupefied peasants in desert regions?
The tools of the academic designer are a piece of paper and a pencil with an eraser. If a mistake is made, it can always be erased and changed. If the practical-reactor designer errs, he wears the mistake around his neck; it cannot be erased. Everyone sees it.
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