To be a good hairdresser, you have to understand what the vision is of the designer or the photographer and then sort of add your thing.
When you respect somebody who has talent, whether it's a designer or a photographer, then you don't want to let yourself down - but you also really don't want to let them down.
Even though the industry is very big and there's lots of money, when it gets down to it, whether it's a photographer or a designer, as well as a stylist or makeup artist, you're really only working with maybe four or five people on a project. It's all quite small and intimate.
I think I sort of have a love/hate relationship with a reputation I have for being the designer who works with grids.
I think if you took away all the designers and automated the process tomorrow, the end result would be really, really dissatisfying and disturbing to a lot of people. So, I think there's a lot of value that print designers have.
I think the way design was practiced for most of the 20th century was very declarative. A designer came up with a solution for a project and put it in place and shipped the solution and it landed in a reader or a customer's hands as a brochure. They would see it as a poster, or as a piece of signage. And that was sort of it. That was the end of it. I think Internet technology has really upended that whole equation because in some ways a designer's work is never really done online.
Designers from start to finish now in digital media have to think in a much more sort of thoughtful serious and humble way about how design audiences will receive their products.
I think there’s a really selfish part of me that wishes I had the tools that I had today in the context of a designer practicing in the middle part of the 20th century when creating a single expression of an idea was the norm.
I think I'm one of few American designers doing a house in Europe, and I think I've been proving myself there very well.
As a costume designer, it's important to give each person his or her own personalized look.
I was in a business for years where the stylist styled me, and I was wearing things from other designers. I was just there to be a conduit to those things. To be lucky enough to be embraced, having branched out from being a model, has been the greatest gift ever.
I put pressure on myself to propose something new - I think it's the minimum that you can do as a fashion designer.
I've always aligned myself with a more modern, European fit. I maintain that fit is the thing that makes or breaks an outfit. Good tailoring trumps designer and price any day.
Before Ruby on Rails, web programming required a lot of verbiage, steps and time. Now, web designers and software engineers can develop a website much faster and more simply, enabling them to be more productive and effective in their work.
I am always producing work, but there is always a sort of deadline where you have to finish work. I don't do it for a show. In other words, I am not like a fashion designer where I have a, you know - I have to put out the full line or I have to put out the summer line like that.
I did Urban Zen for myself, to make clothes for me and my friends, a similar philosophy to when I started Donna Karan. Except this time I hope it will stay that way so that I will be able to support young designers and mentor them.
I was applying to the art school, but there was a checklist that said I had to do either production design or stage management or acting. I thought, "I don't want to be an actor, but I know production and stage management take acting classes" - this is literally my internal monologue. I was like, "Designers don't have to take acting classes. Cool. I'll check that box".
I collaborated with a brilliant young sound designer named Anthony Mattana, who enriched the sound of the total production with vocal effects, percussive and other sounds. He also mixed the sound effects and the music, using the theater's first rate sound system to complement the theater's acoustics. This completed my score.
I have several [favorite clothes designers], but I like to wear Akris, Oscar De La Renta and Giorgio Armani.
Success will only happen with Afghans leading the charge, and it is far, far more important for Kabul to create and support a purpose-driven school of architecture than to invite a high profile designer to build.
I know I wasn't allowed to go to fashion school; I can't cut a dress like Galliano, right? But I had enough wherewithal to go to that studio on my first collection and bring Kim, [stylist] Christine Centenera, Ian Connor, Theophilus London, Virgil Abloh...they all came down to [Vetements/Balenciaga designer] Demna Gvasalia's studio that night and hung out.
I love telling press the designers I'm wearing, especially if they are emerging. That's exciting to me, supporting talented newcomers.
The thing is you can be a great designer but you can also be lazy or not understand the other person's preferences or be more concerned about being a star than being good at what you do.
I have to say that the identity of a fashion designer is international today.
I got involved in the design process a long time ago. I've been working with their main designer [Berlei] for a while. It's been really fun all around.
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