The media has a lot of power, and everything I do is what I want people to see, whether it's putting out a new single, dropping a new album, doing a new movie or new collab with a designer - this is what I want people to see.
I like what looks good on me and, as a result, I don't find myself drawn to one specific designer all the time.
It really will benefit every area of the business. Financial struggle is something I'm very familiar with as an independent designer.
Because of Walter, we did it the other way around. We also worked with an awesome sound designer named Will Patterson who just worked for four years on Terrence Malick's films. He did a lot of conceptual work to make the soundscapes in the jungle have this surreal quality, to blend these two films because a lot of the images are about this parallelism between the movies. The sound was very integral to fusing everything.
I have no ambivalence about myself wearing make-up or designer clothes but I have an enormous ambivalence about what the fashion world has done to women.
The only time this happened to me before was in Jil Sander in Berlin where they said, "We have nothing that will fit you." I said, "Yes, you do." And I found something great. This happens to me in Paris again and again and again. They don't carry anything over size 40 which is nothing, because I wear a size 42 or 44 but that's hard to find in Paris among the designer clothes. All stores are like that.
The thing is, if you're a designer, then you want to constantly push yourself and your designs. When we make a new collection, we're changing shapes, we're changing patterns. We get a dress on a model, and it's our first time seeing what the dress really looks like on a woman's body.
When you're an adult designer, you're either running a business or you're helping someone else's business run. Either way, that's a lot of pressure.
Just because you are an architect and make decent buildings does not mean that you can suddenly become a set designer for one of the best avant-garde dancers in the world.
I'm frequently introduced as a fashion designer, and I quickly say I'm not, and instantly people are incredibly disappointed and think that I'm some sort of charlatan who's been perpetuating this falsehood.
I've never said I'm a fashion designer.
What's important to a fashion designer? It's much more than learning how to make clothes. In fact, that merely makes you a dressmaker. It doesn't make you into a fashion designer.
Everywhere I go, I can't wear everything a designer creates. I'm a little more gritty.
I would really think twice about being a fashion designer if I was young right now, especially being an independent fashion designer the way I started it.
It's very important to have a definitive style as a designer.
The '70s were full of creativity. Everybody was so unique. It was a very creative period, and I think to be a designer you have to know a little about art and literature and music because there is inspiration in all of these things. You're looking for beauty but also something that makes sense.
In terms of talking with my collaborators as they came onboard - Jeannine Oppewall, our production designer, Dante Spinotti, our cinematographer, and so forth - I said to them, "Let's pretend that this is a place like Honolulu. Let's ignore the fact that all these other movies have been made here for decades and try to come at it with a fresh eye, as if it were an exotic city that people aren't that familiar with. And let's present our own view of it, create a world that's unique to this movie [L.A Confidential].
I brought a lot of images of pieces I got from my grandmother, pieces I collected over time and then we met with a designer and we tried to morph all my inspirations into one story.
Of course, the muscular build of athletes is always a challenge for a designer, but my clothing's softness and comfort, which are central aspects of my stylistic vision, allow it to adapt to various physical builds effortlessly.
I think color, for a costume designer, is one of your biggest storytelling devices.
It's absurd how aspirants to designer-label colleges become obsessed with perfection so they can get into one. I'm not convinced it's worth prostituting yourself for that.
The Facebook algorithm designers chose to let us see what our friends are talking about. They chose to show us, in some sense, more of the same. And that is the design decision that they could have decided differently. They could have said, "We're going to show you stuff that you've probably never seen before." I think they probably optimized their algorithm to make the most amount of money, and that probably meant showing people stuff that they already sort of agreed with, or were more likely to agree with.
Being a head designer or art director or just even a designer, you need a certain level of experience and maturity.
If I really think about what drove me from the beginning to become a designer, it is really the idea of trying to make everyday life a little bit better - to make it more functional, more desirable, to improve quality of life somehow.
I'm not a designer who is very interested in baroque or in fantasy or in the fantastic side of fashion. This exists and this is important, but I'm interested in the very real dimensions.
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