Quotes of All Topics . Occasions . Authors
For me, Warhol made so much sense.
I like very much to put on fashion shows.
I'm not so rock and roll. I'm more techno.
My mother was a cleaning lady all her life.
I’m very attracted to things that I can’t define.
You cannot have adoration without being criticized.
In my opinion, Christian Dior was never, ever theatre.
Fashion has a long interest in collaborative situations.
My dad only ever talked about two things: bicycles and Mercedes.
I know this independence is what people like most about my brand.
We all know and we all perceive Christian Dior in a very specific way.
My aim is a very modern Dior, but at the end of the day, I also look back.
You can instantly spot a Chanel woman, so I want to develop the Dior woman.
Sometimes it’s more a matter of collaboration which matters in a collection.
The Chanel woman? I don't even need to see; I smell her from round the corner.
What I've been conscious of, from the beginning is that I can't be Jil Sander.
I'm a designer, and for me, things are always evolving, and such evolution is necessary.
I find it fascinating to see the fact that women want to buy things that they see on men.
I'm very scared sometimes that fashion might attack its own magic by the amount of exposure.
But overall I want to make sure people fall in love with the clothes and that they are satisfied
We Belgians love when we can go to L.A. because the city is amazing and the climate is fantastic.
I'm not an isolated person. The more I connect to people, the more I have the feeling that things work.
I'm shy, but not on a one-to-one basis. Over the years, I have become acclimatised to a bit of publicity.
The fashion world doesn't know the word stop, so you have to make sure there are sublime moments every day.
I'm fascinated by the way Diane Arbus saw things. She came from this fashion background and then twisted it.
The fashion world doesn't know the word 'stop,' so you have to make sure there are sublime moments every day.
If I see a fashion show with literal influences, it doesn't make me think any more. It doesn't make me dream.
There are people who, if they see something in couture that they perceive as ready-to-wear, they're in shock.
My challenge is to find a beautiful balance: to make women beautiful, to make a woman dream to wear a beautiful outfit.
L.A. interests me, the whole band scene and relaxed carefree feel, but it does not mean you have to dress like a hippy.
My point of view is that if I love a certain kind of beauty, I want more of that beauty. I don't need 200 different beauties.
People who don't know me look at my world as something very hard-core, and I don't feel it that way. It's not what attracts me.
Camouflage is about much more than concealment and going unnoticed. There's a whole game involved between revealing and hiding.
I'm usually very attracted to things that I can't define. If something's too clear, it's very often not inspiring to me anymore.
I would prefer to use the word free. I think the Dior thing is so much freer. There was not so much free about Jil's way of working.
My whole life, I've always had to be surrounded by creative things. I find it relaxing to be in touch with creations by other people.
Fashion is such an octopus. You're connected to so many people: suppliers, pattern makers, production teams, marketing teams, vendors.
Our society wants things to grow, and our society wants things to become bigger and bigger. Everything has to be put under the spotlight.
I was raised in a very happy nest by very happy people, and I like to think that those are enough ingredients to make me succeed at Dior.
Fashion is so mass-produced now; I hope there will come a refocus on how people see couture. And I would also hope for a new focus on the craft.
Both costume and fashion are about telling a story, except that in a ballet the story has already been written by the composer or the librettist.
My ideas for the next collection always happen a couple of months before the show. I have learned to shut up and not bother my assistants with it.
Computers let people avoid people, going out to explore. It's so different to just open a website instead of looking at a Picasso in a museum in Paris.
I never really have to sit at a desk thinking, 'What should I do now?' It doesn't work like that for me, and it never has. My thinking process is constant.
I dont want to show clothes, I want to show my attitude, my past, present and future. I use memories and future visions and try to place them in todays world.
I couldn't go now to a brand that had a niche attitude like... gothic. I couldn't do that. Well, I could do it, but I wouldn't find it interesting, challenging.
I wanted an idea of the future, a new femininity. I wanted you to feel that you wouldn't quite know where these women were coming from and where they were going to.
One of the first things I picked up when I was very, very young out of a record store was work from Peter Saville - the early things he used to do for Factory Records.
I don't see Dior as something that could become mine. I see it as a dialogue with the women who wear it. I want to stay connected to them rather than to an abstract brand.
Unlike fashion, art isn't applied. It doesn't have to serve anybody. It doesn't have to be there for any other reason than to give an impression of what the world is about.