Quotes of All Topics . Occasions . Authors
If someone tied me down and made me answer the question, singer, actress, clothing designer, I most likely - it could change on any given day, but mostly likely I would lean towards singing. It's where I feel most like myself - on stage singing.
Torrid was that company that I went to as a plus-sized kid. They're the ones that kind of got me out of my shell and gave me the confidence that I needed to experiment with my wardrobe, and they really inspired me to become a plus-size designer.
My plan was to model and pay the rent and then intern with designers and work on the other side of the industry however I could, but then it just got to be too much, especially with casting, fashion week, and also working for a fashion designer.
I'm having my platform run up by a movie set designer, so it will be very impressive from the front, but not too premanent. After all, there's no sense putting a lot of time and thought into something you'll have no use for after you're elected.
I'm not an interior decorator; I'm a designer, and that includes the architecture. The package must be strong and controlled, the rooms aligned, and the windows positioned to make sense with the furniture. Fluff it up, and you've got big trouble.
An experienced designer with more freedom to act might have realised that there was just too much optimism in the Ares I concept: that a shuttle SRB was simply too small as a first stage for a rocket carrying the relatively heavy Orion spacecraft.
I wonder if I would have been less organic of a designer without my background. Maybe I would be more academic about designing, more methodical. I want things to be a certain way, and I'm very precise, but school itself wasn't that relevant for me.
I've heard some designers talk about the design process being centred on invention, starting with a blank slate. I admire that and occasionally I'm capable of that, but I have to admit that I really have trouble working with completely open briefs.
I would say you've got to find your identity in God - in God alone - because everything else is a false sense of identity. He's the one who made you, he's your designer and your work and your value is found in him and not in anything or anyone else.
If I am in fashion, it is really due to very few designers that I admire - not because I don't like the rest, or that the rest are not beautiful, but because I am very selective. I adore Versace. I adore Helmut Lang, despite the fact that it's over.
There is the danger of over preparation, of loss of spontaneity; over rehearsal is the most terrible thing you can imagine. We do have a very close association between costume and set designer, though. And the cameraman is very important, of course.
You can't statistically explain improbable things like living creatures by saying that they must have been designed because you're still left to explain the designer, who must be, if anything, an even more statistically improbable and elegant thing.
I love working with a set designer because, in many respects, you meet the set designer before you meet the actors. So it's a chance for me as a director to figure out what I'm thinking and to explore how the space is going to actually be activated.
The thing with fashion is that when I see something that I like, I just go with it. I don't really go towards one designer or the other. It's just what I like. It could be expensive, it could be cheap. If it fits me, and it's my style, I'll wear it.
A fashion photographer is nothing without clothes and hair and makeup. And when I speak to other photographers, a lot of them can't reference a picture by the designer. Me, I say, 'The Balenciaga.' And I go to the shows. I feel like it's my business.
In 2009, designer Tina Tangalakis went on a volunteer trip to Ghana and instantly fell in love with the country and its people. It was from that trip that Della was born, a company that provides jobs, education, and skills training to women in Ghana.
I never claimed to be a computer engineer, but I did train as an industrial designer, and I am a consumer marketer, and I am very comfortable dealing with complex businesses and complexity in general and simplifying it - basically a systems designer.
A graphic designer, you know, who understands ideas and understands that ideas are what makes the world go round, could change the world with a magazine. If one talent could do it right now, and everybody would stop saying it's the death of magazines.
I hate to say it, but the truth is that the upscale line is where I get respect as a designer. The higher the price range, the higher the respect level from the industry, even though it's much easier to make a great $500 dress than a great $100 dress.
The closest I get to any sort of 'designer' items would probably be my weakness for jeans - they don't have to be any particular brand, but I'm willing to do almost anything, go anywhere, spend obscene amounts of money for that elusive 'perfect pair.'
What a costume designer does is a cross between magic and camouflage. We create the illusion of changing the actors into what they are not. We ask the public to believe that every time they see a performer on the screen, he's become a different person.
I like to branch across a lot of different styles and brands in the way I dress; it's just the way my style works. So I love that I can walk into a Target store and think, 'Oh my God, I love these jeans,' and then I'll pair them with something designer.
Just what future the Designer of the universe has provided for the souls of men I do not know, I cannot prove. But I find that the whole order of Nature confirms my confidence that, if it is not like our noblest hopes and dreams, it will transcend them.
Ahana does lots of things; that's the problem with her. She is a fashion designer and is also writing some scripts. She doesn't want to do the regular commercial films. So she has decided that only if she really likes something, then she will take it up.
It's not really like you have a thing like a supermodel anymore. It's more of a word than a real existence. I think, also, looking at it from a designer's point of view, at one point maybe they felt the stars took too much attention away from the clothes.
Partnering with Rent the Runway's innovative model, combined with their affinity amongst millennials, provides an exciting opportunity for us. Together, we're helping the next generation of luxury consumers discover and fall in love with designer fashion.
I asked my designer friend, Sam Klemick, to make a headdress for me, drawing inspiration from 1920s headpieces, Athena and Joan of Arc. Before each show, I have this quiet meditative moment where I put the headdress on and gather my thoughts and strength.
For a 'GOT' premiere, I wore a white dress by Antonio Berardi, which fitted beautifully. And I felt empowered by the Jenny Packham gown I wore for 'The Last Witch Hunter' premiere. That is the beauty of the designer - to help a woman or man feel that way.
I don't design cars. I'm not a designer. I know what I desire to be built, I know what the end result is, the horsepower, the competition we'll be working against - but I leave it to the people who work with me to put it all together. I don't do anything.
I was very aware of the fact that I was a young designer, and I didn't want to fall into the trap of 'mother of the bride' dressing and 'occasion-wear.' I wanted to make sure that girls my age were wearing it and that there was a cool factor to my clothes.
The worlds of art and fashion have always been very intertwined at Dior. Francois-Xavier Lalanne and his wife, Claude, for instance, did windows for Monsieur Dior. Dior himself was a gallerist before becoming the revolutionary fashion designer we all know.
I think it's cool to get to know designers. There is some anxiety, maybe, that after you've met a designer, you want to be loyal to them and wear their clothes. And sometimes it's just not my style. But you have to be honest, and I don't really want to lie.
Michael Bastian is a designer line and priced a certain way because of where it's made and the materials we use, and Gant is the more accessible version of that: more sports-inspired, more branding. It has the same DNA; it's just a different time and place.
There's strength in numbers. One designer isn't going to change everything. Everyone has to demand that their materials are being sustainably sourced. Just like how cosmetic companies won't test on animals, there have to be benchmarks that we can all adopt.
Design is about point of view, and there should be some sort of woman or lifestyle or attitude in one's head as a designer. So my being able to reach the masses was something that meant a great deal to me - especially for women who could never wear Vera Wang.
I wanted to be a sneaker designer since I was 10; it was my dream to work at Nike and design signature shoes for Michael Jordan and Penny Hardaway. When it was time to select high schools, I wanted to go to one that would help me get a jump-start on my dream.
This is very much my philosophy as a fashion designer. I have never believed in design for design's sake. For me, the most important thing is that people actually wear my clothes. I do not design for the catwalk or for magazine shoots - I design for customers.
I am a perfectionist. This job is a total ego thing in a way. To be a designer and say, 'This is the way they should dress; this is the way their homes should look; this is the way the world should be.' But then, that's the goal: world domination through style.
The Italian Renaissance extends beyond food, of course. Just about every major Italian furniture designer now has a shop in Paris, and Le Bon Marche recently opened an outlet for Santa Maria Novella perfumes, elixirs and soaps from Florence on its ground floor.
At the very beginning of my career, when I opened my business in Italy, I was also a ranked tennis player. I had won many tournaments. To be an athlete was my first choice. Second choice: designer. However! There was more money in being a designer at that time.
There are so many women throughout the world who appreciate beautiful design and have the budget to buy designer fashion but sometimes have a hard time finding the things that they really want or that suit their lifestyle or their culture or whatever it may be.
Is the 'black designer' label there to warn everyone not to have the same level of expectations for me, or is it some type of prize? I just want to work in an even playing field where I can get press for my work and not just my race and my personal views on it.
Printing novel DNA might open the way to achievements once only conceivable in science fiction: designer bacteria that can produce new chemicals, such as more efficient fuels, or synthetic versions of our cells that make us resistant to the effects of radiation.
Topshop is one of my favourite shops, and I love shoes by Giuseppe Zanotti. There's a graduate fashion designer called Kate Falcus who makes me beautiful commissioned pieces - one of my favourites was the white Glastonbury dress she made me with the puffy skirt.
I think 'Overlord' has definitely benefited because I work with every single level designer, and working where we have space to tell the story. That's what it's all about - getting writers and storytellers involved in the team and being a back and forth process.
I think that designers have an incredibly broad creative repertoire. They solve. They create images of perfection for any number of clients. I could never do that. I'm my client. That's the difference between an artist and a designer; it's a client relationship.
As a designer, when someone wears my clothes, the biggest compliment I can receive is that the woman looks amazing because my designs have flattered her, not taken over her. I take that philosophy to heart myself each morning when I am getting ready for the day.
I started out taking any project that I could because you want the work. You want the opportunity to create, and I'm glad I did because it forces you to really get an understanding of your vision and your voice as a designer when you have to be scrappy like that.
There's design, and there's art. Good design is total harmony. There's no better designer than nature - if you look at a branch or a leaf, it's perfect. It's all function. Art is different. It's about emotion. It's about suffering and beauty - but mostly suffering!
I'm a jewelry girl. I became with friends with designer Irene Neuwirth a few years ago. At that point, I just used to wear my wedding rings. Very low key. Now, if I could, I'd be draped from head to toe in her jewelry all the time. Everything she makes is beautiful.