Quotes of All Topics . Occasions . Authors
If the point of contact between the product and people becomes a point of friction, then the designer has failed. If, on the other hand, people are made safer, more comfortable, more desirous of purchase, more efficient — or just plain happier — by contact with the product, then the designer has succeeded.
I'm not obsessed with the idea of doing what you're supposed to be doing when you're a rapper. Walking around with cash that you haven't even provisioned for tax. Spending all of your time in the designer store to create some weird impression. I'm not interested, bro. I just like making music, and that's it.
We make it easy for anyone to get free resources. Anyone can launch an idea for five minutes. Anyone can comment on, add, and enhance the idea. Need a designer? We provide an entrepreneurial matching system without the bosses getting involved. And in terms of unstructured time, we have a permission for that.
I haven't made many wedding dresses. It's a dress very, very important for the girl; it's important to know the person, I believe, but at the same time it should be a shock to the person - the person should be shocked to be suddenly revealed. That's the work of a designer sometimes, to propose an ID of look.
To be a designer today is to be an entrepreneur. Whether you're a two-man operation in Shoreditch or a 3,000-person, vertically integrated brand, you need to have the wherewithal to run your business through investment, considering everything from start-up funds to your exit plan or what it takes to go public.
At Warby Parker, we ask ourselves a number of questions when deciding whether or not to partner up with a designer, or a nonprofit or brand. Is the potential collaboration new? Is it unexpected? Will it result in something worth talking about over dinner? Will it do good? Will it introduce us to a new audience?
You could be an 18-year-old girl in Tokyo wondering how you could ever break into fashion or beauty, so you follow your favourite designer or editor, see what their day comprises, where they go, who they meet, how they do it... If I were setting up my own label today, I would definitely do it through Instagram.
Because of reality television and all these celebrities thinking they can be designers, everyone imagines that they can just become a designer, photographer, or model, but that's not the way things work. People have to go to school, learn their craft, and build a brand - that's the right, healthy way to do things.
For someone in an alternative job, an alternative lifestyle, it's very hard to explain what I do. So I sometimes try and dumb it down as much as possible, so I'm changing what I do every time! So sometimes I'm in an Uber, and they ask, 'So what do you do?' and I say, 'I'm a comedian,' or, 'I'm a graphic designer.'
I love Christopher Bailey and Burberry, Mulberry for bags, and Hudson for jeans. I like a little bit of designer with a bit of vintage and High Street mixed in. I love it when you find those one-off key pieces, which end up becoming investment pieces. I always go for comfort, and like feeling confident and casual.
I think tights make a comeback out of necessity every season: you can only go so far with naked legs in the cold! You've got to protect yourself. I remember going to a fashion show and saying, 'And it's okay if I wear nude tights with this?' to the designer, who looked at me like I just killed his dog or something.
We are finally entering an exciting time in medicine where we have the technology to custom-tailor treatment and preventive protocols just as we'd custom-tailor a suit or designer gown to one's individual body. But it all begins with you. You have to know yourself in a manner that you've probably never done before.
As I've said a million times, I'm obsessed with Liya Kebede's LemLem line. The pieces, made by artisans in her native Ethiopia, are perfect for summer! I'm also a big fan of jewelry line Lulu Frost. Designer Lisa Salzer and I have been friends forever, and I love how she incorporates vintage pieces into her jewelry.
I began as a graphic designer. As part of my work, I created film symbols for ad campaigns. I happened to be working on the symbols for Otto Preminger's 'Carmen Jones' and 'The Man With The Golden Arm' and at some point, Otto and I just looked at each other and said, 'Why not make it move?' It was as simple as that.
The elements that create glamour are not specific styles - bias-cut gowns or lacquered furniture - but more general qualities: grace, mystery, transcendence. To the right audience, Halle Berry is more glamorous commanding the elements as Storm in the X-Men movies than she is walking the red carpet in a designer gown.
Black is overrated. You'll never find it in my stores. Of course it's slimming, but it's just used too much, especially for men. One black suit by one designer, another one by another - they all look the same in the end. If I walk into a crowded hotel lobby and I'm wearing a black suit, I just look like everyone else.
I'm an American designer. It's important to riff on that. I remember, when my mom and I first came to the States, she was so shocked that everyone was so dressed down in sandals and shorts. It's not quite like that in Asia. To give that a superluxurious makeover? For me to make street wear? It's sort of chic to do it.
Yes, I love going to fittings and talking about the history of a costume. For 'Versailles,' a play set in 1919, the costume designer told me that pocket squares had just been introduced. The tango was becoming fashionable in London, and dancers used them to mop their brows. I love to learn fascinating stuff like that.
Better biofuels are a really big deal. That means we can precisely engineer the molecules in the fuel chain and optimize them along the way. So, if all goes well, they're going to have designer bugs in warm vats that are eating and digesting sugars to excrete better biofuels. I guess that's better living through bugs.
When I started producing, it was George Abbott directing and he would let me do the scenery. He just wanted to know where the doors were - the entrances, the exits; the tables, the props - and then I would hire the designer. I took charge of the visuals - scenery and costumes and so on. And, the shows looked wonderful.
I'm literally nowhere yet... When things started going well, this French designer called Ami gave me some shoes and clothes to wear. But when I sat down to play the piano, the very new shoes kept slipping off the pedal. So I took them off, threw them away, and have never worn shoes while playing the piano from then on.
What I see in the Bible, especially in the book of Psalms, which is a book of gratitude for the created world, is a recognition that all good things on Earth are God's, every good gift is from above. They are good if we recognize where they came from and if we treat them the way the Designer intended them to be treated.
I ended up going to do a matches program at the state for industrial design. And from there, I got hired at IDEO to joint their design team there - and basically, you are starting as an industrial designer to design products - and then kept asking the question, 'What else can design accomplish? What else can design do?'
Design is important. I spend much of my working life as a designer. But how can you design for materials if you don't know what they can do? The feel of them, the possibilities, the capabilities? These are things you learn only by working with materials all the time. Frankly, a university degree is not much help in that.
I think the relationship is very tenuous between fashion and art. Many designers have built relationships with artists, which is not something I personally did. But it's true, sometimes you see artists working for a designer or a brand on some specific project or taking care of their environment and making an amazing store.
I think what makes me different is that... I am comfortable with expressing my vulnerability. I think designers often want to just put the loveable ideas out there. Ones that are imaginative but not very introspective. It is more rare for a designer to explore his or her disappointments and moments of disillusion and doubt.
There is a shop close to where I live, outside which, on certain nights of the month - I've no idea if the transit of the moon determines precisely when - fans of designer skateboards queue from early evening in order - well in order, I presume - to be among the first to jump on a skateboard when the shop opens in the morning.
When I was little, my parents really only wanted me to be a scientist or a doctor; they had never even heard of law school. I think even these days if you were to tell your mother you want to be a fashion designer, or an artist or a writer, a lot of Asian parents would be alarmed because they don't think that's a secure career.
I came here when I was 20. I came to go to school, but I ended up working for Halston as an assistant. That happened in a very strange way. My father had a meeting with Halston. And my father said to me, 'Join me. I want you to meet this amazing American designer.' And I happened to just tag along, and Halston offered me a job.
When I was about 13, I met the coolest, chicest young woman I had ever seen. She was a neighbor of mine who became a fashion designer and had a small design studio. She taught me so many things about style and fashion. I had always loved making things, so when she told me about her career in fashion, I knew I had found my path.
For so many years fashion was shrouded in mystery, this glamorous profession that people knew very little about, they thought it was so glamorous. It now has become so available, with the Internet, with shops like H&M and Target that do designer collaborations, so it's more available to everyone and that's created more interest.
I've always been a bit of a decorator. I think if I wasn't a singer I'd probably be in stage setting or interior design or something. I like clutter and I'm quite visually greedy. I can't have things to be plain; I have to have things looking interesting... maybe I'm just a frustrated interior designer stuck in a singing career.
There are many designers who have much greater talent as a designer than I do, but they may not have my drive, they may not work as hard, they may not have the focus, the desire... You have to have a talent because, at the end of the day, if the pants you design don't make someone's butt look great, they're not going to buy them.
Some people in the art world bemoan the hedge fund millionaires spending freely to acquire ostentatious displays of wealth and coolth for their giddily chic designer duplexes. Others bemoan art being treated as a commodity. But most of the bemoaning is because the art world is stuffed full of bemoaners, bemoaning about everything.
I live in Selfridges because it has everything under one roof. Liberty's is great for the same reason - I'm so lazy, I hate walking from shop to shop. Powder in Crouch End always has great designer labels in, so when I walk past I have to put my blinkers on because every time I nip in I come out with too much stuff; it's dangerous.
I had done it all in my career. I always felt, as a kid, that that's what a director needed to be. Hitchcock could do anything in my mind. He's the director. That person has to be the best actor, the best designer, the best cinematographer. Then I came to realize that isn't the case. You just need to surround yourself with the best.
Game Over is a very frustrating game convention. In short, it means, 'If you were not good enough or did not play the game the way the designer intended you to play, you should play again until you do it right.' What kind of story could a writer tell where the characters could play the same scene ten times until the outcome is right?
Over the past 20 years, I have noticed that the most flexible, dynamic, inquisitive minds among my students have been industrial design majors. Industrial designers are bracingly free of ideology and cant. The industrial designer is trained to be a clear-eyed observer of the commercial world - which, like it or not, is modern reality.
I wanted to be a graphic designer from the time I was 15, without ever having actually met one. I lived in the mid-west, not in a media centre, and I didn't know anyone who did that for a living. It took me a while to find out what that thing I wanted to do was actually called, but once I sorted that out I got really interested in it.
Photography obviously lends itself so well towards fashion. It's capturing that moment and that inspiration, and as a designer you are constantly walking through the world assimilating those visual references you have and so being able to solidify that into a photograph and keep it on your mood board is essential to creating a collection.
The reason why I started the clothing line Licious is because I had trouble finding clothes for my body type. I figured if I'm having trouble finding clothes for me, being curvy, I know girls with my body type are probably facing the same issue. And so with the help of my designer, I came up with the idea of creating my own clothing line.
I don't think it ever does any harm in any business to feel that there is someone there who cares about it. If you look at any business, fashion being the most obvious, the aura, or the reality of the designer, is part of what creates it. It's true in luxury goods stores and in good food stores. It leaves a palpable sense that someone cares.
The thing about Parsons compared to the other schools is that it really teaches you how to be a designer, whereas some of the other schools teach you to sketch or teach you the technical skills. But the curriculum at Parsons when I was there was how do you put a collection together, as well as all the technical stuff. It's the best training.
Twitter is a place where you share your thoughts, yourself... you don't want a plain white backdrop for that. You want the entire page to say something about who you are. Designer or not, if the urge strikes you, go for it. Put up that watercolor you've never shown anyone. Take a photo of that hat you just knitted... whatever it is, share it.
Today, everybody is always rushing. Designers have to make collections one after the other. Actresses have to make movies one after the other. They have to do all that in order to still be there - to still be out there. So to step away and be absent and to lose yourself completely and to really come back and find yourself again - that's something quite rare.
I knew I wanted to make a movie that looked decadent and expensive. I knew we would have to make every penny stretch and put as much of the budget onscreen as possible. So it starts with your heads of departments - your production designer, costume, hair and makeup designers. Picking the right people who were as committed as I was to telling the story as I was.
I don't like to generalize; I don't talk about the woman, because the woman doesn't exist. We're just lucky that we are able to choose. Those who feel like I do, who feel close to me find my product and find my soul. Each designer has a role to fulfill and you can never disappoint your audience, because it's for them that you're working. Naturally you always evolve, but my collection is about soul, about power.