Zac Posen Quotes

If you take away print and embroidery, you have to challenge yourself a bit more on the cut.

It's a fabulous thing to give life to fabric, to make something move well, the harmony of colour.

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.

After months of preparation working with a stylist who explained to me how a fashion house runs and the process of making a dress, I developed a respect for the patience and skill it takes to design these dresses.

I design for myself and the first question I ask is, 'Would I wear it?'

I had used the stretch materials for years to shape the inside of garments I made for private clients. Then I just started using them on their own.

I don't like to treat a piece of clothing like an object of art because I don't consider myself an artist. I'm a designer.

In fashion design, you can divide people into two groups. You have people who come with an aesthetic that is there forever, even if it evolves. Then you have people I call 'jumpers.' One season it can be this; the next season it's completely something else. I always knew I am more of a jumper.

I drape a lot. I cut. I have to touch. For me, it's almost impossible to start without that.

My father writes through clothes.

With imagination and personal creativity, people who sew can design the way they look to suit themselves.

A lot of fashion might seem boring, but it is actually quite fun: the inside, the outside, the silhouette... All the different finishes. That's a skill.

A couturier must be an architect for design, a sculptor for shape, a painter for color, a musician for harmony, and a philosopher for temperance.

In terms of bridal dress, I've tried everything. I've tried short, long, deconstructed, constructed, bustiers, working in fabrics, working in color. I've been working in color in bridal for probably 15 years. Who else would do an entire collection dipped in tea? I did that one year. My design team dipped every single dress in tea in a bathtub. I did that just because I wanted to work out of the vocabulary of white.

Dress designing, incidentally, is to me not a profession but an art.

Sweaters need to be imagined, dreamed over.

Very few designers today design - it's very important to be able to do your own sketch on paper and then explain [your vision] to the fabric cutters. Instead, lots of designers drape - it's the new way.

I love Japanese design and fabrics. I also love people who make clothes for mass consumption but do it well and cleverly.

When we put the antlers on the model and then draped over it the lace embroidery that we had made, we had to poke them through a £2,000 piece of work. But then it worked because it looks like she's rammed the piece of lace with her antlers. There's always spontaneity. You've got to allow for that in my shows.

Design is a career where you learn creative decision making.

If you don't have experience sewing, start with that, because that will inform what you are able to design.

I spent a long time learning how to construct clothes, which is important to do before you can deconstruct them.

Really great design is hard. Good is the enemy of great. Competent design is not too much of a stretch. But if you are trying to do something new, you have challenges on so many axes.

When you design a collection, you have to start with what you love and what you believe in. Unless you do that, you can't stand behind it, so there's no point in doing it.

Great design is not democratic; it comes from great designers. If the standard is lousy, then develop another standard.