I love to design. I am a commercial fashion designer. I always design jackets with two sleeves. I don't design jackets with three sleeves, or the layers and layers come off like little dolls from Russia. Fashion for me is a creative endeavor, but it is not art for me.
We want people to realize you are at a design school, not a land grant college. The way we look says a great deal about who we are.
I think it's really important to make things your own in your voice. I started when I was 23, and in the beginning of my career, there was this expectation of a young designer being edgier, cooler, more downtown. But I was never that person.
Fashion design is so diverse. It does not have clear identities as before with Balenciaga, Chanel, Cardin, Courreges. Design is about being recognised without a label. Elegance alone is not sufficient.
If you have no intuitive sense of design, then call yourself an "information architect" and only use Helvetica.
There is a voice, and there is a DNA to how I design.
You always need a textural landscape. I think that's what fashion is about, and I think when you come to a brand and you're trying to re-instill its history, the history only comes through being personal.
I love everything I design.
I would never live in anything I design. Life and art are different. My life is very precious to me - my art is precious to me. I love designing things for other people, but I don't like designing things for myself.
I guess when I look over my shoulder at other designers, I feel like people are so definitive. It's so clear to me what their aesthetic is, what they're projecting. And I look at my own work and I think, Who could ever decipher what the hell is going on?
I want to be a designer for my time.
Really successful designs can be created without software produced "special effects." Identities do not NEED bevels, gradations, 3-D imagery, Web 2.Oh-Oh and other oh so "special" treatments to be great design solutions for clients.
As a designer, I'm not interested in trend.
Every designer needs a story. Mine is all about glamour.
I buy vintage - mainly Alaia and some Westwood - but 90 per cent of the time, I wear my own designs.
My homes are similar in style because the same design principles run through all areas of my work.
I believe that I am a hat designer, not a milliner.
I don't know if that's new, but it has become very official over the past 25 or 30 years - and today it's probably at its most extreme point, where sometimes collections look more like a stylist's work than a designer's signature.
French design hardly exists, except as artificial modernism.
Design my own line? No, I just like the culture.
Designers have told me that their collections are so me, but I don't always recognise it because if you ask me what my style is, I'm really not that sure.
I want to show my personality through my designs and stay pretty anonymous outside the industry.
My muse changes all the time because I think every designer is a bit of a muse for themselves in a way - they just don't want to say it.
Massimo Vignelli designed a timeless, elegant, and powerful identity for American Airlines.
I want young people to be able to buy into what I design. When I was young, I wanted to buy designer brands even if all I could afford was the cheapest wallet, the cheapest pen, the cheapest T-shirt because I wanted to be a part of it.
