Unconventional Design Quotes

As a woman, I'm expected to want everything to be nice and to be nice myself. A very English thing. I don't design nice buildings - I don't like them. I like architecture to have some raw, vital, earthy quality.

It was just an idea I had, that it could be cool to have a book covered in fake fur.

When I am putting looks together, I dare myself to make something work. I always look for the most interesting silhouette or something that's a little off, but I have to figure it out. I have to make it me. I think that's the thrill in fashion.

I'd call my work 'instinctual design.' I like to find the spirit of a piece that defies time, age, and occasion. My clothes give the wearer the chance to develop their own voice within a wardrobe, and I think of them as curators of their personal style.

My house is a mixture of mid-century 'Brady Bunch' and the Addams family, so it's not uncommon to find vials of blood in my house.

My forms are geometric, but they don't interact in a geometric sense. They're just forms that exist everywhere, even if you don't see them.

These designers have no reserve. They've chosen a path and thrown themselves onto it head first, regardless of everything. Whether or not their designs are sellable or vulgar. As long as it's new and people talk about it. That is the truth.

For 'Nier: Automata', I wasn't told to target anyone. I just made what I wanted to, and I tried to stay hidden from Square Enix as much as possible.

I would design any vehicle, but probably least likely... a minivan.

"I've done your dog. It's got nine eyes down the side, I made his head all square, 15 legs. What do you think of that?" "Fido looks a bit weird."

If I really can be said to have a personal style, I think it is reflected in my taste for the exotic and the unexpected. I like to create rooms which are essentially traditional - and then add touches of the bizarre and the delicious.

Gracie: You have an unusual house. Have you lived here long? Bobby Tom: A couple of years. I don't much like it myself, but the architect is real proud of it. She calls it urban Stone Age with a Japanese Tahitian influence. I sort of just call it ugly.

Here's what I like about God: Trees are crooked, mountains are lumpy, a lot of his creatures are funny looking, and he made it all anyway. He didn't let the aardvark convince him he had no business designing creatures. He didn't make a puffer fish and get discouraged, no, the maker made things - and still does.

Using a massive panel of pure sapphire for the front of a phone would be a little bit stupid.

The idea of building a Near Eastern house in Honolulu must seem fantastic to many.

Schiaparelli was almost like a pop artist. Even the first sweater had a naive visual impact. You immediately get it, and you love it or you hate it. There's nothing in between. But she had a proper upbringing, so she also understood about quality and luxury.

First of all I thought it was ugly, I thought it was ridiculous that undercover police guys would drive a striped tomato and I've never been a big champion of Ford.

Actually, I'm getting one made up with eight necks and I'm going to get a wheelwright to make a big rim around it and then I can do cartwheels off the stage.

Have you ever heard of a pianist who never had to practice - or of an architect who didn't bother to find out why buildings stand up?

If I'm going to be the black designer, I'm going to tell it my way.

You can really have a no-holds-barred relationship to materials with mixed metals and colorful schemes or more controlled palettes that are more tonal or restricted to a single accent color or metal finish. There are really no rules, and that is what makes contemporary design so limitless and enjoyable.

I make clothing, and I don't care about trendy things.

Break the rules - put a plant or a floral arrangement in a room that you wouldn't expect!

For some reason I have a visual intuition that allows me to design things in an interesting way, and I don't know where that came from. Because I don't have this formal training, I seem to drift in a different direction.

This profusion of eccentricities, this dream in masonry and living rock is not a drop scene in a theatre, but a city in the world of reality.