I think I can make an entirely new game experience, and if I can't do it, some other game designer will.
If you compare my character to the others, they were sexy with designer clothes. I had the nerdy outfit.
I trained as a designer, so I'm always terribly keen about what I'm going to look like.
Whether it was working on theatre sets or stage lighting, I didn't realize most all of the skills I was exposed to were going to come in handy later on when I became a designer.
For each episode the five of us are all wearing clothes by the same designer. It's a different designer for each episode, but for each one we're all wearing their clothes.
But I'm not crazy about the designers like Prada and Gucci. I hate going into designer stores.
Just look at all the awards shows now. It has turned into a catwalk. You have to be wearing a certain designer, a certain dress, and everyone's critiquing.
We've had the same set designer and the same crew in many cases since 1972.
Phillip Harrison was the production designer, though, I think he's uncredited. He's done most of my films like Blue Thunder. Lots and lots over the years.
If you decide to design your own language, there are thousands of sort of amateur language designer pitfalls.
A designer is an emerging synthesis of artist, inventor, mechanic, objective economist and evolutionary strategist.
I think I was the first to show that a designer could be like a rock star, that people should love your fashion but also put your name together with your fashion.
When we started out and we were talking about the origins of the universe and the physical constants, I provided what I thought were cogent arguments against a supernatural intelligent designer. But it does seem to me to be a worthy idea.
For centuries the most powerful argument for God's existence from the physical world was the so-called argument from design: Living things are so beautiful and elegant and so apparently purposeful, they could only have been made by an intelligent designer. But [Charles] Darwin provided a simpler explanation. His way is a gradual, incremental improvement starting from very simple beginnings and working up step by tiny incremental step to more complexity, more elegance, more adaptive perfection.
I try to make Play Cloths really representative of me and my designers they look at my evolution as an artist and in fashion and they [zero] in to different details. I come into the office some days and they're like, 'What are those?" [I say,] "[These] are Philip Lim...[I'll] have on Philip Lim sweats and they go and put their spin on it.
As for Instagram, I follow about 100 people, but I am not interested in what a designer is doing or what a friend of a friend is doing. I upload my photos on Instagram.
In New York there are between four and six big designers, and the shows last one week. There is something wrong here. It's our fault. We can't stand up for it. They take our ads, don't they? Why don't they want to stay longer in Milan? Why do we have to comply? We have the most beautiful brands, they are Italians.
There are designers there, we have to think of production, but I am not changing Africa. But if we all do something together....We have to know our limits, I don't have the pretense I can change the world. And I don't want to set up events [to raise money]. Because what happens if the following year they don't have an event, they won't eat?
A lot of sneaker brands come to me, not even just designers. They come to me with ideas trying to push different things, and I want it to be stuff that I feel is organic.
I do think, in the future, headlamps are probably going to be smaller, slimmer. I also think that a lot of designers will start playing around with the daylight running lights. That gives a lot of character to the vehicles in different ways, so I think designers are going to play around with that to try and give each brand a certain DNA so you can almost recognize what car it is when you look at the headlamps.
Pippin had an opening number called "Magic to Do," and Jules Fisher, the brilliant lighting designer lit it. Tony Walton did all of the sets. As a kid I thought, "Wow, I'm seeing onstage what a MGM musical would look like live." It was that good, and it was directed by Bob Fosse.
We have been underserved, underprivileged and unfortunate for far too long. There are no more excuses. It's not enough to have limited progress and allow our expectations and sense of purpose to evaporate. So, if that means we must sacrifice some nights at the club and give up buying the latest designer handbags and sneakers... well then damn, so be it.
I don't understand the fashion industry and the appeal of it. I understand that there are some people who think it's important to them, and they're designers, they're artists, but there seems to be a disproportionate amount of our culture that's caught up in that and the red carpet stuff. It seems like there's a disproportionate amount of attention placed on that.
When I do a show I have such high emotion; the energy is amazing - but, people don't really see the details and the work and the experimentation that we, the designers, put into the clothes. With prêt-à-porter you're having a look.
If you buy a Cartier ring you want people to know it is a Cartier ring or a diamond, or a piece of art that's giving an emotion - then people read it and say, "wow that's really amazing". With prêt-à-porter you see people in the street, in a club, in a restaurant or whatever, and you think, "Oh my god, he's wearing my trousers!" In a way it's more open - people can put together the way they want - mixed with other designers.
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