That was an amazing time period [ CBGB filming] to transport to during filming - the clothes, the music, the lifestyle - it really helps to get into character when there's so much that changes from the moment you step onto the set.
On the last day of every character I've ever played, I lay the clothes out on the floor with the shoes and socks, so that it looks like the character has literally vanished. That's the way you have to leave them.
My parents tried so hard to do what they could to keep us in school, but school didn't last but four months out of the year and most of the time we didn't have clothes to wear.
We worked all the time, just worked and then we would be hungry and my mother was clearing up a new ground trying to help feed us for $1.25 a day. She was using an axe, just like a man, and something flew up and hit her in her eye. It eventually caused her to lose both of her eyes and I began to get sicker and sicker of the system there. I used to see my mother wear clothes that would have so many patches on them, they had been done over and over and over again. She would do that but she would try to keep us decent.
Through designing clothes, I try to bring solutions to people, and I'm interested in the everyday relationship we have to clothes.
I try to bring as much taste, smartness, quality, functionality, and aesthetic qualities to everyday clothes.
I'm interested in the intimate relationships we can have with those good clothes that we may have in our closets.
I think we all have those particular pieces of clothes that we really like, because it ages well, because it fits you well, because you feel comfortable, and you feel confident in those clothes. All those aspects of good design are what I'm interested in.
I'm trying just to do good clothes, clothes that you need as much as you want.
This is what I've always been interested in, trying to make timeless, functional, real clothes.
Everywhere I've been working, I always had in mind the final destination of the clothes, which is the consumer.
Even I, when I was a student in London, often wore Western clothes, and yet I'm the most Indian Indian I know.
Your clothes should always make a statement.
I threw all my clothes away from high school.
A lot of times I just feel like this is not a special day, these are just clothes that I bought.
[My mother] worked at thrift stores and she didn't have a high school education. She sacrificed everything she had for me and my brothers. I never went without. She showed me that she could put food on the table, buy us Jordans, we had the best clothes and she worked two-three odd jobs.
My mom was always making me clothes. We'd go to the fabric store, pick out patterns, and it was a creative process. I heard that word a lot growing up: creative.
When I see that the clothes are sold the day they debut in some cases, I fear we are going to kill the invisible side of fashion, the mystery. Now with the industry, it's getting a bit difficult to create any mystery. But it's quite an interesting period. It's a bit chaotic.
I wanted individuals who were clearly themselves and I just got to put some clothes on them, but they basically came "done," you know? How they feel comfortable. I just wanted them to walk down the streets of New York and I said, "You know what? Don't even pose, just walk and we'll take pictures."
I want my mom to be able to wear my clothes, I want my older sister to be able to wear my clothes, and the people in my life aren't necessarily built like I am, you know? They're built in a million different beautiful bodies, shapes, and sizes, and so why would I exclude anybody from being able to have it? This is the point.
I've always dressed myself, even when I was younger. My parents didn't pick out my clothes or anything. They let me do that, which I think is an important thing because it allows for kids to experiment and figure out what they like, even at a young age.
Hailey [as a character] was born when I left the courtroom and moved to New York for Cochran and Grace, my TV show with Johnnie Cochran. I moved with two boxes of clothes, a curling iron, and $300; I didn't know a soul in the city, so I would come home at night and I'd be all alone and just write. I missed the courtroom and [what led me to the courtroom] so much I wrote about it. After my fiancé Keith's murder, I had never thought I would have children - I thought that it was not God's plan for me to have a family.
New York has changed a whole lot. For worse I think because back when I was growing up in New York we were always the trendsetters. I don't care if it was from clothes to hip-hop music, to whatever. Right now New York is a bunch of followers. A lot of them are. It's really not the same.
I get up in the morning and I put on makeup and then I say somebody else's words in someone else's clothes, and then I go home and watch TV, have a glass of whisky and go to bed. And I'm overcompensated for that. So it's insane to not use that pedestal to try and at least help someone or something that's in need.
The Miraculous Journey of Edward Tulane began with a friend giving me a rabbit doll - forgive me, Edward, for using that word; he doesn't like "doll" - for Christmas. I said, "Oh, he's lovely, what's his name?" And she said, "Edward." And a few days after I received the rabbit, who was dressed very handsomely in Edwardian kind of clothes, I saw him stripped of his finery and face down on the bottom of the ocean floor. Why? I don't know. But that's where his story began in my head.
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