I really love beautiful, well-made clothes. I don't shop [a lot], so I tend to have pieces for a long time. I like mixing vintage with newer designers.
I'm not an interior designer - I'm a normal working mum who wants her house to look good and doesn't need a man to do it for her.
I am a bit in love with a new designer George Hobeika; I have worn him a couple of times on the carpet. Ralph Lauren is another one I really have fun with.
Ive learned a tremendous amount over the years by watching designers work. I now have a good understanding of what sits well on the body, not to mention the importance of a great cut and quality.
I have a very Socratic approach - I pummel the designers with questions, so when I get them to step back from the work and look at it with me, they'll eventually see what I see, coming to it fresh and unencumbered. That's always very gratifying because they feel a responsibility and an ownership of a solution.
Designers have a responsibility to show the future as they want it to be - or at least as it can be, not just the way an industry wants it to be.
I collaborated with fellow cat lover and designer Geren Ford to create a sweater that we hope any cat parent would wear to show their kitty pride and that all animal lovers can wear in support of the ASPCA.
I've kept the people who've been in my career who I feel are my family. Kathy [Kennedy] had been with me since 1978. Janusz Kaminsky, my cinematographer, has made every movie with me since Schindler's List. Michael Kahn has cut every movie I've directed since 1976 when we made Close Encounters together. Rick Carter has done more than 15 of my directed films as a production designer.
If we are not committed to saving this earth we will be buying designer air filters and gas masks with little Nike swishes on them.
The Council of Fashion Designers of America is a national neurotic society of creative leaders in various fields of fashion.
[While designing] I'm mixing two lines of thought really: me as a designer for women and then me as a man. At the start of the design process it's the designer for women that comes to the forefront - sketching and revising the silhouette. Then the man comes into the picture - and I look at the shoe from a very masculine point of view. Then there is a conflict between the two sides of me. Sometimes the man wins, and sometimes the designer wins.
The designer side of me has many ideas on how the shoes or woman should look, but the man is thinking 'would I want to see my girl in those shoes?'
From since I could remember I've always been an artist, drawing, painting and so forth. I would also always draw made up rock n' roll characters in a band who each had their own style and personalities. I think by accident I was already becoming a fashion designer.
I think someone's biggest competition is themselves. I stand out as a 'fashion' designer and not to be confused with, (people who call themselves 'clothing' designers, who just print designs or logos on pre-existing t-shirts), because what I have created is custom fashions that are a personal extension of myself and my personality. It's pretty unique since there is only one of me.
My computer is a very complex gadget and it was designed by many designers, so why must the universe have only a single designer and not many designers?
As designers we are influenced both consciously and subconsciously by everything we see around ourselves. Still, we always must try to avoid anything that has been defined as the latest and greatest "trend" in design.
My advice to the 10 year old daughter is: fashion happens in a context. It's societal, it's cultural, it's historic, it's economic, and it's political. So all of her studies, everything that is happening in the world, all needs to be channeled through her in order to be a good designer.
I make films but I am trained as a designer. I come from this series of designers called critical designers, speculative designers.
The reason why many clients don't value design is because haven't had a designer prove to them the value of it. You need to prove it to clients who've hired a bunch of shitty designers and their business has not been that successful. When they hire a good designer, they see the difference.
Being a good designer certainly doesn't guarantee that you're good at business. It's probably more surprising when the two talents coexist in one person.
There are three things you need to do as a CEO-founder. Think strategically, drive design, and drive technology. Some people who are really good at one can build a pretty foundational company. Most people who are very successful are good at two. But Jack is the only person in the Valley I've met who's all three. He's a first-rate strategist, a first-rate designer, and a first-rate technologist.
The more closely the author thinks of why he wrote, the more he comes to regard his imagination as a kind of self-generating cement which glued his facts together, and his emotions as a kind of dark and obscure designer of those facts. Reluctantly, he comes to the conclusion that to account for his book is to account for his life.
The designer [...] has a passion for doing something that fits somebody's needs, but that is not just a simple fix. The designer has a dream that goes beyond what exists, rather than fixing what exists. [...] The designer wants to create a solution that fits in a deeper situational or social sense.
Over 95% of the designers who have ever lived are alive today. Together, we have the power to define what professionalism in the communications industry will be about: helping increase market share or helping repair the World.
My favorite designers are Levi Strauss and Fruit of the Loom
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