I always wanted to be a designer. I read books on fashion from the age of 12.
At the age of eight I started getting into fashion, brands such as Tommy Hilfiger, Nautica and Ralph Lauren. But in 2005 I started wearing John Richmond jeans.
I knew from my youngest age I wanted to be a fashion designer. I was always draping fabric and working with color palettes.
Fashion is always of the time in which you live. It is not something standing alone. But the grand problem, the most important problem, is to rejeuvenate women. To make women look young. Then their outlook changes. They feel more joyous.
Woman is fine for her own satisfaction alone. No man will admire her the more, no woman will like her the better for it. Neatness and fashion are enough for the former, and a something of shabbiness or impropriety will be most endearing to the latter.
I drive around on my scooter in Milan alone - we don't have bodyguards or anything like that. I am a fashion designer, not a celebrity, and although I get stopped for autographs and the like, I don't think I am famous.
I'm so excited for my first fragrance! I chose to partner with Dots because I love what they do for their customers, bringing them the hottest trends in fashion, accessories and fragrance at unbelievably low prices. It's amazing!
I love fashion from the 1930s and '40s - shoulder pads, high waists, things with structure. That is classy for me. Andrea Riseborough from the Madonna movie 'W.E.' had an amazing wardrobe.
We're getting to this amazing place where the average size in America is a 14-16, and we're starting to see that represented in the fashion industry, and it's becoming more accepted.
I love building spaces: architecture, furniture, all of it, probably more than fashion. The development procedure is more tactile. It's about space and form and it's something you can share with other people.
Architecture has joined the world of fashion, but fashion is passing and architecture is timeless.
The body moves through space every day, and in architecture in cities that can be orchestrated. Not in a dictatorial fashion, but in a way of creating options, open-ended sort of personal itineraries within a building. And I see that as akin to cinematography or choreography, where episodic movement, episodic moments, occur in dance and film.
Fashion is architecture: it is a matter of proportions.
Architecture is how the person places herself in the space. Fashion is about how you place the object on the person.
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