Top 116 Quotes & Sayings by Jeremy Scott - Page 2

I feel very blessed to have such wonderful cheerleaders and champions of my work.

I really don't see little girls growing up and thinking, 'Oh, I'm going to morph myself so I look like Barbie.'

I always grew up watching things transform, and a lot of that was what we would call trash.

McDonald's, Barbie - they're all icons, recognizable from London to Timbuktu.

I don't really dissect too much when ideas come - they just kind of pop into my head; I just take them and run.

Suddenly, Dallas has become a big part of my life, and now I feel like I'm part of the fabric of the community here.

I don't make clothes for the critics.

The main thing I hope people see is how passionate I am about my work, and I know people talk about it, but I do work really hard on my stuff, and it means a lot to me.

Even as exuberant as my style is and as over the top as I may be, I can appreciate a classic when it's really well done.

I went to Paris to learn and absorb some of the amazing ambience I was enamored with growing up in Kansas City. I didn't go there to start my own collection. But I never could get an internship, so finally, I was left with just doing my own show.

The McDonald's icon of the colours and the golden arch, for me, resonates as one of the most iconic images ever.

I'm a very normal person with a very even keel.

I love the low-rider cars and that whole culture.

I grew up on a farm and didn't have connections, and I had a dream that I believed in, and I felt passionate about it, so if I can instill hope into somebody too with the film, that's what I most want.

I started at Moschino Oct. 31 or Nov. 1, 2013, and now I go back and forth between Milan and Los Angeles, where I live.

There have been a lot of challenges, but I'm still standing on my own, and it's quite an achievement knowing that I own my own business and created my own success through hard work and vision.

I don't care if the critics don't like me. I want to be the people's designer, like Diana was the people's princess.

I've taken a look back at my body of work and tried to deduce an essence, capturing aspects that reoccur. Reflecting on your own product can be difficult yet enthralling.

If Michelle Obama had stepped out in an outrageously priced jacket by an Italian designer, heads would have rolled. People would have said it was deplorable.

When Jackie Kennedy wanted to wear her favourite European designers, she was told no. She had to start working with brands like Adolfo, who had to create Chanel knock-offs because that's what she wanted to wear.

I've always felt like an outsider, and I'll probably continue to always feel like an outsider. Hopefully that's a good thing. I feel like I approach things differently than other designers.

I think about my friends all the time when I'm designing. That's always an arbiter. Would Katy wear this? Would Rihanna wear this? Would Sia wear it? Would Miley wear it?

I think because of the eccentricity of my work and how I dress, people expect me to be bouncing off the walls. But that's just not how I am.

By the nature of fashion, you're only as good as your last collection, so I'm constantly striving to be better, so I don't look at it as if I've made it.

I moved to Paris around 1995 or 1996; my first collection on the runway was in 1997.

I don't think the distinction between high and low culture exists anymore.

I feel like we have to fight for art.

I think when people think of something as basic, they think that it's boring.

There probably wasn't a day that went by in high school that I wasn't bullied either physically or verbally. It made me stronger, and I knew I had to stay steadfast to what I believed in.

We have to fight for everything we believe in.

I think I'm one of few American designers doing a house in Europe, and I think I've been proving myself there very well.

Madonna is the ultimate pop star of all time, hands down.

The fact that people look at pictures so tiny on Instagram - people ask me about it popping on Instagram, but I didn't alter myself to be that. I didn't change for the screens, I've just been doing me.

I won't work with people who won't give me the freedom to be me.

When I first started my own brand, when I needed an icon, I had no other icon but myself. I had to create that.

I've always loved plastics and rubber, and it's such a specifically unique material that you have to have the manufacturing abilities to make it.

I always love trying to put my arms around more people. As a designer, it's a great compliment when people wear your clothes or buy your products, so to do things that are more affordable and have more of a distribution is always very exciting - especially when I can still bring my personality in complete, heavy doses. It's not a diluted version of me; it's a very clear extension of my personality.

I just love the ideal of the surreal quality of putting it on a shoe.

I think as humans we're nostalgic creatures and that's what we do. We go back to things that have a semblance of something comforting, or enough time passes that it seems cool again, or maybe it's something that some people didn't even experience.

I guess I always think of myself as more of the people. I always feel like a bit of an outsider.

I have to love the DNA of the brand fundamentally. I need to be able to fuse my personality with theirs. That's what I've done with Adidas, Swatch, and in a different way with Moschino. I really have to feel fused with it.

Working with Moschino, a real high fashion Italian brand, maybe I'm under tighter deadlines, but sometimes under tight deadlines you do your best work.

I have to birth those ideas. Those designs have to come into the world. It's not only my goal, it's my reason for being on the planet. If I'm not doing them, then I'm not fulfilling my calling. It's very instinctual for me.

I have so much to be thankful and grateful for, and I just think about my fans, who did put me to where I am. I can promise you this: my appointment at Moschino did not come from anyone but them.

Working at Moschino has been great because I just have to deliver when I have to deliver.

I think the way the world has evolved, it's maybe caught up to me. It makes more sense and it makes it click on a larger scale.

When I'm hell-bent on something, there's no way around it. I can be a very stubborn.

People think I'm being stupid or false humble. It's not. I don't think I always fit in. Maybe it's a complex you get as someone who has always been fighting on the outside.

The world has changed around me. I've been me, and continuously being me in a constant, steadfast way.

I don't speak Italian, but I do speak Moschino.

There are the great people who have grown and loved me, like Katy [Perry] - who started as a fan and told me that one day she hoped I would dress her, and asked for a picture with me at a fan meet and greet. Now she's became one of the world's most important pop stars. I've supported her since the beginning, out of believing in a spark in her and giving her a chance because she was a girl who obviously seemed very passionate about what I am doing.

If you want me to shine, you need to give me the parole to do that.

I love what I do, and I only want more. I love the whole process. I love designing, I love figuring out how to make the clothes happen, I love the ad campaigns.

Nowadays, individual style isn't just much more understood, but much more appreciated; that there's not one forced look that we're all supposed to adhere to, and everyone can find their place that way.

Globally, proving myself working well with Adidas, showing my work could be globally distributed and loved and appreciated and still be challenging. Maybe I'm one of the first people on a larger scale to make more challenging and more unique items.

I follow my inspiration to wherever it goes. I do want the fans to feel the fun and excitement about it, and I like for people to be able to make their own interpretations about my work. I don't like to overexplain it.