Top 43 Quotes & Sayings by Maria Cornejo

I'm not one for conventional wisdom. I founded my label in 1998, but after the 9/11 terrorist attacks, my Japanese backers pulled out, and I couldn't afford to produce the line myself. I needed fresh ideas from someone who understood technology, since that was the direction the business was going.

My chemistry teacher wanted me to do chemistry, and my art teacher wanted me to do art. Fashion seemed like a good in-between - using your brain but being creative.

Sexiness today is not about having a perfect body and wearing a tight mini skirt; it's about what you don't show that's truly sexy.

I wanted to start something in New York that focused on making products locally and, because I'd just had my second child, didn't want to be traveling halfway across the world anymore. Originally, I wanted to open up a gallery space and sell things like cushions or blankets that didn't have a season, and have friends or artists contribute.

My aunt made stuff; my mom was creative, so I was surrounded by that. When I moved to England, it was '75, and everything was happening. My whole teenage life is England, glam rock and David Bowie and Sex Pistols and Iggy Pop, all that stuff.

When I was in high school in England, I wasn't sure that you could have a career in fashion. In those days, there were very few fashion magazines. I didn't realize there was a school where you could go and learn how to make clothes and design. I thought you just had to be discovered somewhere, like a film.

I got fired from my first job in a store when I was a student because I kept wearing my own things, and people kept asking me where they were from, and the owner of the store got annoyed with me. So I got fired because I couldn't afford to buy the clothes from the store.

I'm not an intimate person, really.

My shrink said to me once when I used to get really overwhelmed and super depressed because I was really run down between kids and the company and there was just so much going on - she said, 'You know, you have to look after you in order for you to look after everybody else.'

My mother had her dresses made. In those days in Chile, the early '70s, people had dressmakers make their things. With the leftovers, my sister and I always had a matching outfit. She had an outfit, we had the mini version. That was the very late '60s, early '70s way to dress your kids.

Guys are not good under pressure. They're just not good at multitasking, but on that note, we should be a bit less good at enabling them to, you know? That's a problem.

Being your own woman, not cookie cutter - that is the greatest luxury!

My parents, they were both Socialists; they were young - 30, 31. They were both successful career people. They had been teachers, and my dad spoke English.

As a kid, I always used to make clothes. My grandmother made everything with me - she taught me how to knit.

Before I started my company in 1998, I worked for big companies traveling a lot and saw firsthand how much waste there was. I was flying across the world in first class to places like Italy or Hong Kong, where I was staying in 5-star hotels, only to nickel and dime someone over a sweater price.

The fashion business has to change. There's too much waste.

If you feel good about yourself, even putting a little bit of makeup - I don't usually wear makeup, but you know, someone said to me, 'Why don't you spend that extra five minutes to make yourself feel good?' And it's just a bit of self-care so you can go out and face the world, and I think we need that right now.

I did go to fashion college, where I was a little punky, a little Bow Wow Wow. I wore red eyeliner. At the time, Vivienne Westwood was really big, so it was a lot of that. London was having a really big moment. I was mixing vintage with things I had made.

Normally I sleep in until 7, and most days, I go right into the office. On Tuesdays, though, I stay home and do work. I need a day when I'm not in meeting after meeting. You need time to try to get into your head again and see what's next.

Because America doesn't have a strong textile industry anymore, we have to bring things like fabrics, zippers, and color tape into the U.S., and having so many elements involved in production adds to the amount of waste. You might have some things coming from Italy, a button coming from China, or lining coming from Korea; it's just endless.

I always say you can only change things from within. It's all about energy. If it's positive, then - even, like, somebody you don't like, saying hello to them one day just switches the conversation, and instead of being angry, I think it's good.

The fashion business got boring. I was working with big companies, but the minute it became too formulaic, I got bored with it. I wanted to do a creative space where I could just make stuff - kind of like an atelier, where I could collaborate with other artists, drape geometric shapes on the body, make cushion covers, or whatever.

My art teacher was really encouraging me, because he really liked that I could draw. I felt very torn. At that time, I had to pick one, and I felt much more confident in the arts than I did in chemistry. My big thing was that I actually wanted to be like Jacques Cousteau.

The idea was to have something wearable that fit with my reality, which was being a mom with two young kids and not always wanting to wear jeans. I still wanted to wear interesting clothes, and the options out there I found were either very expensive or very cheap. There was a big gap in the middle.

My parents came from very humble families. My grandfather had a construction business coming from farmland, and my grandmother could never read or write. We were very spoiled. We had a nice house - and then, all of a sudden, we had nothing.

Maggie Gyllenhaal, Chelsea Handler, Tilda Swinton, and Sofia Coppola are other clients. They're all risk takers but never look like they're in costume.

My own personal tweets are very limited. I think I have, like, 68 followers on my personal Twitter.

Sometimes I need to go for a walk for inspiration.

Knowledge creates the demand. The more people know about it, the more people will be interested and demand for things to be produced in a careful, conscious way.

We can't start with big thinking, we have to approach it little by little. Sustainability isn't going to become big right away. Each day you give yourself a little bit more responsibility. It's not ideal, but that's the only way things change, we can't just keep ignoring it.

I don't follow trends - it's more of an instinct thing. Honestly, I'm kind of my own worst client. I wake up and go, "I have nothing to wear!" But that's what makes it interesting. I ask, what would make me feel good? I think it's a constant challenge because clothes are so personal. For me, my clothes are related to my mood. If I feel like I'm not wearing the right thing, I don't feel confident. I think it's in everybody's psyche.

It would be great if everybody got a conscience. If we started to take more responsibility for the pollution in the world caused by the fashion industry, and to produce less, but better-thought-out goods. Then it becomes worth saving up to buy something beautifully-designed because you can and will keep it, rather than buying a bunch of disposable fashion items you'll probably wear once before throwing away and adding to the waste stockpile. I do think people used to buy clothing with a more thoughtful approach.

For us, every day is Earth Day. It's like with Women's Day recently, I said, "Every day is women's day - we're women!" It's something that we sort of take for granted.

I wanted to start something in New York that focused on making products locally, and because I'd just had my second child didn't want to be traveling halfway across the world anymore. The idea was to have something wearable that fit with my reality, which was being a mom with two young kids and not always wanting to wear jeans. I still wanted to wear interesting clothes, and the options out there I found were either very expensive or very cheap. There was a big gap in the middle.

I think information is key and at the end of the day it doesn't matter if it's sustainable or not to a consumer, most of the time, they just want to know that it's beautiful. So we have to serve those people with desirability and conscientiousness at the same time, it's a challenge.

When people wear our Bolivian knits and see who knitted them, they are excited because they know they are supporting this women's cause in Bolivia. And it shows you that we are all connected. It's not a machine making your clothes in a black hole somewhere. There is a human being behind it, and a community there.

I've always been very aware of environment. When I was a kid I wanted to be a marine biologist until I realized I hated being underwater. I think a lot of that came from traveling and seeing the levels of waste produced by so many factories around the world.

If you feel good about your clothes, you get excited. And I want women to feel good when they're wearing my clothes - not just because they're beautiful, but because the process and every step involved in making them is incredibly thoughtful. You can be proud wearing them.

There are social and environmental impacts. You might be working with a factory that underpays its staff or mistreats its workers, or mishandles the dyes. I think that conscious fashion, fashion for our soul, needs to keep pushing that needle towards being better and more mindful.

It became very important for me to stand up and design with a conscience for environment, you know? Just because you like clothes doesn't mean that you have to throw your principles out the window.

People aren't buying blindly anymore, they want transparency. They want to know informed about where their clothes were made. I think that's why we have a loyal clientele.

There's strength in numbers. One designer isn't going to change everything. Everyone has to demand that their materials are being sustainably sourced. Just like how cosmetic companies won't test on animals, there have to be benchmarks that we can all adopt.

I always use a really simple analogy: if you're putting organic food on your table because you care about eating well, shouldn't you be trying to do the same with what you're putting on your body? Our skin is our biggest organ. Everyday you are absorbing things through it. The way that a cream without the right ingredients can affect you, everything you put on your skin matters.