Top 55 Quotes & Sayings by Peter Marino

I don't talk about myself in the third person. When I start doing that, you'll know I'm having an out-of-body experience.

I don't sell anything. So, I have a personal image, but I think that's because I'm from an art background, and I'm an artist, and I think most artists do have personal images. I consider myself more in that category of the way an artist had a look.

My parents spent a lot of money so I wouldn't sound like I came from Queens. I went to speech class.

Architects have big egos. We like to think we're creating the pyramids and they're going to be around for thousands of years. And it's a joke because they're not even going to last our lifetime. I built a home for umpteen gazillion dollars on a gorgeous piece of property in Palm Beach, and 11 years later somebody else bought it and knocked it down.

We have a thousand hydrangea plants bordering the house, and they were all supposed to be pink, but a handful of them keep turning purple.

In 1991, if someone came in with a $1 million budget for a boutique, I would have fainted. Nobody spent even half that. But now, the bar has risen very high.

All bronzes are made to be touched. Bronze is a sensual 'living' material. The sweat and oil of your palms adds to the patination.

I loathe when architects only analyze architecture in intellectual, nonvisual ways. I really love direct response, and that's very pop. I don't want to discuss abstract transparencies with a bunch of kooks.

I'm really a fighter against modernism equaling brutalism.

One of my first fashion clients was Calvin Klein. We did his first freestanding stores. He was very exact and precise. But talk about high-fashion people who brand themselves!

I believe that women would crawl across broken glass to get a cool pair of shoes.

I simply loathe the crude 1960s distinctions between commerce and art. For me, Warhol and pop obliterated all of those separations - that was the whole point of the Brillo Boxes and Campbell's Soup Cans. And believe it or not, in 2009, moronic journalists are still saying to me, 'Your work is so commercial.'

Anytime I see an unusual combination of colors or patterns or texture, I buy it.

I have this 'Alice in Wonderland' idea in my head that a garden should be a place of wonderment.

What frustrates me is florists who put everything at the same size on the table. I like it when there's mountains and valleys.

There's a very important aspect to all my work, now more than ever, which is tying the interior design and architecture with the art.

Design-wise, I look at everything. If I don't personally design it, I'll review it. I'm kind of creative director of the firm.

If I need a pair of tennis shorts, I'll buy them online. I don't really care. Not going to go and try on a pair and see how my bum looks. Who cares? But for things that you care about - I mean, a jacket and a pair of trousers, you've got to try them on.

I got into architecture via fine arts, and I was a sculptor myself, and I have always involved artists in my projects. When I say 'involved,' I mean I always bring artists in at the beginning projects before they're built and say, 'Will you do a room? Will you do a sculpture floating in mid-air? Will you make a chimney? Will you do something?'

Koishikawa Korakuen Garden - one of Tokyo's oldest Japanese gardens, and one of the best spots for viewing the cherry blossoms.

I am very happy working for my European brands. My legacy isn't going to be a museum. Yet I would be very good at it. It's so painful. It's like everything - the same old guys - Herzog & de Meuron, Frank Gehry, Renzo Piano - they don't pick original people.

Motorcycle garb is the way I looked to Warhol. Then came the Armani suits.

I collect art like other people eat pizza. I can't get enough of it. I need a constant source of inspiration.

If you want to come up with a really original design idea, and you want to capture a whole new design direction, perhaps the best way to arrive at that is not by acting and thinking and doing like everybody else. That's all.

I like more the fact that I like to think out of the box. Thinking out of the box goes along with dressing out of the box and living out of the box.

Publicity doesn't really get me anything. Clients are not going to hire me for a $100 million building because I have a brand. They really want the product.

My father's house was on East 55th Street on 1st and 2nd Avenues. I'm fifth-generation Marino in the East 50s - I live on 57th Street. I can't be more East 50s.

My name is on the door, and I care very much about the design that gets put out. I'm sorry, but it has to be my way. You learn that by working for people like I. M. Pei. You think he isn't a design tyrant? Is Calvin Klein a tyrant? When it came to his dresses, he had to be.

I do really modern with materials that are so luxurious that they're, like, baroque.

I've benefited enormously from an arts education and a music education in New York. When they cut the programs for funding, I was devastated.

That was really the Fifties for me - that whole spirit of flicking the paint on the canvas.

When I opened Chanel in London, they were happy. People would go, 'Oh, I just came in to see it. It's so beautiful.' And you leave with a positive attitude toward the brand. Now, you don't really get that online. You don't go, like, 'Wow.'

Universal human characteristics are a good base for great art.

I want to be the first person to animate bags - everything done for handbags bores me to tears - I want to make it more playful.

If something's a high-margin product, I understand its importance to the store.

I work 12 hours a day, seven days a week - and I love it. I'm creative. I feel fulfilled. I'm from a solidly lower-middle-class background; I'm not from the world that I'm in now. So I appreciate it a lot. I've really got a rich, full life.

Nine out of nine architects start with a sketch, and then they say, 'What should we make it out of?' I start from the bottom up - what should it be made out of - and then I worry about what should it look like. The material, the color of the material, the way it feels, and the way you respond to it is every bit as valid as the form or the shape.

Not enough people enjoy working with color, which delights and inspires me.

I always look for inspiration, and the creativity of artists is an essential element to my life, my work, and my happiness.

Creating work for the time that one lives in means no retro thinking. It can and hopefully does mean timelessness.

People in Shanghai make a lot more money than the farmers in the rice paddies. The rice-paddy farmers are not buying Louis Vuitton bags, but the upwardly mobile ones in Shanghai, who are all working in Wall Street-type firms, are infinitely better-dressed than people in the West. Their women take this fashion thing seriously.

The Peninsula - it's a combination of great service and good design.

Ginza! Where I've done two Chanel towers and Louis Vuitton and Dior stores. I just feel at home there.

It's a good marriage because each of us is what we are, allows the other one to be themselves, and appreciates each other for the right reason. You know, it's rare that you'll find two people who don't try to change the other person and let everyone be what they are.

The French use gardens to show grandeur and the English to show how things have endured for hundreds of years, but for me, they're all about fantasy.

I wanted to be an artist, because it's a much better scam than being an architect.

People's first homes are always disasters. It's like the first time you have sex. It's never as good as later on. It always gets better.

I like my clients. All of my clients say, "Peter. You're talented. But, your best virtue is your discretion." They really don't want to be talked about.

The older I get, the less I negotiate. When you first start out, it's 90 percent negotiation and 10 percent suggestion. When you get to a certain point, those figures reverse.

I like the fact that I like to think out-of-the-box. Thinking out-of-the-box goes along with dressing out-of-the-box and living out-of-the-box. If you want to come up with a really original design idea and you want to capture a whole new design direction, perhaps the best way to arrive at that is not by acting and thinking and doing like everybody else. That's all.

Throughout history, from Abyssinians and Greeks onward, artists, sculptors, and architects have worked together. I find this post - World War II thing, this segmentation of the arts, so lame. It's the laming of the arts.

After the motorcycle trips I take for one or two weeks, I have trouble getting back into a car, because I feel claustrophobic with all of that metal around me, and I can't see anything. I feel seriously dangerous in a car after riding on a bike, because your field of vision is so closed in. And then I think about all these little bourgeois people driving around in their cars - it's actually hideous. It cramps you on the head, it cramps you on the side, it puts you in a box on wheels... It's a terrible experience. Motorcycles are about opening the field of vision.

When you're 20, you think the whole world is talented, but whenyou get older, you realize the opposite is true.

I always want to encourage young artists. As the budgets get smaller, that might provide an opening for younger artists and more experimentation. Budgets had gotten quite large for art, as they had for architecture. I'm not going to cut back. The minute someone walks through my door, I go, "That's my thing and you got to let me do it."

When you design someone's house, it's actually painful. I never say, "This house will be a total reflection of you and any defects in it will make you look defective." But people do expect their homes to be reflections of themselves. So what I say is, "Just pretend this is your eighth home. By then you won't care."