A Quote by Alice Temperley
It's a real luxury to have a studio all to myself, somewhere to start mood boards for the next collection.
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People always ask me how I start a collection, and I tell them that I just look around. What am I tired of? What am I in the mood for? Real fashion change comes from real changes in real life. Everything else is just decoration.
Somewhere during the 'Next to Normal' Broadway run, I found myself learning more about myself onstage than in real life, and I truly realized the beautiful, tremendous, extraordinary gift that is performing.
I wanted to start a menswear line of slim-fitting, luxury cashmere jumpers in a range of great colors. I know these jumpers will become season-less staples in my own wardrobe. Cashmere and silk printed scarves and hand-beaded T-shirts compliment the line and form a solid foundation for the collection to grow next season.
You cannot enter a studio and just start crooning before the mike. It is essential to understand the mind of the composer, mood of the song, and meter of the tune.
Let's forget about themes and mood boards. Let's start from a different point of view. You have to leave for two months all of a sudden. What would you put in your suitcase? What are the twenty essential pieces that you will need and how would you design it to be cool, and you'll want to wear it?
Once I found out that I was playing 'Deathlok,' I unearthed my old comic book collection. I was going home for Christmas, and I have a collection of thousands of comics. I was surprised to see that 90% of them were Marvel. So, I wanted to go through my collection and start there.
The next Bill Gates will not start an operating system. The next Larry Page won't start a search engine. The next Mark Zuckerberg won't start a social network company. If you are copying these people, you are not learning from them.
One does afford oneself the luxury to come into the studio and all day, every day, spend one's life making aesthetic propositions. What an immense luxury
One does afford oneself the luxury to come into the studio and all day, every day, spend one's life making aesthetic propositions. What an immense luxury.
If you start to find that kind of luxury as a normal thing, you don't belong in the real world.
I had a second-degree-blue-belt test, and I broke two boards with my right foot, and the next day I walked into school, and no one ever picked on me again. I suddenly believed in myself and respected myself. I had some inkling of my power, so the bullying stopped instantly.
Once you start compromising, once you start trying to keep cost lower, this is not luxury. Luxury is wanting the best and using the best materials with which to do that.
I had no idea about where I was going. I had no sense of art as anything other than a problem to be fixed, you know, an itch to be scratched. I was in that studio trying my best to feel content with myself. I had, like, a stipend. I had a place to sleep. I had a studio to work in. I had nothing else to think about, you know. And that's - that was a huge luxury in New York City.
You're always in the mode of creating the next season. It's so fast, and in two months, the collection you just did is already old, and it's always next, next, next.
For me, living and making music, they're one thing. It's not like a job that I go to a studio to do, or a chore that I have to get myself in the mood to do, or something. It's the thing that I need to do every day.
What I will say - one thing that is attractive about getting a real film made within the studio system is that studio systems, with their marketing and distribution, have real power.
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