A Quote by Barbara Hulanicki
I'm back into fashion which is great! Because they do all the terrible work of production for me.
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Emancipation of human labor from economic servitude and exploitation, i.e., from organizations of production in which the conditions of work are determined by a master class who own the means of production, and in which the fruits of work are alienated from workers to the benefit of masters.
It's funny, my girlfriends think that because I am married to a fashion designer, I get all these great tips and hints about great fashion, but it's not like that at all. He never tells me what to wear.
I think because I've gotten permission from my style icons like Tim Gunn and André Leon Talley, who say to me, "You don't need to dress like anyone else, because you're your own fashion icon. You represent comfortable. And you do fashion your way, and you should be at Fashion Week." They gave me permission to enjoy it! And it's great!
Today not even a universal fire could make the torrential poetic production of our time disappear. But it is exactly a question of production, that is, of hand-made products which are subject to the laws of taste and fashion.
I've always been very interested in fashion, but it is extremely important to me that the social and environment issues associated with the production of fashionable clothing are addressed. Made-By carries out really important work in transforming the fashion industry, and I am thrilled to support the organisation and help raise awareness of these ongoing issues.
[Simone Weil's] life is almost a perfect blend of the Comic and the Terrible, which two things may be opposite sides of the same coin. In my own experience, everything funny I have written is more terrible than it is funny, or only funny because it is terrible, or only terrible because it is funny.
I really learned a lot from collecting clothes because I got to go back into the history of fashion and fashion photography and jewelry. It changed how I felt about fashion and about what I did forever because I used to look a little bit down on myself for it.
If you believe that how you do your work is as influential as the work you do, then a theatre rehearsal, which is a microcosm of the world, is the perfect place to model social change because if it doesn't work this time, you can try again on the next production.
I am excited to partner with Aeropostale for my very own collection. It was a great experience to be able to work with them. Not only did I get to design an entire fashion line, but I got to do it at a great price point with quality clothes, both of which are very important to me.
Production for the sake of production - the obsession with the rate of growth, whether in the capitalist market or in planned economies - leads to monstrous absurdities. The only acceptable finality of human activity is the production of a subjectivity that is auto-enriching its relation to the world in a continuous fashion.
I just use fashion as an excuse to talk about politics. Because I'm a fashion designer, it gives me a voice, which is really good.
The main challenge that television presents is that I have a tendency to say things with a great deal of precision and accuracy. Often a description of that sort, which will work in a book because people can read it slowly - they can turn the pages back and so on - doesn't really work on TV because it interrupts the flow of the moving image.
The fact that fashion goes out of fashion and then comes back into fashion based solely on what a few people somewhere think they can sell, well to me, that’s insanity.
The fashion industry has an enormous amount to offer in what we do in industrial design because fashion is fast, fashion has its finger on the pulse. There are very few creative industries that work on that rhythm.
I'm a really big advocate of ethical fashion. I actually have a travelling boutique called Maison de Mode, which is all about ethical fashion. I also like Maiyet from Paris. They're very Celine-esque in their silhouettes. I love their back story, too: they work with orphans in Colombia and India.
I like anything with a live audience. I love sitcom work. I hope it comes back in fashion because I really love it. I love single-camera work, too, but in a different way than that live-audience thing, which is really exciting.
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