A Quote by Borns

I look at performance clothes as setting the mood for the whole show. — © Borns
I look at performance clothes as setting the mood for the whole show.
North Americans as a whole need to embrace having clothes altered to their body. I hear it all the time: why do the Europeans always look so good? They have a relationship with their tailor and spend the time and money to make their clothes look their best.
When you look at the runway now, the girls are 15 and 16 years old with no knowledge of clothes, no idea how to project themselves. I was trained how to show off the dress, how to move to make the clothes look better.
The effective executive knows that it is easier to raise the performance of one leader than it is to raise the performance of a whole mass. She therefore makes sure she puts into the leadership position, into the standard-setting, the performance-making position the person who has the strength to do the outstanding pacesetting job. This always requires focus on the one strength of a person and dismissal of weaknesses as irrelevant unless they hamper the full deployment of the available strength.
I think it's real important to show style now. The majority of style right now is to act like you don't have style at all, so most companies are getting rich off clothes that look torn, clothes that look worn.
I believe in the semiotics of clothes. They send a message about how the world perceives us. For me it goes beyond clothes, it's grooming. It's accessories. It's the whole head to toe look.
I think a setting is hugely important. I look at setting as a character with its own look, sound, history, quirks, goofy temperaments and moods.
It's true, I don't like the whole cutoff-shorts-and-T-shirt look, but I think you can look fantastic in casual clothes.
I don't go out there and put on any sort of front for people. If I'm in a good mood, I appear in a good mood on TV, and if I'm in a bad mood, I just go out there and look like I'm in a bad mood.
Designers want their clothes and their shows to be absolutely perfect, exactly as they imagined, and there is a great deal of work that goes into doing that. Some collections can tell a whole story, from the first look to the last. The way the colors and the clothes transition is very interesting.
Accents influence a performance. If you look at Stanislavski, he says work from the in to the out, and I probably overall work the other way. I find an accent and a mood, and that influences the character massively.
I always improvise with the crowd. Sometimes it will be a 50 percent show, sometimes 70 percent, sometimes it's almost a whole show where I wing it. It depends on my mood, the energy in the room. For sure, a portion of it is just kind of winging it.
Marriage was created not to be a background but to need one. Mine is going to be outstanding. It can't, shan't be the setting - it's going to be the performance, the lively, lovely, glamorous performance, and the world shall be the scenery.
When I'm writing a book, generally I start with the mood and setting, along with a couple of specific images?things that have come into my head, totally abstracted from any narrative, that I've fixated on. After that, I construct a world, or an area, into which that general setting, that atmosphere, and the specific images I've focused on can fit.
The whole idea of wearing clothes is not to look ridiculous.
I have like a whole album of screenshots of my sister's face, and it's hilarious. One look at that and it'll put you in a good mood for the rest of the day.
Herzog and Malick both have this very unique naturalist intentionality to their process. It's about creating the mood, creating the focus and having discipline, but not prescribing what the performance was supposed to be. Neither of them are really directing their actors into a performance.
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