A Quote by Bruce Oldfield

I can think of a lot of women clients of mine who are well into their 50s or 60s who are still quintessentially very elegant. — © Bruce Oldfield
I can think of a lot of women clients of mine who are well into their 50s or 60s who are still quintessentially very elegant.
Black women have never embraced feminism. They didn't embrace it in the '50s and '60s; they're not embracing it now. That's not new. I think it's a tendency among women in general not to be supportive of each other.
A lot of women I worked with didn't respect their clients. I had some clients who didn't respect me, but still you somehow made it work.
Men are able to sustain a career into their 50s and 60s and still present themselves as sex symbols. With women, on the other hand, people say, 'Why doesn't she retire?'
When you talk to women who were working as print journalists or in broadcasting in the '50s, and then you talk to women who were working in the late '60s, there's an enormous difference. There had already been a huge transition. Then, of course, you get well into the '70s and there were women with children working.
I was raised on The Beatles. I loved Led Zeppelin growing up. Judy Garland. Doris Day. That's where things began. I took a lot from the '60s and maybe from the '40s or '50s as well.
There were a lot of different things [in The Women's Room ]. I don't really want to summarize it in this way. It's about a woman's awakening, a woman who came of age in the '50s and is a teenager - actually, she's a little bit older - in the '60s and part of the women's movement and how she ends up there.
Think back to the early rock n' roll records, and the average record length in the '50s - and well into the '60s - was two and a half minutes. It's very hard to put that much songwriting into two and a half minutes.
The 50s face was angry, the 60s face was well-fed, the 70s face was foxy. Perhaps it was the right expression: there was a lot to be wary about.
I thought it was quintessentially American - very hip, very late-'60s. I was absolutely stunned when a German production company asked me if I could do a 'Sesame Street' in Germany. It was absolutely the happiest surprise.
In the '50s, '60s, '70s, before television became easily accessible, even the most well-known writers were not recognised. The writers remained mostly an anonymous lot then.
It's true that in a lot of western feminist movements, you see women working singularly from men. Suffragettes and the women's rights movement in the 60s here, but when I think of the Islamic feminist movement, I think of a lot of men who are very much standing with the women. It really feels like in equal numbers. Women are catching up in the field because we were not given access to knowledge and encouraged into these studies and so these men are helping us and empowering us. They are men of conscience who are fed up with this assumption that they're entitled.
I think for the women of today, because we work and go around a lot, Armani is ideal - simple and elegant at the same time. It's not eccentric, and everything he does is very subtle. For the evening, I like Gianfranco Ferre. There's a lot of fantasy and creativity in his clothes.
I was born in the '50s - 1951. So I grew up during that part of the '50s when everything was supposed to be at its best in America, they claimed, and then eased into the '60s.
I wanted to create clothes for women in their 40s and 50s and 60s who have careers and are sexy and don't want to look like grandmothers.
I like lowriders and music from the '50s and '60s. A lot of people assumed I was Mexican.
So much European cinema has open arms to stories carried by women in their 40s, 50s, and 60s. And America is a little behind in that.
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