A Quote by Donna Karan
I also miss the support that I had of so many people. You know I'm a very Ma and Pa operation right now, and I was used to having everything working for me. It was a similar situation when I left Anne Klein and started Donna Karan. All of a sudden I was working in my apartment and it was, "Oh my god, what am I doing?"
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When I started Donna Karan, people weren't really accepting the idea of the working woman.
I did Urban Zen for myself, to make clothes for me and my friends, a similar philosophy to when I started Donna Karan. Except this time I hope it will stay that way so that I will be able to support young designers and mentor them.
I have had a very singular kind of life since I started working so young, so I am very used to traveling, working, taking time for myself.
It really isn't anybody's business how many people we have working for us. What's offensive is that I'm portrayed as this prima donna with these sycophants telling me how great I am all the time. Yes, they do work for me, but we're working together for a higher good.
When I started‚ I faced a lot of hardships. People used to call me a Rafi clone because I used to sing my favourite singer's songs. Then 'Sa Re Ga Ma Pa' happened. It gave me a good break.
When I started, I faced a lot of hardships. People used to call me a Rafi clone because I used to sing my favourite singer's songs. Then 'Sa Re Ga Ma Pa' happened. It gave me a good break.
I pledge to support the American workforce by wearing only American designers: Calvin Klein between Memorial Day and Labor Day, Donna Karan the rest of the year. Unless I wake up and the day is screaming for me to put on a bikini for my fellow Americans. Country first.
I have been a muse to Mr. Saint-Laurent, Valentino, Calvin Klein, Donna Karan, Versace.
I was interested in virtual reality for several years even before working at USC, it wasn't an interest that started there at all. In fact, when I started working at USC, I already had prototypes of the Rift that were very similar to the final design.
Working with Rajamouli and Karan is home ground for me now, having worked with them for such a long time.
Calvin Klein and Donna Karan were the big American names at that point in time, Helmut [Lung] was the cool kid on the block and you had Marc Jacobs and John Galliano who starting the revival of the old fashion houses.
Pretty much from 1979 through 1988, the backbone of my career was the theater. Working on Broadway a couple of times, working off-Broadway, and also doing a lot of regional theater. Make no mistake, I lived very frugally. I had an apartment that was real cheap. I would get two or three jobs per season, and in between I'd be on unemployment.
When I first started working, I was very aware of the fact that I'd been to university and studied Russian and French and not acting. So when I started working, I'd started working quite young, I felt like it was important to treat myself kind of like an apprentice and do as many different types of things as I could.
When the fiddle had stopped singing Laura called out softly, "What are days of auld lang syne, Pa?" "They are the days of a long time ago, Laura," Pa said. "Go to sleep, now." But Laura lay awake a little while, listening to Pa's fiddle softly playing and to the lonely sound of the wind in the Big Woods,… She was glad that the cozy house, and Pa and Ma and the firelight and the music, were now. They could not be forgotten, she thought, because now is now. It can never be a long time ago.
My ma says You can't unspill a stew." "She also says Undoing a wrong is greater than doing a right." "You know, Ma is very good at saying two things at once.
I started working when I was seven, and ever since then I've been saving for an apartment. Even before that I had a little jam jar designated for my apartment money.
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