A Quote by Elizabeth Rogers

There's something very environmental about quality. We live in such a disposable society, but real style doesn't change that much. — © Elizabeth Rogers
There's something very environmental about quality. We live in such a disposable society, but real style doesn't change that much.
So what is design all about? It [exists to] decrease the amount of vulgarity in the world ... to make the world a better place to be. It doesn’t have to be one style. We’re not talking about style, we’re talking about quality. Style is tangible, quality is intangible. I am talking about giving to everything that surrounds us a level of quality.
Virtually every society that survived did so by socializing its sons to be disposable. Disposable in war; disposable in work. We need warriors and volunteer firefighters, so we label these men heroes.
We live in a disposable society. We throw so much away. But it doesn't come from nowhere. It comes from the planet and it comes from future generations' lives.
Luxury is research in quality. It's quality with no compromise. What does that mean? That you don't think about how much something will cost to be able to achieve the very, very best.
We live in a very disposable society, and people want everything right away, but unfortunately, vocal technique doesn't come overnight.
To offer women something that feels more about investing in something and less about being disposable is a complete corrective to the world we live in
We live in a disposable, 'cast-off and throw-away' society that has largely lost any real sense of permanence. Ours is a world of expiration dates, limited shelf life, and planned obsolescence. Nothing is absolute.
Everything is disposable now: disposable lighters, disposable blades, disposable stars. They inflate you up for one big deal and then they look for someone else.
Human beings are themselves considered consumer goods to be used and then discarded. We have created a “disposable” culture which is now spreading. It is no longer simply about exploitation and oppression, but something new. Exclusion ultimately has to do with what it means to be a part of the society in which we live; those excluded are no longer society’s underside or its fringes or its disenfranchised – they are no longer even a part of it. The excluded are not the “exploited” but the outcast, the “leftovers”.
I want a real revolution, a real change in society: society, a great organic mass of well-regulated forces used for the bringing-about a happy life for all.
I want something that's going to linger and stay with me and give me something to think about and chew over. That's the real objective here; it creates something that doesn't feel disposable.
The most meaningful engine of change, powerful enough to confront corporate power, may be not so much environmental quality, as the economic development and growth associated with the effort to improve it.
On the environment and climate change, I suspect that future generations will think there was too much timidity, too much fear of upsetting business. Basically, New Labour was very nervous about regulating business, or requiring it to do anything, even when there was a very clear social or environmental case for doing so.
I think we have grave problems. I am very much concerned about environmental questions, even though in Finnish society, we are not facing the most urgent problems.
Films can't change the society, they can simply open the space for the discussion which can lead to social change and can start new forms of social activism. I feel formally that I've scratched the surface of something very important about the nature of nonfiction film, about what we're very rarely honest about: When you film anybody, they start performing.
I have American in-laws, and I care about the environment. We don't use disposable diapers, which, of course, creates an environmental problem of our own.
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