A Quote by Giambattista Valli

At Ungaro, I discovered the flou and the language of Paris. — © Giambattista Valli
At Ungaro, I discovered the flou and the language of Paris.
I lived in Paris for two years with my family. I would roam the streets of Paris during the day for a few hours in the subway, on the streets, and I listened to the French language, and I got a sense of the rhythm and the melody of the language.
Americans continue to visit Paris not just for Paris, but for ‘Paris.’ As if out of some collective nostalgia for what Paris should be, more than what it is. For someone else’s memories.
I definitely have moments in my life where I discovered a film, and the language of the film itself spoke to me in a way, as if someone came up to you and started speaking a language you'd never heard but understood and was able to express things the language you knew could not.
Grammar is not a set of rules; it is something inherent in the language, and language cannot exist without it. It can be discovered, but not invented.
Because Shakespeare's language is so expansive, we're under this misconception that it's difficult. But I discovered that it's easy because it's so brilliantly written. The words are perfect, and the language is intelligent and very emotional.
I had always imagined that Cliché was a suburb of Paris, until I discovered it to be a street in Oxford.
Paris is not so square. I'm not good at the geography of the city in Paris, so I'm always lost. Here, in New York, you can never be lost. In Paris, even when I walk to my gallery or whatever, I always take another route, because Paris is not built that way.
I didn't go to Paris until I was a grown-up in 1965. And when I went to Paris, it was the Paris I knew only from American movies.
Every time I look down on this timeless town Whether blue or gray be her skies. Whether loud be her cheers or soft be her tears, More and more do I realize: I love Paris in the springtime. I love Paris in the fall. I love Paris in the winter when it drizzles, I love Paris in the summer when it sizzles. I love Paris every moment, Every moment of the year. I love Paris, why, oh why do I love Paris? Because my love is near.
I've always loved the language of flowers. I discovered Kate Greenaway's 'Language of Flowers' in a used bookstore when I was 16 and couldn't believe it was such a well-kept secret. How could something so beautiful and romantic be virtually unknown?
In Nicaragua, liberty, equality and the rule of law were the stuff of dreams. But in Paris I discovered the value of those words.
If I would want to have a huge audience, I would make American movies, not French movies, because there is a limit of course with French language. If I prefer to shoot in my own language, it is to play with my language, to play in my Paris, and I have complete freedom in France. It's so amazing. If American directors could imagine how free I am, they would have asked for political asylum immediately.
It is no accident that propels people like us to Paris. Paris is simply an artificial stage, a revolving stage that permits the spectator to glimpse all phases of the conflict. Of itself Paris initiates no dramas. They are begun elsewhere. Paris is simply an obstetrical instrument that tears the living embryo from the womb and puts it in the incubator.
I was discovered in Paris when I was there on a school trip at the age of 13. After that, my mom came in contact with Elite Amsterdam; then I started modeling.
Paris is a sum total. Paris is the ceiling of the human race. All this prodigious city is an epitome of dead and living manners and customs. He who sees Paris, seems to see all history through with the sky and constellations in the intervals.
The Victorian language of flowers began with the publication of 'Le Language des Fleurs,' written by Charlotte de Latour and printed in Paris in 1819. To create the book - which was a list of flowers and their meanings - de Latour gathered references to flower symbolism throughout poetry, ancient mythology, and even medicine.
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