A Quote by Hyon Gyon
The fabrics I've used in my work are satin and sateen. Sateen is very glossy and far from luxurious. Bright solid colors with too much sheen seem gaudy, pathetic and nostalgia-inducing. Such fabrics are reminiscent of the power of chaos in a shaman's space: overabundant offerings of food on alters, kitschy decorations, provocative shades, vigorous dancing, plaintive singing, absurd fits of crying and laughing, and self-abandonment.
Related Quotes
If space is a fabric, then of course fabrics can have ripples, which we have now seen directly. But fabrics can also rip. Then the question is what happens when the fabric of space and time is ripped by a black hole?
Fabrics such as raw silk, velvet, shimmer, satin and georgette work well for the wedding season.
Beautiful fabrics last; synthetics don't. Certain fabrics, such as linen or cotton, develop their own character over time.
I've used a lot of jersey, but I've also done a lot of complex pattern weaves in these fabrics in solid colors, and there are lots of little dresses for cocktail and evening. I've done a series of very important evening dresses as well, just to show that these two ideas can also work well together. Today's woman can wear an important evening dress or a simple pant and top. It's all in the personality of the woman.
Design is a series of creative choices - it's a collaborative effort, an evolutionary process. You choose your fabrics depending upon what you want to say, then you work with mills to get those fabrics. Through the process, you realize what you want it to be.
I'm quite tactile, so I like fabrics that feel good. I try to avoid fabrics that crease - especially with my son. When you have a child, that's important. A great pair of a jeans, a t-shirt and some loafers, that's what I always wear.
Laughing and crying are very similar. Sometimes people go from laughing to crying, or crying to laughing. I remember being at someone's wedding and she couldn't stop laughing, through the whole ceremony. If she'd been crying, it would have seemed more "normal," though.
I've always liked clothes. I usually work very closely with the costume designer when I work on films, picking the fabrics and the clothes. And colors convey feelings. I like swatches and things like that. It makes me feel at home.
For me, the most important consideration is to choose attire that is functional, but looks stylish too. That means going for colors that are understated and use smart fabrics.
I have a different experience. My father was a small-businessman. He worked really hard. He printed drapery fabrics on long tables, where he pulled out those fabrics and he went down with a silkscreen and dumped the paint in and took the squeegee and kept going.
I am always trying to find fabrics that are more friendly to the environment - working with Virgin Atlantic, they managed to research into this and find more eco fabrics.
When a man's suit fits, when the construction is beautiful, when the sewing and fabrics are there... in the end, you'll look the best in it.
Matte or satin sheen scuffs up very easily. So, unless you have it professionally done, definitely paint shelves or cabinets with something with a higher sheen.
With Whitney Eve, I really wanted to dress everyday girls. I wanted it to be a more sophisticated than just casualwear, but be comfortable at the same time. All the fabrics are easy fabrics, they can be dressed up or dressed down.
I loved the idea that people dressed up to go to the gardens. Our work always has a utility point of view at its heartbeat and then other things come around it, so it really allowed us to use denims and suedes and gauzes, and those sorts of hard-working fabrics - workwear fabrics - and then contrast them with crepe de chine, beautiful florals and big jewelry.
Fashion does seem to have a '20s comeback every few seasons, and I completely see why. It's a very feminine look: the fabrics and the shapes are very pretty and distinctive.
