A Quote by Jean Paul Gaultier

I went to London a lot as a young designer because London was a major inspiration, not only for the clothes but the sense of freedom. I remember going to see a stage production of "The Rocky Horror Picture Show" in the mid Eighties and loving the mix of Goth and humor, and in my shows I've always liked to play jokes and have fun.
I grew up in New York till I was 5, and I remember going to see 'Annie' and some musicals as a kid, and I remember my parents being somewhat okay with us watching 'Rocky Horror Picture Show,' which, it boggles my mind that they allowed me to watch it.
I lived in London, went to the London School of Economics, do a lot of business in London, and have a lot of fun in London.
Because I direct films, I have to live in a major English-speaking production center. That narrows it down to three places: Los Angeles, New York and London. I like New York, but it's inferior to London as a production center. Hollywood is best, but I don't like living there.
I love London, and London loves me! I adore the dry sense of humor there, and the way they live like there is no tomorrow.
London College of Fashion, University of the Arts London, offers the range of subjects that help young designers to arrange the underpinnings that are necessary to get from zero to 10. The hardest part is the beginning, understanding your passion and making the decision that whatever it takes, that's what you're going to do. London College of Fashion shows them what they must do and helps them to find their goal.
'Kraken' is set in London and has a lot of London riffs, but I think it's more like slightly dreamlike, slightly abstract London. It's London as a kind of fantasy kingdom.
Londoners always seem to be fearless and more willing to have fun with their look. New Yorkers tend to play it safer - sticking with neutrals and black. In London, people aren't afraid to mix patterns and colours.
Rocky Horror Picture Show' was my gateway drag/drug. I was somewhere between 13 and 16 when I started going to that.
It's incredible how London-centric the theatre world is. Certain actors won't travel away from London anymore for work; practitioners often aren't taken seriously enough unless their work is seen in London; and it's sometimes very difficult to get national critics to review shows - especially if there's a clash with a London press night.
When I've traveled to London and Ireland, people don't seem to take themselves so seriously, and it's not just having a sense of humor about what's around you but having a sense of humor about yourself, and that's the healthiest sense of humor.
Although I have lived in London, I have never really considered London my home because it was always going to be a stopping-off point for me, and it has been too.
Since my act is a goofy reflection of what's going on in my life, I started doing pot jokes, and I noticed that audiences invariably love pot jokes. Even people who don't smoke pot think it's a funny subject. So when I started getting laughs, I started doing more material about it. When people come to see my shows, there are a lot of stoners in the audience, but there are also a lot of people who just like me. So I try to give a healthy mix, where people aren't going "There are too many jokes about pot!" or "There's not enough jokes about pot!"
I remember going to see Billy Graham in a cinema in Glasgow, and he was down in London. I used to go and hear preachers, and then we always went to church and Sunday school. That mattered a lot to me.
London' is a gallery of sensation of impressions. It is a history of London in a thematic rather than a chronological sense with chapters of the history of smells, the history of silence, and the history of light. I have described the book as a labyrinth, and in that sense in complements my description of London itself.
'London' is a gallery of sensation of impressions. It is a history of London in a thematic rather than a chronological sense with chapters of the history of smells, the history of silence, and the history of light. I have described the book as a labyrinth, and in that sense in complements my description of London itself.
A lot of London's image never was. There never was a Dickensian London, or a Shakespearean London, or a swinging London.
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