A Quote by John Galliano

Yeah, that's what I'm working for. The couture house of the future. — © John Galliano
Yeah, that's what I'm working for. The couture house of the future.
Yeah, that's what I'm working for. The couture house of the future
I don't have anything against homes for the elderly, but my mom, after having nine children, after all the sacrifices, living in an apartment - it gave me anxiety. Being the only male in the family, I said, "No I can't let this happen." Therefore I signed, because I wanted to buy a house for my mom. I started at Givenchy and the whole fashion world was saying, "Couture is finished." No, couture is not finished. Couture has changed - thank goodness.
Couture is emotion. Couture is freedom. Couture is not thinking about pricing and not thinking about craziness. You can do whatever you want to do in couture.
Couture is also a term used for top-of-the-range, to-order clothing - but not to the level of intricacy and expense as haute couture. And without the 'haute', the word 'couture' itself isn't protected.
For me, haute couture is a necessity. I never would have done this job were it not for haute couture. It is a comfort, a security. I almost feel it is our duty to continue. Haute couture is France. We have to keep all the skills and craftmanship alive.
I'm constantly correcting young people and fashion students in this nation when they say "Well, I do couture." By definition, you don't. You have to be licensed by the government of France to do couture. So don't use that term. You can say that you do one-of-a-kind, you can say it's custom, but you can't say it's couture - because it's inaccurate.
When I was young, especially when I was at school, I thought couture was about big gowns, big hats (that is couture as well, of course) - but my couture is about going near the clothes and having a look at the details. I like people to have a shock in a chic way.
I am very happy to design haute couture. It's a love story between couture and me.
It's couture. Everything has to be done by hand. That is most important. That is the crucial element. Without it, that is not couture anymore.
I have a very haute couture way of working.
Couture was only for rich people. Givenchy was for rich people. A bag cost 5,000 euro; a coat cost 10,000 euro. In the beginning, I couldn't react. I was just working like a machine, because I wanted to make the house happy.
My first stage was couture. Boom. Couture. It has changed because women have evolved. Back in the day there were princesses. Today, there are still princesses, but she no longer rides around with horses and a carriage. She parties, she goes on vacation, she goes on boats. She wants to be dynamic. I understood this and I kept going. We do prêt-à-porter, men's, and couture.
On my own account I certainly wouldn't have become the director of a couture house. I didn't have sufficient admiration for fashion as such to have done so.
With Mel [Brooks], only one time and that was later on during "Young Frankenstein" - never with Zero [Mostel] and never with Mel except I was writing every day, and then Mel would come to the house and read what I'd written. And then he'd say, yeah, yeah, yeah, OK, yeah, OK. But we need a villain or we need whatever it was.
This is my work ethic: I do not want to raise my future kids where I was raised, and I know the only way to do it is working, working, working, working, working.
When Zaytoven and Future are working together, then Future's not working on no other tracks, and Zaytoven's not making no beats for nobody but Future.
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