A Quote by Linda Evangelista
On days when I do not work, I am working on my image. I have to hit the gym. I have beauty appointments. I have to work toward my next job and maintaining my image, just like an athlete.
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I have to hit the gym. I have beauty appointments. I have to work toward my next job and maintaining my image, just like an athlete.
I do not have a genetically "gifted" body. I have to work hard everyday and I am always working on maintaining a positive self image.
On days when I do not work, I am working on my image.
The image my work invokes is the image of good - not evil; the image of order - not chaos; the image of life - not death. And that is all the content of my constructions amounts to.
There is no need to change my image. I like my image, and the audience likes it, too. I am very comfortable with the kind of roles I do, and as I am not doing the same character or playing myself. I explore my characters; I don't brood over my broody image.
Every single job I do. It sounds goofy but I did a music video for Fergie. I was in full on tattoos, ponytail, but it's like even things like that they help other people to see you in a different light. They give me opportunities. I try and change the image with every job that I can, it's just hard when you work on a TV show and you work so many months and trying to get away from that.
I always have been trying to work on the other side of Jackie, and that is, making sure that my appearance, that my image, is right; also, working in the job world, knowing how it is to wake up and go to a job.
As long as the "woman's work" that some men do is socially devalued, as long as it is defined as woman's work, as long as it's tacked onto a "regular" work day, men who share it are likely to develop the same jagged mouth and frazzled hair as the coffee-mug mom. The image of the new man is like the image of the supermom: it obscures the strain.
I start with an image, then I go from the image toward exploring the situation. Then I write a scene, and from the scene I find the character, from the character I find the larger plot. It's like deductive reasoning - I start with the smaller stuff and work backward.
I am not like my image; I take my work so seriously. Everyone thinks I just bounce in, but I study and everything has to be just right.
When I'm sculpting, I work with wood and clay, and though some say that an image is already in the material and the sculptor just has to discover it, I also believe you have an image in your head that you're trying to get to. So you're in a dialogue with the piece, a back-and-forth.
The year before was my first collection for Emilio Pucci, and I was just starting the job and working in his Renaissance Palazzo, where Pucci is headquartered, so that inspired me. I found this image in the book. It was an old image of Emilio Pucci hanging out by the seaside with all of these women, and that's exactly how I used to think about this house - more of a lifestyle thing. This beautiful life. So I'm really working on that.
Part of being a pop star is image. I'm told by many of my female fans that I was the poster on their bedroom walls. But if I only had that - the image and the beauty and the curly locks - I would have been a 'normal' pop star, one who comes and goes after one hit record.
We are image-makers and image-ridden... We work until we vanish.
The core of creation is to summon an image and the power to work with the image.
I did not enter the industry to create a certain image. People happened to see me as the friend/sister/daughter next door. I like that association very much. It's close to what I am in real life. As for films, I just focus on the job.
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