A Quote by Manolo Blahnik

I'm very painful to deal with when I create a shoe. — © Manolo Blahnik
I'm very painful to deal with when I create a shoe.
Puma was the best deal. To me, anybody can make your shoe. Anybody can make the best shoe for you and put the right fit in the shoe.
I think that gulf is what makes the work interesting, but as a creator it's endlessly frustrating because I'm starting out with this goal, this thing I'm trying to create, and then the thing I actually do create is very, very different. It's always painful, in some ways, especially when it's just finished.
I'm an NBA player with no shoe deal. No endorsement deal. And I play in New York!
There are two industry secrets to surviving a long day on camera on the red carpet: First, no drinking the night before - ever. You can celebrate after with some bubbly. Second is make sure to use shoe insoles. I don't care if you are a guy or a girl, dress shoes are painful. Worth it, but painful.
People say I am the king of painful shoes. I don't want to create painful shoes, but it is not my job to create something comfortable. I try to make high heels as comfortable as they can be, but my priority is design, beauty and sexiness. I'm not against them, but comfort is not my focus.
[Calvin Trillin] was very "shoe," which means he was a big jock, a big deal.
I think comedy and satire are the strongest ways to deal with very serious themes and very painful themes.
I was not "shoe." That's a misuse of the term "shoe," which is derived from "white shoe."
I'm very, very specific about sneakers. I've always been a fan. It's not just certain brands, it's also the model of the shoe, the cut of the shoe, the colorway of the shoe. Someone will say, "Hey, this is the Air Jordan this." And I'm like, "Yeah, but that's not as rare as this Air Jordan, in this colorway." It gets very specific - it's the make, the model, the colorway. As a kid, I always wanted to have sneakers, but I didn't always get the ones that I wanted. So now, I'm reliving my childhood through my feet.
What happened in the past that was painful has a great deal to do with what we are today, but revisiting this painful past can contribute little or nothing to what we need to do now.
Fine artists deal with finery, but I deal with painful material.
There have been times where you do the red carpet in a certain shoe, and you go into the bathroom, you take that shoe off, you put the other shoe on from your purse, and then you walk around for the rest of the night.
You don't sign up for a divorce when you get married. It's very painful. But it's taught me a great deal about myself.
When you sketch a shoe but don't have the intention to do a proper shoe, it remains a curvy sketch with no detail. The shoe completely morphs to the body.
You want to fall in love with a shoe, go ahead. A shoe can't love you back, but, on the other hand, a shoe can't hurt you too deeply either. And there are so many nice-looking shoes.
There was a Yale even before Larry [Kramer] and I got there, and there were three designations of students: "white shoe," "brown shoe," and "black shoe." "White shoe" people were kind of the ur-preppies from high-class backgrounds. "Brown shoe" people were kind of the high school student-council presidents who were snatched up and brushed up a little bit to be sent out into the world. "Black shoe" people were beyond the pale. They were chemistry majors and things like that.
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