A Quote by Peter Marino

I do really modern with materials that are so luxurious that they're, like, baroque. — © Peter Marino
I do really modern with materials that are so luxurious that they're, like, baroque.
This is what I wanted the business to be when I started it: a lot of black, a lot of luxurious materials, and modern styling.
What really counts isn't whether your instrument is Baroque or modern: it's your mindset.
Modern architecture does not mean the use of immature new materials; the main thing is to refine materials in a more human direction.
I don't think anyone has ever really been able to marry tech, fashion, and this concept that sustainable material, up-cycled material can be luxurious. And nothing is more luxurious than gold, right? Gold is luxurious because it's gold, post-consumer or virgin. Whatever it is, it's just gold.
With Spurr, I like to think we're a modern, European-influenced brand that does luxurious, handcrafted, and wearable pieces.
Classical, Romantic, and Baroque music, that's what I really like.
What I like about baroque is the reemergence of pre-Christian religion. The art of baroque mixes ancient pre-Christian myths with Christian imagery and each reflects upon the other.
There's something about materials like copper, woods, stone, trees, shells. You walk outside and these materials are part of the world before we touched anything. There's a feeling of pleasure that many of us have in materials that have some presence before us, like clay and wood and copper.
I have always been drawn to designing fashions that are rebellious, like black leather jackets on suburban kinds, a corset dress, punk, blue jeans. I love that. Fashion changes all the time, and what is considered extreme or elegant or luxurious (or not luxurious) is changing all the time.
You have to be luxurious nude. It's difficult to move in the nude in front of a mirror. It's much easier to move when you're dressed. But if you can walk around in the nude easily in front of your man, if you can be luxurious in the nude, then you've really got it.
I would define the baroque as that style that deliberately exhausts (or tries to exhaust) its own possibilities, and that borders on self-caricature. The baroque is the final stage in all art, when art flaunts and squanders its resources.
Recycling is more expensive for communities than it needs to be, partly because traditional recycling tries to force materials into more lifetimes than they are designed for - a complicated and messy conversion, and one that itself expends energy and resources. Very few objects of modern consumption were designed with recycling in mind. If the process is truly to save money and materials, products must be designed from the very beginning to be recycled or even "upcycled" - a term we use to describe the return to industrial systems of materials with improved, rather than degraded, quality.
If you take a Baroque commode and put a Baroque clock on top of it, maybe it is not so interesting as when you put a computer on top of it. Then you see both items in a new way.
It's funny, because in deference to conventional wisdom, I spent my struggling writer years trying to suppress my naturally baroque literary voice and write clean, spare prose. I finally gave up and embraced my baroque tendencies when I wrote the Kushiel series.
We're all like little ants who scurry around with the materials that are at hand right now. Each generation finds new materials. Its just evolution, isn't it?
I like the fact that a modern television and modern drama on cable has characters that are really intricate and deep and have multiple layers.
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