A Quote by Raf Simons

I'm fascinated by the way Diane Arbus saw things. She came from this fashion background and then twisted it. — © Raf Simons
I'm fascinated by the way Diane Arbus saw things. She came from this fashion background and then twisted it.
Producer Ed Pressman had a book about Diane Arbus - it's the only biography that exists - and there had been many Diane Arbus scripts. Many. I don't even know how many over the years. And it's sort of a cursed project, for lots of reasons. There's probably some pile somewhere of all these weird attempts, all these portraitures that can't get made.
In some ways Lawler is a conceptual Diane Arbus. She's a stalker who takes advantage of situations. She pulls back curtains, causing normal things to look freakish and the freakish to turn mundane.
I loved the masculine style of dressing of Katharine Hepburn, who came from the same town that I came from. I was fascinated by the way she wore trousers. So I think the romanticism of the movies also influenced my life and my interest in fashion greatly.
Diane Arbus is one of the most mysterious, enigmatic, and frighteningly daring artists of the 20th century. Her work emerged from a deeply private place and profoundly affected all those who came into contact with it.
There are days when everyone in the world looks like a Diane Arbus to me. She's a genius but her work is completely different to mine. But on those days I don't use my camera.
I still do all my developing and printing in my darkroom. Being in New York, you get tremendous exposure to great arts. In my student years, I saw exhibitions of August Sander and Diane Arbus. I still go back to their pictures. I don't really go for contemporary photo shows.
I don't need to own one but I like to look at Diane Arbus's pictures and anything by Jackson Pollock.
Giving a camera to Diane Arbus is like putting a live grenade in the hands of a child.
I'm crazy about Diane Von Furstenberg. It's a relationship that's very different; I don't see Diane a lot. So when I saw the article in New York magazine she looked so beautiful and it was talking about her work, too. She set up the interview and it was happening. That's different than someone writing a book about you who you've never met.
I spent a lot of time on Diane Arbus film, not only writing it, but running around talking through various production issues. All this crud, and then it didn't happen. There's a lot of time-wasting stuff that happens in life with movies.
I was so honored when Diane Sawyer named me "Person of the Week," and like I told her, "Diane, I love my daughter." I cried when I found out when she told me she was gay when she was 17 because of the judgment.
I was so honored when Diane Sawyer named me 'Person of the Week,' and like I told her, 'Diane, I love my daughter.' I cried when I found out when she told me she was gay when she was 17 because of the judgment.
For me it is essential to understand that everyone is alone. Not in the sense of loneliness, but rather in the sense that no one can completely understand someone else. I know very well what Diane Arbus means when she says that one cannot crawl into someone else's skin, but there is always an urge to do so anyway. I want to awaken definite sympathies for the person I have photographed.
For someone who comes from my business background, getting fashion people aligned around certain things can be a challenge. In a way, the industry is so forward-looking. And yet, sometimes people in fashion are not open to change.
No matter what set she's been on over the last 12 years, my mother always finds a way to get in the way. Not in a bad way. Like, she once got caught on a law show I did called 'Philly' trying to take a picture - she was caught on-camera in the background. She does things like this.
My parents came from a poor background and worked their way up because of education. They saw it as a way to succeed. So they cared about me getting straight A grades when I was growing up.
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