A Quote by Riccardo Tisci
It's super-essential. Even though I don't have a very big team, for me, the word muse may be démodé or not. I adore it, but I am also one, in my delirium, to be quite classical. For a designer - especially a male designer - he absolutely has to have that female voice by his side, which he listens to, he filters, he digests. It's a huge need, because when you see through the eyes of a man, you see a woman a certain way, and how they have little tricks of their own.
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I listen to certain opinions because those are important to me. I am a Leo, so I very much have my feet on the ground, and I know what I want, but there is also a side of me which is a little softer, still a little bit of a boy who has not grown up and who listens a lot.
The designer side of me has many ideas on how the shoes or woman should look, but the man is thinking 'would I want to see my girl in those shoes?'
I exist in the zine/small press community, which has always felt more even keel to me, when it comes to creators of varied gender backgrounds. But I also think that there is something to be said about the fact that even though I am female, I present closer to male in my way of dress and attitude/confidence/outspokeness, so I am treated differently by my male counterparts in a positive way.
The dumber half of the audience - whether they're male or female, and a lot of them are male - for some reason responds very quickly to the feminine voice. How can I put it? They kind of instantly react to the female voice in a positive way quicker than they would the male voice.
Being a head designer or art director or just even a designer, you need a certain level of experience and maturity.
It's quite a pure relationship, designer and muse. I think a beautiful dress on the wrong woman could mean nothing. It has to be the right woman and the right clothes. That's why you need that personal touch.
The way I see things is that, I think that transgender people are super brave. If you're a female to male, male to female, if you're that brave to take control of your own body and make it however you want it to be, more power to you.
Until quite recently I've been wholly cut off from [the Shias] because their tenets forbid them to look upon an unveiled woman and my tenets don't permit me to veil Nor is it any good trying to make friends through the women - if they were allowed to see me they would veil before me as if I were a man. So you see I appear to be too female for one sex and too male for the other.
The first basic need of a male is sexual fulfillment; for a female, affection. The second most basic need of a male is recreational companionship; for a female, communication and conversation. The third basic need of a male in a relationship is an attractive woman; for a woman, honesty and openness. The fourth basic need of a male is domestic support; for a female, financial support. The fifth basic need of a male is admiration and respect; for a woman, family commitment.
My muse changes all the time because I think every designer is a bit of a muse for themselves in a way - they just don't want to say it.
It is ignorance that is at times incomprehensible to the wise; for instance, he may not see 'the positive person' or 'the negative person' in a black and white way as many people do. A wise man may not understand it because, as a catalyst of wisdom, but not wise in his own eyes, even he can learn from and give back to fools. To think that an individual has absolutely nothing to offer to the table is counter-intuitively what the wise man considers to be 'the ignorance of hopelessness'.
He accused me of being Dumbledore's man through and through." "How very rude of him." "I told him I was." Dumbledore opened his mouth to speak and then closed it again. Fawkes the phoenix let out a low, soft, musical cry. To Harry's intense embarrassment, he suddenly realized that Dumbledore's bright blue eyes looked rather watery, and stared hastily at his own knee. When Dumbledore spoke, however, his voice was quite steady. "I am very touched, Harry.
A Christian woman's true freedom lies on the other side of a very small gate...humble obedience...but that gate leads out into a largeness of life undreamed of by the liberators of the world, to a place where the God-given differentiation between the sexes is not obfuscated but celebrated, where our inequalities are seen as essential to the image of God, for it is in male and female, in male as male and female as female, not as two identical and interchangeable halves, that the image is manifested.
I think that Shakespeare had his male side and his female side extremely well developed. And this was a great quality of the Elizabethan, all-around Renaissance man. They were not afraid of their male side and their female side co-existing. This somewhere along the line got lost. And then it got misunderstood.
How a designer gets from thought to thing is, at least in broad strokes, straightforward: (1) A designer conceives a purpose. (2) To accomplish that purpose, the designer forms a plan. (3) To execute the plan, the designer specifies building materials and assembly instructions. (4) Finally, the designer or some surrogate applies the assembly instructions to the building materials. What emerges is a designed object, and the designer is successful to the degree that the object fulfills the designer's purpose.
That bothers me when I see that fashion editors are consultants for brands. It tells me that the designer has lost sight of what he or she really wants to do, and that he or she is listening to the strength of a very strong stylist and being a little watered down - and by watered down, I mean, the strength of the designer's vision. I'm not saying it's easy.
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