A Quote by Riccardo Tisci
When I do a show I have such high emotion; the energy is amazing - but, people don't really see the details and the work and the experimentation that we, the designers, put into the clothes. With prêt-à-porter you're having a look.
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If you buy a Cartier ring you want people to know it is a Cartier ring or a diamond, or a piece of art that's giving an emotion - then people read it and say, "wow that's really amazing". With prêt-à-porter you see people in the street, in a club, in a restaurant or whatever, and you think, "Oh my god, he's wearing my trousers!" In a way it's more open - people can put together the way they want - mixed with other designers.
I think the future fashion will be more and more separated-like, on one side would be big distribution, and on the other side there will be high-level prêt-à-porter and couture. I mean, the prêt-à-porter is already couture in a way for the prices and the way that it's made. The big distribution will allow people to dress in a fashionable way, so this could be for everybody. This part of the big distribution will be stronger and stronger, but the other part we are coming up on is more and more rich people, because we are always thinking about Europe and about America.
The couture client wants the latest things, but she wants the clothes to be super-special - the fabrics won't even touch or go near anything like prêt-à-porter.
There are certain things in there that no one else would recognize, really. I see details of my life that I didn't even intend to put in when I was doing the work. For example, I noticed that every single kid in the high school in The Death-Ray is based on somebody I went to high school with.
Clothes and jewellery should be startling, individual. When you see a woman in my clothes, you want to know more about them. To me, that is what distinguishes good designers from bad designers.
I would almost say that in our solo activities there is an overarching line of thought that is Porter Ricks itself. Our solo work delivers the details. So occasionally we have to go back to our corners and study and research these details to be able to bring it back into the Porter Ricks project, and into the dialogue.
As designers, we do so much with material and construction. It's really architectural; it comes close to building. A scent is so immaterial. It's really about emotion and sensation. Clothes are too, but it's not the same.
I'm really low maintenance when it comes to my clothes and what I wear. I definitely take care of my body, not so much for how I look, but I just like the feel of exercising and being healthy and having energy. That's why I work out all the time.
They said pret-a-porter will kill your name, and it saved me
They said pret-a-porter will kill your name, and it saved me.
It was Yves Saint Laurent who realised the high-end design houses could make a lot more money if they sold more accessible clothing than the usual couture, when he opened his pret-a-porter store, Rive Gauche, in 1966.
Designers want their clothes and their shows to be absolutely perfect, exactly as they imagined, and there is a great deal of work that goes into doing that. Some collections can tell a whole story, from the first look to the last. The way the colors and the clothes transition is very interesting.
In prêt-à-porter now we understandably need to make the collection satisfy the big market more, so couture is extra special.
Perhaps the central question about [Eliot] Porter's work is about the relationship between science, aesthetics, and environmental politics. His brother, the painter and critic Fairfield Porter, wrote in a 1960 review of [Porter's] colour photographs: 'There is no subject and background, every corner is alive,' and this suggests what an ecological aesthetic might look like.
I try to make Play Cloths really representative of me and my designers they look at my evolution as an artist and in fashion and they [zero] in to different details. I come into the office some days and they're like, 'What are those?" [I say,] "[These] are Philip Lim...[I'll] have on Philip Lim sweats and they go and put their spin on it.
Sometimes when you see clothes online you don't quite believe those clothes: you think they've been airbrushed. On 'This Morning,' it's a really good opportunity to see how clothes work in real life.
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