A Quote by Scott Schuman
I think that's what really separates me in the world of fashion is I have a real understanding of actual clothes and how they work and how they should fit and a reasonably good artistic version of photography that kind of captures that. I think that was really kind of the best combination.
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It's just really important I think for fashion to be affordable, because everyone should have the opportunity to wear cute things and be happy and comfortable in what they are wearing. That's definitely how I like to shop and how I like to think about clothes and fashion.
I think the key for us is really letting the stories we feel are best told to kind of dictate where we go. When we find a story we really believe is one that should be told, how do we best tell it and you know what do we need to tell that story most effectively? I think to the good, the universe is such that there are a lot of options, there a lot of opportunities. So that's kind of what's guiding us.
I think that the audience should not be able to tell if it is real or not real - it should be an enhanced version of reality, or an artistic view of reality, that captures not only what is physically there, but what is not visible - the mood.
Fashion museums think the more you know about the significance of clothes culturally, the more interesting they are. We certainly don't neglect the aesthetic aspects of clothes. But, I feel that what sets us apart from social, economic, and even aesthetic, or art historical context is that we are not only talking about clothes as kind of art objects created by an artist designer, but also we're talking about the various meanings that clothes have in the world, and how that changes and how we kind of create meanings around clothes.
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.
Art movements are always linked to some kind of turmoil. We can look at history and see that [political turmoil is] fertile ground for art. I also think that it gives artists something, a way of kind of processing. My friends and I have all been super motivated to work and to do the work that we need to and want to and think should be in the world. Hard times are really a fire under your ass to prioritize and think, "Okay, how can I challenge myself to put something in the world that wasn't there that can reach other folks and help them to process"?
I get kind of sad when I look at all of my magazines and think about how at one time I was much more impressed with a certain fashion editorial, or how I feel like I can't really relate to being that excited about fashion anymore. Maybe it's being jaded, but I honestly like that now, when something's really good, I feel more affected by it.
The New York world is definitely geared toward fashion. So many people work in the fashion industry, photography, all sorts of satellite businesses that have to do with it, so there's no way that it can't affect you, and it just kind of makes you think with more of a fashion edge.
I think fashion is a lot of fun. I love clothes. More than fashion or brand labels, I love design. I love the thought that people put into clothes. I love when clothes make cultural statements and I think personal style is really cool. I also freely recognize that fashion should be a hobby.
I think the fact that we don't really... that the world really doesn't acknowledge how bad and how detrimental colonialism was; that people don't really try to explore it, you know, in popular media and news articles; that... that it's just kind of glossed over as this thing.
I think everyone agrees First Contact was our best film, and even at that, they're kind of... I don't know, they're sort of movies. But they're kind of really Star Trek movies, if you take my meaning. It's hard for me to say. I was glad to be doing them. Whether they were good isn't really up to me to determine, and it doesn't matter what I think. I thought we had a really nice script on Nemesis, and the audience didn't seem to care for it, so what can you do?
For me, starting each collection is always about what I really want, what I really need, and I was personally dying for sensual comfort. I think when you think of Donna Karan, you think of sensuality, but it's a different kind of sensuality. A kind of comfort sensuality that is one with your body and the way clothes feel on.
Photography really is all about lines, and so is clothing. I worked for Oberto Gili for a couple of years after I was at ICP; we worked in fashion, travel, interior design, everything. I was inspired by his styling choices within fashion photography, and I think those experiences helped steer me towards fashion design. I love photography as a medium, so I think I will always take inspiration from it.
I think once you have children, you just don't have the same kind of freedom to pick up and go. But then, I sort of think, how often did I really do it? How spontaneous was I really? Part of what I think I miss is this fantasy of my wild days, but they never existed!
I think the face of the franchise is kind of how you take it. I know that's been said about me, and that's been said about me at Penn State. But, I think it's kind of how you view it. I really never viewed myself as that. If that comes along with the things that I'm doing, then so be it.
In my kind of reporting work, you don't parachute in after some big, terrible event, which is important and has to be covered, but offers only a glimpse. It's the kind of work in which you ask, what is my understanding of how the world works, and where can I go to see these questions get worked out in individuals' lives? That was really the question for me: whether I had anything to add to what had already been written.
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