A Quote by Stella McCartney

As a designer I like to work with fabrics that don't bleed. That's why I avoid all animal skins. — © Stella McCartney
As a designer I like to work with fabrics that don't bleed. That's why I avoid all animal skins.
It's easy to take the shortcut and use animal skins. But I think animal skins look tired. They're not very innovative. They're old-fashioned. And great fashion should be something new.
I'm quite tactile, so I like fabrics that feel good. I try to avoid fabrics that crease - especially with my son. When you have a child, that's important. A great pair of a jeans, a t-shirt and some loafers, that's what I always wear.
I've always liked clothes. I usually work very closely with the costume designer when I work on films, picking the fabrics and the clothes. And colors convey feelings. I like swatches and things like that. It makes me feel at home.
I like people with guts. I want to feel in the clothes what the designer is really feeling when they're alone with themselves and their fabrics and they're drawings, and what happens when they let the creativity that they have been blessed with come forward. That's why they are who they are.
The only way I work as a designer is to consciously avoid specialisation.
'Skins' was like our uni. I'm tight with everyone from 'Skins' because we had that special experience together.
Design is a series of creative choices - it's a collaborative effort, an evolutionary process. You choose your fabrics depending upon what you want to say, then you work with mills to get those fabrics. Through the process, you realize what you want it to be.
Cocaine made my nose bleed right away. I thought why do I need a nose bleed? It would make me real nervous and talk really fast. I'm already pretty good at talking too fast. I thought, "Why do I need that?"
Man is a thinking animal, a talking animal, a toolmaking animal, a building animal, a political animal, a fantasizing animal. But, in the twilight of a civilization he is chiefly a taxpaying animal.
A human being has so many skins inside, covering the depths of the heart. We know so many things, but we don't know ourselves! Why, thirty or forty skins or hides, as thick and hard as an ox's or bear's, cover the soul. Go into your own ground and learn to know yourself there.
Beautiful fabrics last; synthetics don't. Certain fabrics, such as linen or cotton, develop their own character over time.
Choose paintings, sculptures, realistic or abstract or animal images woven into fabrics, rather than a faux zebra rug or a sullied Lion's head on the wall.
To work on the competition wear for the Olympics is kind of insane. As a fashion designer, you don't think to yourself, 'I'm going to get the opportunity to work with athletes at that level at the Olympic Games.' It really is such an incredible thing to have any kind of contact with as a designer.
I love diving into different skins, skins that make me feel deep emotions.
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.
The concept of the characters in animal skins and us satirizing modern technology made it fun. But the voices we cast and the characterization of Fred Flintstone had a lot to do with it.
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