A Quote by Susanna Lau

I still haven't quite gauged the effects of featuring designers on my blog and on Dazed. I can only rely on what people feed back to me ... the effects are positive though - designers picking up more buyers, entering into new collaborations, getting more orders.... it's all really, really encouraging.
The moment I moved to New York City to study fashion, I met and became friends with people not only involved in fashion but in all the arts. It's quite fluid with so many types of artists, designers, and musicians who know each other through collaborations or friends of friends.
I don't have a personal stylist, because I don't need one. I just really enjoy meeting designers and picking up clothes.
I'm still enjoying discovering more designers and getting to play dress-up in a bigger way than I ever have before.
I think if you took away all the designers and automated the process tomorrow, the end result would be really, really dissatisfying and disturbing to a lot of people. So, I think there's a lot of value that print designers have.
Designers have been uncreative and very arrogant. They need to listen to people. People have always wanted more exciting, interesting design, but we designers didn't see it.
It's a really exciting thing to collaborate with production designers, cinematographers and gaffers and costume designers and editors and composers.
There's something about the fashion world that I like, which is, I see a lot of the designers really have affection for other designers.
The fact is that the culture does not have only positive effects on our intellectual and moral functions but also negative effects.
I always have a soft spot in my heart for New York designers and independent designers, people who are doing the fashion equivalent of what I'm trying to do in film.
I make films but I am trained as a designer. I come from this series of designers called critical designers, speculative designers.
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 think some of the special effects in Close Encounters hold up better than the new more expensive special effects is because they were better actually.
Until 1986, developing games was a mere hobby for me. Back then, I didn't know that game designers existed, because the designers' names didn't appear on the boxes.
Actors have given up their clout. Now decision making is in the hands of lighting men, designers, bankers, special-effects people. We need to cut that out and just go with the most able trained actors in the business.
MAC allowed me to have complete freedom on the collaborations—from the shades, the look-and-feel, to the campaign visuals. I have to admit that the visual aspect of the collection excites me most. For designers, we care about the photographs much more than a Ferrari.
It appears to me that one great cause of our difference in opinion on subjects which we often discuss is that you have always in mind the immediate and temporary effects of particular changes, whereas I put these effects quite aside, and fix my whole attention on the long-term effects that will result from them.
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