A Quote by Tarryn Fisher

Handsome, fictional men were so much easier to stomach than real life ones who smelled of Christmas and looked like a Calvin Klein model — © Tarryn Fisher
Handsome, fictional men were so much easier to stomach than real life ones who smelled of Christmas and looked like a Calvin Klein model
I got to train with some of the best and have critics like Oscar de la Renta and Calvin Klein. As a student under Calvin Klein, my project was to make a coat, and then years later, I was hired at Calvin, by Calvin, to design coats for him. It came full circle!
I would never rep Versace. I can't stand her. I think she makes disgusting clothes. Calvin [Klein] is like, snore! Who wears Calvin Klein? I'm not dissing him. I think he's built an amazing, respectable business, but I would never want to work for Calvin Klein, ever.
I have a tweet that said, 'I want to be a Calvin Klein model,' and that was in 2011. And then I modeled for Calvin Klein. And then I had a tweet like, 'I wonder what it's like to be in front of thousands of fans,' and I've been in front of thousands of fans.
The most inspiring thing for me about Calvin Klein was how subversive the advertising's message was. That's what drove me in my creative process and also in my creating now. The new advertising campaign is Calvin Klein the way I see it today. It's also bringing back the kind of subversive element that I always saw in Calvin Klein's campaigns.
I had wanted to be a Calvin Klein model since I was 17. Marky Mark in his Calvin Kleins was the epitome of male sexuality. That was something I worked for.
Life would be so much easier if fictional boys were real.
I own more pairs of Calvin Klein underwear than I can count. At any given time, I probably have 50 to 60 pairs on deck. I travel with an entire suitcase of underwear and t-shirts, and they're all Calvin Klein.
There are many things Calvin Klein would have never done - he would have never put men in leggings in a show; he would have never done a fluorescent suit - but these are things that are right for the moment. For example, a fluorescent suit is graphic, and Calvin Klein is about being graphic. And Calvin Klein is always modern at its core, so I inject my own research and my own innovation, and I make it my own. But I never deny that core, because that would be stupid.
My whole life has changed so much, and it's still constantly changing, but 'Moonlight' brought about a bunch of opportunities that were really surreal, from the Oscars and Golden Globes to the notoriety that it brought, to even doing things like working with Calvin Klein.
Of course, we always get references from the past, but that doesn't mean that the clothes have to look like the past. We need to look forward, which is why I'm fascinated by new materials, technologies, techniques, and unusual ways to use colors or textures. It's very applicable to Calvin Klein because Calvin Klein has always been about modern-ness.
You can't compare us, but I do think that Calvin Klein influenced his way of working. Calvin created this whole aesthetic with imagery - the whole sex thing. I can see that Calvin influence on his work. What Calvin has created is untouchable. My legacy, whatever it is I'm doing here, is miniscule compared to what he has done. It's just like an update deal.
I think I've done two shoots in my underwear ever. They both happened to be for Calvin Klein. But that tag - 'underwear model' - I just can't get rid of it. And it's such a bizarre, specific thing - underwear. It's like I never modelled clothes.
I never looked at magazines before I started modeling. I was 13 or 14 and none of my friends were into magazines. We were into the fashion of the day, though. Designer jeans were really popular - Sasson, Gloria Vanderbilt, Calvin Klein, Jordache. Once I started modeling, I began to learn about these things, and magazines helped me to understand who was who.
I was an underwear model for Calvin Klein for a few years. It is not something I wanted to do at first. I never regretted it, but I am a shy person, and to stand there buck naked in front of a camera was scary.
When you chopped logs with the ax and they split open they smelled beautiful, like Christmas. But when you split someone's head open it smelled like abattoir and quite overpowered the scent of the wild lilacs you'd cut and brought into the house only this morning, which was already another life.
As with real families, my fictional family on 'Life Goes On' had its ups and downs, and as part of the fictional downers, the actors were often called to cry on cue. This absolutely terrified me, because I was a pretty happy kid who didn't have much to cry about.
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