A Quote by Tim Gunn

I've never mentioned this, but when I was at Parsons teaching, the other design disciplines, they don't like fashion design. They see it as very nineteenth-century. — © Tim Gunn
I've never mentioned this, but when I was at Parsons teaching, the other design disciplines, they don't like fashion design. They see it as very nineteenth-century.
This is very much my philosophy as a fashion designer. I have never believed in design for design's sake. For me, the most important thing is that people actually wear my clothes. I do not design for the catwalk or for magazine shoots - I design for customers.
Good design is innovative 2. Good design makes a product useful 3. Good design is aesthetic 4. Good design makes a product understandable 5. Good design is unobtrusive 6. Good design is honest 7. Good design is long-lasting 8. Good design is thorough, down to the last detail 9. Good design is environmentally friendly 10. Good design is as little design as possible
When I got into high school, that's when I stated dabbling in fashion design. I got involved in the theater department's costume design and started to think that maybe I'd major in fashion design.
The question is: exactly how did life get here? Was it by natural selection and random mutation or was it by something else? Everybody - even Richard Dawkins - sees design in biology. You see this design when you see co-ordinated parts coming together to perform a function - like in a hand. And so it's the appearance of design that everybody's trying to explain. So that if Darwin's theory doesn't explain it we're left with no other explanation than maybe it really was designed. That's essentially the design argument.
I love to design. I am a commercial fashion designer. I always design jackets with two sleeves. I don't design jackets with three sleeves, or the layers and layers come off like little dolls from Russia. Fashion for me is a creative endeavor, but it is not art for me.
I never wanted to design clothes. I never wanted to work for the fashion industry. Shoes sort of belong to the fashion industry, which is why I'm part of the fashion industry. But that's never been my thought. My thought since I was a child was really to design those shoes for girls on stage.
I really enjoy drawing, and I enjoy design, fashion design especially. If acting doesn't work out, which I hope it does, I'd probably go into design.
Design is more than meets the eye. Design is about communicating benefits. Design is not about designers. Design is not an ocean it's a fishbowl. Design is creating something you believe in.
Design is the method of putting form and content together. Design, just as art, has multiple definitions; there is no single definition. Design can be art. Design can be aesthetics. Design is so simple, that's why it is so complicated.
I enjoy the optimism of design, even though we can see it as doomed. But I'm telling most people that I'm not writing about design any more this year. It makes no sense at all during the recession unless you write about sustainable or ethical design-very basic things, like how to get clean water in countries with a shortage of it.
Design is a field of concern, response, and enquiry as often as decision and consequence... it is convenient to group design into three simple categories, though the distinctions are in no way absolute, nor are they always so described: product design (things), environment design (places) and communication design (messages).
I majored in fashion design in school, and I have always wanted to design my own line of clothing, jewelry, and stuff like that; so this was just a step for me in that direction.
Universal design systems can no longer be dismissed as the irrelevant musings of a small, localized design community. A second modernism has emerged, reinvigorating the utopian search for universal forms that marked the birth of design as a discourse and a discipline nearly a century earlier.
Stewart Davenport conscientiously and insightfully re-creates the world of the nineteenth-century political economists, who taught that the principles of international trade manifested, like the laws of biology and physics, the intelligent design of a Divine Creator.
Book-jacket design may become a lost art, like album-cover design, without which late-20th-century iconography would have been pauperized.
This is what we've been waiting for: finally, an unprecedented critical analysis of the history of Dutch design. Mienke Simon Thomas's Dutch Design is a book to have and to read: an important and richly detailed study of the cultural, economical and social-political context of twentieth-century design in the Netherlands.
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