A Quote by Virgil Abloh

People, when they say 'streetwear,' they miss the central component, which is that it's real people; it's clothes that are worn on the street. — © Virgil Abloh
People, when they say 'streetwear,' they miss the central component, which is that it's real people; it's clothes that are worn on the street.
All clothes are worn on the street, but 'streetwear' had once described T-shirt brands and skate-inspired brands, and now it's just a lazy innuendo used to describe clothing made by designers that the establishment deems 'less than.'
Streetwear for me is what I was raised wearing in London, and my style influences growing up were always people who wore streetwear.
The clothes most worn by people are the clothes least commented on by the press.
Many people will say, well, clothes should be worn; but I think people can look at them in public, like seeing a film. I think museum exhibitions are very important
Many people will say, well, clothes should be worn; but I think people can look at them in public, like seeing a film. I think museum exhibitions are very important.
I don't like it when people on the street say "smile" or "cheer up." It's a real cheap line. I'm feeling good. I'm feeling real grateful for everything. It's a solid time in my life. When people say I look sad, they're wrong.
People were stopping me on the street to say, 'Oh my God, it's Crazy Eyes!' Which is kind of a funny thing to have people shout at you on the street.
I don't want people to see what I've been doing at Play Cloths for nine years and built from a streetwear independence standpoint through Japanese streetwear - I don't want that to be shifted into something else.
People will say "You must miss playing to a thousand people." But I don't. I might miss playing. That's what I would miss, but I don't miss it, because I am playing.
To me, the most emotional thing is to see regular people wearing our clothes. Yes, sometimes I see our clothes on somebody, and I think, 'No!', but you can't stop someone in the street and say, 'Please go home and change.'
I'll miss the comments from the people on the street who love the show and who have felt its impact on the culture. I won't miss the shooting schedule, though!
I miss the hot spots. I miss the hospital calls. I miss the nursing homes. I miss the really intimate human contact with other people, which I did nothing to earn.
Who ever saw his old clothes, - his old coat, actually worn out, resolved into its primitive elements, so that it was not a deed of charity to bestow it on some poor boy, by him perchance to be bestowed on some poorer still, or shall we say richer, who could do with less? I say, beware of all enterprises that require new clothes, and not rather a new wearer of clothes.
I know some people say that high fashion should not be worn at synagogue. I, on the other hand, think that it is of the utmost importance that the Goldbergs from down the street see you in the new Chanel Fall 2010 Yom Kippur line.
You've got the people you know, which are problematic. Always. They're rich but they're also real people living their lives alongside you. Then you've got the people that you make-up completely, who are often missing a dimension if they don't have some reference to real people. So strangers exist in this in-between space, where in not knowing them, you are creating a fiction for them, even in passing, but at the same time, there they are, with their actual bodies and their actual clothes. It's totally enticing.
Mubarak would meet with me when I was at Central Command. He would lean and put his hand on my knee, as if a father figure, and say, 'General, don't ever forget the Arab Street. Listen to the Arab Street.' I'd like to go to him now and say, 'Mr. President, what about that Arab Street, what's that all about?'
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