A Quote by Zac Posen
Fashion is a pay-to-play game; this is an industry. At a certain point, you must bridge a gap where you are supporting the reviewer, the publication, and that is very real.
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If you are a woman, you might feel torn between logical agreement and emotional resistance. Why? It seems like a simpler solution to blame men for the pay gap than to engineer your own bridge to higher pay.
Fashion is an industry to make money. It plays into human psychology. We want to belong, we want to be loved. I'm not trying to demonize the fashion industry - I love the fashion industry - but style is about taking the control out of the industry's hand and having you decide what works for you.
With the pay gap in Hollywood, I think it's very easy to say - 'oh, what are they complaining for? They're making millions of dollars.' But by having a woman in the industry do this, it's easier for others to see it.
The fashion industry can in a certain way be very hard and closed.
The experience that a publication creates for its audience is the very essence of that publication's brand - and without deep engagement, that publication's brand will be weak. A good publication is a convener and an arbiter - it expresses a core narrative that becomes a badge of sorts for its readership.
I'm an avid bridge player. I usually go to the local bridge club three or four times a week. I've always been a game-player, and I think bridge is one of the greatest games ever invented. It's too bad that not many young people play it any more.
Society has a hyper emphasis on thin, and that trend comes from the consumers - it does not come from the fashion industry. The fashion industry needs to make money; that's what we do. If people said, 'We want a 300 pound purple person,' the first industry to do it would be fashion.
The impresario functions as a bridge and a translator. He or she is a bridge between the creative point of view - which is often very focused on the creative task itself - and the resource-allocation process. The impresario has to make certain the funds and people required to get that task completed are available.
You know, in this industry, being an openly queer actor or entertainer, you can play the game your way, or you can play it the industry's way. And I decided to play it my way. I played it the industry's way far too long.
I must bridge the gap between adolescent glitter and mature glow.
At times when you're adapting a book into a movie, you have to take certain creative liberties to bridge the gap between the two forms of media.
My whole background was with bands, so I always thought of "fashion" as performative. It took me a long time to bridge the gap between my music and what I was studying in school, [which was] dance and being a performer.
It's like kids playing house: 'You play the father, I'll play the mother.' You know, you dress up, you play, they pay, you go home. It's a game - acting's a game.
The fashion industry has an enormous amount to offer in what we do in industrial design because fashion is fast, fashion has its finger on the pulse. There are very few creative industries that work on that rhythm.
This is what income inequality means in America, and why the gap between the very rich and everyone else is growing wider. According to a recent study, CEO pay is now 295 times more than the pay of a typical worker. In 1965, the differential was 20 times. We must create an economy that works for all, not just the top 1%.
I didn't know I wanted to be a hairdresser. I was always interested in fashion and imagery in a very naive way, but it was always an attraction, like glitter balls. This was in the late '70s, early '80s, so it wasn't like today, where you kind of know all about the industry. Fashion was a very insider industry then - it was very closed. So I didn't really know what I wanted to do.
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