A Quote by Jonathan Ive
When something's made in the smallest volume - as a one-off couture piece - or in large quantities, deep care is critical to determine authentic, successful design and, ultimately, manufacture.
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I was less successful in my attempts to effect preventive vaccination against typhus by using the virus and in trying to produce large quantities of serum using large animals
I was less successful in my attempts to effect preventive vaccination against typhus by using the virus and in trying to produce large quantities of serum using large animals.
It's the ultimate for me not to see how it's made. I find it vulgar when you can distinguish how something is made. I used to be a student at the Chambre Syndicale de la Haute Couture in Paris, and once I got to go to a Saint Laurent couture show. Everyone was always talking about how fabulous the tailoring was, but I was transfixed by this one particular dress. It was just a piece of fabric, but as the model was walking, you didn't know how she got into it, how it closed, where the seams were, and that, for me, was perfection. It stayed with me as a lifelong vision.
I am very happy to design haute couture. It's a love story between couture and me.
If a piece is individually made to measure, then it's couture.
I love the idea of couture and its emphasis on creation. There's where I made my name - in design - and there's where I'd like to stay.
The real bug here is that the design of the system even permits this class of bug. It is unconscionable that someone designing a critical piece of security infrastructure would design the system in such a way that it does not fail safe.
Most of the designers are eco-friendly, even by default, through their use of up-cycled materials and organic fabrics, and by producing in small quantities. Ultimately, the design has to be great - no one will buy it if it looks like a hemp sack!
A business woman needs a successful mix of design and practicality. I look for that special piece that sets the watch apart from the norm. I want to have something unique that differentiates itself with style and glamour.
"Light Over Water" is the longest piece I have ever composed. It is a landmark in my personal struggle to create large forms. I feel that it is by and large a formally successful work, though I was constrained to write a piece at least fifty minutes long, and there are some dead spots in the music where I think I was simply marking time. However, I think when the dance is in motion, the formal problem is nonexistent.
I try to shrug it off as a minor annoyance that whenever I do something successful, every capitalist out there wants a piece of the action.
At my heaviest, I was 5'8" and 175 pounds. I ate well, but in too large quantities, and I rarely made a concerted effort to burn off the extra calories. I'd beat myself up about being overweight, even though I had the tools to be in shape. Then I'd resort to an unhealthy diet to lose the weight that was making me self-conscious.
The couture is what a certain kind of clientele wears. But it's amusing to do because you do it piece by piece. It's another concept. It's much more work.
With couture, you feel obligated to design something modern each season, but with Theyskens Theory, I don't question anything. I'm thinking of what I'd like to wear.
Dior Couture is like art - they are the art pieces of a fashion house. Each piece is unique and made by hand.
Rules of Play is an exhaustive, clear, cogent, and complete resource for understanding games and game design. Salen and Zimmerman describe an encyclopedia of game design issues, techniques, and attributes. In particular, they analyze the elements that can make a game experience richer, more interesting, more emotional, more meaningful, and, ultimately, more successful. It should be the first stop you make when learning about game design.
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