A Quote by Ozwald Boateng

Tailoring was considered to be a world that was very traditional, and basically going out of fashion. Fashion designers did not have a real link with tailoring or tradition, so I fused the two worlds together.
When I started, department stores were either very fashion, or very tailored, so the two never mixed. I mixed it, and they said you're too tailored for fashion and too fashion for tailoring. So I had to move the market. So that's what I did.
My mum was very conscious about fashion and my dad was born into the tailoring tradition, so fashion has always been my life, although now, really, I wear the same thing - just in different weights - light and heavy cashmere in winter and cotton in summer.
My mum was very conscious about fashion, and my dad was born into the tailoring tradition, so fashion has always been my life, although now, really, I wear the same thing - just in different weights - light and heavy cashmere in winter and cotton in summer. And jeans.
I'm always surprised that people make such a fuss about Italian tailoring and French design houses. I think traditional British tailoring for men is so good. Everything's the right cut, the fabrics are good.
I want to show people that tailoring has value, which I don't see anymore in men's fashion.
We built our fashion around three fundamental concepts: Sicily, tailoring, and tradition. Our dream is to create a style which is timeless, and to create clothes with such a strong personality that whoever sees them can instantly say without a shadow of a doubt: this is a Dolce & Gabbana.
I never thought that tailoring was something that normal people did; I just thought that it was something that guys who had suits made of Italian silk depended on, and I wish someone had told me what a difference tailoring makes!
I love that you can have the language between the two worlds of technology and fashion, because I don't think that many designers get to do that.
I like doing slightly masculine, Savile Row tailoring. A nice jacket. Wearable - it's almost a dirty word in fashion, wearable, but that's what I do.
When I look at pictures from when I was younger, I think, "Holy crap, what the hell was I wearing?" I've made it a real mission to fully understand what fashion is all about. I love going to these shows because I love seeing creativity. So when I get to meet these fashion designers, I'm kind of like, "Where did you get the idea to make this? What were you thinking?" Some of that stuff is so crazy and loud.
There's a very different kind of psychology going on in the fashion scene than in art. When artists connect to a system because they want to make a living, it's their own choice. In fashion, designers don't have that choice.
I like fashion. My mum was a dressmaker, believe it or not, so the consequence of that was that all my clothes were homemade, and I looked like a terrible mess until I was old enough to buy my own. But I love good tailoring.
I see fashion as a proclamation or manifestation of identity, so, as long as identities are important, fashion will continue to be important. The link between fashion and identity begins to get real interesting, however, in the case of people who don't fall clearly into a culturally-recognized identity.
For my film 'Fashion,' like an investigative journalist, I went about knowing the people, the models, the fashion designers. Similarly with the corporate world.
Fashion is a reflection of our times. Fashion can tell you everything that's going on in the world with a strong fashion image.
Brazil has its own fashion identity. Many very talented Brazilian designers show every season at Sao Paulo and Rio fashion weeks.
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