A Quote by Charlotte Casiraghi

It is a real pleasure to collaborate with Frida Giannini and Gucci to celebrate one of the House's most elegant symbols: the horsebit. — © Charlotte Casiraghi
It is a real pleasure to collaborate with Frida Giannini and Gucci to celebrate one of the House's most elegant symbols: the horsebit.
July 13, 1954 was the most tragic day of my life. I had lost my beloved Frida forever. To late now I realized that the most wonderful part of my life had been my love for Frida.
Persevering and getting through hardship makes you tough, and at our house we celebrate stitches. As long as we didn't do permanent damage to their spine that's going to have lasting effect, we applaud and celebrate stitches at our house.
Grace is in a great measure a natural gift; elegance implies cultivation; or something of more artificial character. A rustic, uneducated girl may be graceful, but an elegant woman must be accomplished and well trained. It is the same with things as with persons; we talk of a graceful tree, but of an elegant house or other building. Animals may be graceful, but they cannot be elegant. The movements of a kitten or a young fawn are full of grace; but to call them "elegant" animals would be absurd.
What our children have to fear is not the cars on the highways of tomorrow but our own pleasure in calculating the most elegant parameters of their deaths.
The writing of Kathleen McGookey shines more brightly than most fine things we feel pleasure to read. Celebrate it!
I'm pretty damn obsessed with Gucci. The fashion. It's like a painting! The advertising is beautiful and I've actually never owned one piece of Gucci in my life and then I was in Paris with my husband for shows and we went to Gucci and I got the brown loafers, a boot and a couple sweaters - it's totally how I dress. And I love how they're articulating the girls. They're bohemian and whimsical.
Playing Frida was hard and wonderful. I found such a force in her, bigger than me. I tried to make it just a woman who had to do what she did. A woman who lived, ate, and laughed. I tried to avoid the 'icon' of Frida Khalo.
Yeah, I was going to have no features on 'Bulletproof.' But I ended up putting Gucci Mane on it. That's just my partner. He's just one of my personal friends. It ain't no different for him from my homeboys in Memphis. I just have a real personal relationship. I met Gucci Mane through my partner Drumma Boy, the producer.
You can see the next big trends in fashion on the red carpet and see what colors, silhouettes are hot right now. You might see Taylor Swift wearing Gucci, and most of us can't afford that Gucci dress, but you can look at the beading and be inspired by it for, say, your prom or a friend's wedding.
Gucci is not a fashion or a design house, it was always a trademark.
If you know Gucci Mane, controversy is always surrounding Gucci.
The pressure is always very high. I am the client, and when I am the client, I need to fight with the photographer or with the stylists or with all the people that are on the set, because I am the only one who has a very specific vision. I always have the pressure, either from myself or from the company. I am a control freak. It's part of my culture. I know that I am still working to build a Frida moment at Gucci.
People looked at me - people still look at me - as 'this is Gucci Mane's producer.' But the music that me and Future put together was so different than what me and Gucci do, it just made people look at the music like, 'Hold on - Zaytoven is the real deal.'
No good book has ever been written that has in it symbols arrived at beforehand and stuck in. ... I tried to make a real old man, a real boy, a real sea and a real fish and real sharks. But if I made them good and true enough they would mean many things
I'm a big Gucci fan. So, just working with Gucci and seeing his creative process. It was also really cool to work with Scott Storch. He's a legend.
When me and Gucci sit down, I make tracks real fast, and he can write songs real fast.
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