A Quote by Emilia Wickstead
I'd say I play on old world couture as opposed to modern day bridal; there's something very timeless and appealing in that.
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It really is the very top of the fashion world; nothing comes above haute couture. But not any old designer can create something magical and call it haute couture; the term is strictly protected for a very special few.
I don't know about timeless. I actually think most of what I do is completely modern, but universally modern. Who decides what timeless even means? Are the things that we consider timeless now going to, in fact, be considered timeless in 300 years? Probably not.
I'm constantly correcting young people and fashion students in this nation when they say "Well, I do couture." By definition, you don't. You have to be licensed by the government of France to do couture. So don't use that term. You can say that you do one-of-a-kind, you can say it's custom, but you can't say it's couture - because it's inaccurate.
It's modern day. It is modern day. Some of the cars are older but it is absolutely modern day. There are modern cars in it, modern people, modern clothes, modern talk. We wrote 'Valentine' to sort of pay tribute to all the old slasher movies that we grew up with and I think that we did that.
When we first started doing bridal, I found the bridal business very archaic; it was very removed from general fashion.
I don't think couture will die. But it should have no pretension that it will conquer the world. It's not something that will disappear because all you need is a thread and a needle to start making something couture.
I would love to take an old space and restore it to exactly the way I want it. Like an old factory, just something with great bones and lots of character. I'd take an old house and flip it into something very modern inside, or the other way around.
Our old - fashioned system is better than any new - fangled voting machine. Not only is it guaranteed to work, but there is something I find appealing in putting a mark on a piece of paper for the candidate of your choice, as opposed to pulling a lever as if you were gambling on a slot machine in Las Vegas.
I am very happy to design haute couture. It's a love story between couture and me.
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.
Couture is emotion. Couture is freedom. Couture is not thinking about pricing and not thinking about craziness. You can do whatever you want to do in couture.
I hate the terminology of 'costume' because my clothes are not costumes at all. I think they're high fashion, avant-garde, and more couture, definitely, and yes, some of my pieces are not particularly wearable, but I wouldn't say they're costumes, I'd say they're more couture.
I hate the terminology of "costume" because my clothes are not costumes at all. I think they're high fashion, avant-garde, and more couture, definitely, and yes, some of my pieces are not particularly wearable, but I wouldn't say they're costumes, I'd say they're more couture.
My work is a fusion of personal experiences and influences - moody atmospheres, victorian-inspired couture, and timeless elements all laced with clandestine symbolism. The figures I paint exist in their own esoteric realm and time, and each painting offers a glimpse into their anomalous world.
I liked that music was a window into a world with a lot of unpredictability and chaos; it was almost diametrically opposed to my very regimented day-to-day living.
My first stage was couture. Boom. Couture. It has changed because women have evolved. Back in the day there were princesses. Today, there are still princesses, but she no longer rides around with horses and a carriage. She parties, she goes on vacation, she goes on boats. She wants to be dynamic. I understood this and I kept going. We do prêt-à-porter, men's, and couture.
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