Top 1200 Set Designer Quotes & Sayings - Page 2

It's tough to be a designer. It is really tough to be a Canadian designer.

With the traditional six-month lead time on the delivery of international show content, designer collections can be outpaced by the so-called fast fashion chains. H&M, Topshop and Zara, or even Target and J. Crew, would have their versions for sale before the designer looks hit the stores.

I would really think twice about being a fashion designer if I was young right now, especially being an independent fashion designer the way I started it.

Unlike Etsy, which is all handmade, we print and ship the products, not the designers. We relieve the designer from having to make and ship everything, package it, and provide customer service. All the designer has to do is submit art and keep doing what they love doing.

[While designing] I'm mixing two lines of thought really: me as a designer for women and then me as a man. At the start of the design process it's the designer for women that comes to the forefront - sketching and revising the silhouette. Then the man comes into the picture - and I look at the shoe from a very masculine point of view. Then there is a conflict between the two sides of me. Sometimes the man wins, and sometimes the designer wins.

I think of myself more as a designer than a serial entrepreneur. As a designer, the easiest way to see that something happens is to start a company and then be the boss, and then people have to do what you say.

My first girlfriend, when I was about 18, was a fashion designer, and my sister was a fashion designer as well. I've always been into shopping, and I've always been very aesthetic, in a sense.

I'm a fashion designer. What I do is artistic, but I'm not an artist because everything I do is destined to be sold. That's not to say that you can't be an artist and a fashion designer. I think some designers are artists.

This thing is but a puny imitation of a much grander system whose laws you know, and I am not able to convince you that this mere toy is without a designer or maker; yet you profess to believe that the great original from which the design is taken has come into being without either designer or maker! Now tell me by what sort of reasoning do you reach such an incongruous conclusion?

Yes, I love going to fittings and talking about the history of a costume. For 'Versailles,' a play set in 1919, the costume designer told me that pocket squares had just been introduced. The tango was becoming fashionable in London, and dancers used them to mop their brows. I love to learn fascinating stuff like that.

The combination of an individual[i.e., a client] with a positive idea of living and a good designer is the great force in contemporary decoration. I don't care how good the designer is, I am sure that he [or she] would rahter have a person with definite ideas rahter than have to work with a negative figure as a client.

I'm having my platform run up by a movie set designer, so it will be very impressive from the front, but not too premanent. After all, there's no sense putting a lot of time and thought into something you'll have no use for after you're elected.

People have a hard time accepting free-market economics for the same reason they have a hard time accepting evolution: it is counterintuitive. Life looks intelligently designed, so our natural inclination is to infer that there must be an intelligent designer--a God. Similarly, the economy looks designed, so our natural inclination is to infer that we need a designer--a government. In fact, emergence and complexity theory explains how the principles of self-organization and emergence cause complex systems to arise from simple systems without a top-down designer.

It's super-essential. Even though I don't have a very big team, for me, the word muse may be démodé or not. I adore it, but I am also one, in my delirium, to be quite classical. For a designer - especially a male designer - he absolutely has to have that female voice by his side, which he listens to, he filters, he digests. It's a huge need, because when you see through the eyes of a man, you see a woman a certain way, and how they have little tricks of their own.

I worked for 20 directors as a production designer, most male. I was on the set to witness firsthand a range of sometimes atrocious emotions - well-documented firings, yellings, fights between directors and actors, hookers, abusive things, budget overages, lack of preparation. A man gets a standing ovation for crying because he's so sensitive, but a woman is shamed.

I graduated from Academy of Fashion and Costume Design in Rome. At first, I thought I was going to be a costume designer for films, and then I ended up working in fashion - not as a designer, but mostly as a model.

I was literally 3 years old when I started drawing. I did it all my life, through primary school, secondary school, all my life. I always, always wanted to be a designer. I read books on fashion from the age of twelve. I followed designer's careers. I knew Giorgio Armani was a window-dresser, Emanuel Ungaro was a tailor.

People who espouse Intelligent Design believe nature is so complex as to require an intelligent designer-God. Similarly, liberals believe the economy is so complex as to require an intelligent designer-government.

I think the way design was practiced for most of the 20th century was very declarative. A designer came up with a solution for a project and put it in place and shipped the solution and it landed in a reader or a customer's hands as a brochure. They would see it as a poster, or as a piece of signage. And that was sort of it. That was the end of it. I think Internet technology has really upended that whole equation because in some ways a designer's work is never really done online.

At Rent the Runway, we rent designer clothes. We have a belief set that half of the closet over time is going to move into the cloud, and a portion of what we wear every single day will be comprised of things that we don't own forever.

Fashion designing involves a lot of work, and, as opposed to the general perception, it is different from costume designing for films. While a fashion designer can take up a costume designer's role, it is not possible vice versa.

I think you keep two sets of books. In one set, you record the truth -- how well you are really doing. This is the secret set -- just for you and loved ones. In the other set are more modest entries and statements, and these are for public consumption!

I never claimed to be a computer engineer, but I did train as an industrial designer, and I am a consumer marketer, and I am very comfortable dealing with complex businesses and complexity in general and simplifying it - basically a systems designer.

There are different ways to show and tell through Instagram. What's right for one designer will be very different for another designer, and everyone's going to be figuring things out, but it's a great opportunity to use it for feedback.

If you say that you're a cheap designer, you're a cheap designer. It's really hard to recover from that.

Some stuntmen become actors, but Hollywood is a caste-oriented society. Most of the time you just don't have the opportunity to get out of your field if you're a grip, an electrician, stuntman, set designer, director or actor.

A good designer can create a design that accommodates all the constraints and still delivers an elegant, satisfying experience to the user. A great designer can go beyond this and create a design that demonstrates that some of those constraints weren’t really there to begin with.

At the very beginning of my career, when I opened my business in Italy, I was also a ranked tennis player. I had won many tournaments. To be an athlete was my first choice. Second choice: designer. However! There was more money in being a designer at that time.

Design can never be an ultimate explanation for anything. It can only be a proximate explanation. A plane or a car is explained by a designer but that's because the designer himself, the engineer, is explained by natural selection.

Designer's derive their rewards from 'inner standards of excellence, from the intrinsic satisfaction of their tasks. They are committed to the task, not the job. To their standards, not their boss.' So whereas most people divide their lives between time spent earning money and time spent spending it, designers generally lead a seamless existence in which work and play are synonymous. As Milanese designer Richard Sapper put it: "I never work-all the time."

Earlier in my career, I needed to be the writer, casting director, set designer, leading man, and producer. I've been eliminating a lot of those jobs. I'm an executive producer right now. I still get to pick the best screenplays.

There is the danger of over preparation, of loss of spontaneity; over rehearsal is the most terrible thing you can imagine. We do have a very close association between costume and set designer, though. And the cameraman is very important, of course.

Historically, there is a fight between the sound designer and the composer. You see them in the mixing room and they're always fighting because the composer wants the music to be heard and the sound designer wants the sound to be heard.

The tools of the academic designer are a piece of paper and a pencil with an eraser. If a mistake is made, it can always be erased and changed. If the practical-reactor designer errs, he wears the mistake around his neck; it cannot be erased. Everyone sees it.

All changes in clothes rise out of the lives of the people who wear them. The function of the designer is simply to see a little ahead of time what the people want, and to provide it. No designer can start anything really new and different unless there is a public all ready for it.

For each episode the five of us are all wearing clothes by the same designer. It's a different designer for each episode, but for each one we're all wearing their clothes.

The reason why many clients don't value design is because haven't had a designer prove to them the value of it. You need to prove it to clients who've hired a bunch of shitty designers and their business has not been that successful. When they hire a good designer, they see the difference.

My goal is: I'm not trying to be snobby, but my clothes are not for everyone, not for every Hollywood celebrity. There is a designer for everyone, and a celebrity for every designer.

That bothers me when I see that fashion editors are consultants for brands. It tells me that the designer has lost sight of what he or she really wants to do, and that he or she is listening to the strength of a very strong stylist and being a little watered down - and by watered down, I mean, the strength of the designer's vision. I'm not saying it's easy.

When a designer gives you a bill, what do you see it as? An expense, right? When a designer gives me a bill, I see it as an investment. For me, it is something that appreciates and helps your business grow.

If the point of contact between the product and people becomes a point of friction, then the designer has failed. If, on the other hand, people are made safer, more comfortable, more desirous of purchase, more efficient — or just plain happier — by contact with the product, then the designer has succeeded.

The products we design are going to be ridden in, sat upon, looked at, talked into, activated, operated, or in some way used by people individually or en masse. If the point of contact between the product and the people becomes a point of friction, then the industrial designer has failed. If, on the other hand, people are made safer, more comfortable, more eager to purchase, more efficient-or just plain happier-the industrial designer has succeeded.

Andrew Preston and I moved to Florida, to get some air. Am I going to live there forever? No, I'm not. But I have a warehouse, all white, concrete floors, a big, big space with very high ceilings and nothing inside. And that's where I go to work, and I like that because I just like to be alone and quiet. Is it explainable as a typical fashion designer? No. But am I a typical fashion designer? I don't think so.

If you were to say to me that I couldn't paint, I would write. If I couldn't write, I would be a set designer. As long as I'm creating something, I'm happy.

In a lot of cases, you think that the art director and the production designer designed and built this amazing set, when in fact they only built part of it and were able to extend it using all of this fabulous technology.

I grew up in a very visual household. My dad is a designer; my sister is a designer. My brother is an amazing architect who does music. But I think in the Chung household, how things looked was an important part of who you are.

To work on the competition wear for the Olympics is kind of insane. As a fashion designer, you don't think to yourself, 'I'm going to get the opportunity to work with athletes at that level at the Olympic Games.' It really is such an incredible thing to have any kind of contact with as a designer.

Some designers are so airy-fairy people can't connect with them. I hope people can relate to me, to a normal person who just happens to be a fashion designer, that people can take me as they find me. It's not the designer's job to care about what people think. Whatever else I've done, I've never tried to be something that I'm not.

... the designer of a new system must not only be the implementor and the first large-scale user; the designer should also write the first user manual. ... If I had not participated fully in all these activities, literally hundreds of improvements would never have been made, because I would never have thought of them or perceived why they were important.

If I weren't a theatre designer, I wouldn't be any other kind of designer. Design is interesting to me as it relates to narrative: the design has to support the narrative. Storytelling is the most important thing.

One set at extreme intensity does the muscle-building job. It must be stressed that the one final, all-out set I do takes me to the very limit of my capabilities. If you feel you can attempt a second set, then you couldn’t have been pulling out all the stops during the first set. It's not pretty, but it works.

I appreciate the sentiment that I am a popular woman in computer gaming circles; but I prefer being thought of as a computer game designer rather than a woman computer game designer. I don't put myself into gender mode when designing a game.

Moreover, the eye contains a big flaw: the retina is inside out. Why would an almighty designer do such a thing? No intelligent designer, .. would put such a clumsy arrangement in a camcorder, and this is just one of the hundreds of accidents frozen in evolutionary history that confirm the mindlessness of the historical process.

My granddad wanted to become a sign painter and designer, but was stopped; my dad would have had a real talent for language, but was stopped. When I expressed a desire to become a graphic designer, I was not stopped.

The costume designer, her name is Anne Hardinge. She's done "Shaun of the Dead" and "Hot Fuzz." She's really comedic costume designer, which was right up my alley. She was a joy to work with. She was like fabulous Geena Davis. She was just floating with her red lip and kind of fabulous.

I started off as a theatre designer, and by some extraordinary circumstance I saw something in Stratford-upon-Avon, and realized that that's the kind of design I want, but also that that's the kind of designer I'll never be.

What's important to a fashion designer? It's much more than learning how to make clothes. In fact, that merely makes you a dressmaker. It doesn't make you into a fashion designer.

Constrained optimization is the art of compromise between conflicting objectives. This is what design is all about. To find fault with biological design - as Stephen Jay Gould regularly does - because it misses some idealized optimum is therefore gratuitous. Not knowing the objectives of the designer, Gould is in no position to say whether the designer has proposed a faulty compromise among those objectives.

I am honoured to be a part of H&M's designer collaborations. The work with their team is an exciting, fun process. They are very open to pushing boundaries and to set a platform for creativity. This will be a great way for a wider audience to experience elements of the Alexander Wang brand and lifestyle.

I don't think of myself as a brand, simply a designer. A fashion designer who is married to an artist and together we have woven a body of worth through the years - with hopefully a recognizable signature. I look forward to one day becoming a brand... But that takes a business structure with brilliant business people to run it. I do look forward to that chapter in our life.