Top 175 Couture Quotes & Sayings - Page 3

Don't say you don't know! It's because of Kim. Meaning there's no photo that I would have put up by myself, or next to one of my smarty friends, that would have got that amount of likes. So now you take this photo that has that amount of likes, and it has a flower wall from the same guy who does the Lanvin shows, and it has a couture Givenchy dress and Givenchy tuxedo in it. That's the point. Now the thing that is the most popular is also communicating the highest level of creativity. The concept of Kimye has more cultural significance than what Page Six could write.

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 love and admire everyone who is different. I love that. The 'jet set' is banal. 'Good taste' is banal. Eccentricity is chic. Good taste paralyzes. But punk or street fashion or a tattoo-covered body, that is interesting to me, and that I love. I didn't go to fashion school. I learned from watching couture shows on TV and reading magazines. That made me dream.

Sure, we had to be skinny. I lived on Diet Coke and apples for two years. For the couture, we had to get up at 4 am to be sewn into the clothes and there was huge pressure to be thin. But I made a million dollars by the time I was 20, I bought a town house in Manhattan and put myself through Columbia. Does that make me a victim?

Couture was only for rich people. Givenchy was for rich people. A bag cost 5,000 euro; a coat cost 10,000 euro. In the beginning, I couldn't react. I was just working like a machine, because I wanted to make the house happy.

Lesley Manville comes at 'funny' from a totally different direction in 'Phantom Thread,' using snootiness and froideur. The effect of her performance - as the difficult manager of her difficult brother's couture dress business - stems in part from the chill she puts into her line readings.

My own show with Sterling Ruby, for example, seems like such a huge disconnection from Dior couture, but then I think, yeah, in both collections there was a very strong focus on the human hand and the actual work of people making garments. So in that sense, they were completely related. But I didn't realize that during the process.

The fashion I've acquired over the years is so sacred to me - from costumes to couture, high fashion to punk wear I've collected from my secret international hot spots. I keep everything in an enormous archive in Hollywood.

Back in the day, I was a Royce Gracie fan and a fan of Tank Abbott. It's always the different-looking guys that you want to root for. Then there were guys like Mark Coleman and Randy Couture, so for me to get in there and fight against guys like that is pretty cool.

The Gucci woman can be the equestrian woman, the woman in the suit, the woman in the flowy bohemian dress, or the couture woman.

I love the focus and bravery of European designers, but I love the nonchalance and throwaway aspect of America that has made Ralph Lauren and Calvin Klein two of the greatest icons. I try to bridge those two worlds in my work. The clothes may be couture on the runway but there's an attitude that's very street and that comes from America.

The fashion I've acquired over the years is so sacred to me - from costumes to couture, high fashion to punk wear I've collected from my secret international hot spots. I keep everything in an enormous archive in Hollywood. The clothes are on mannequins, also on hangers and in boxes with a photo of each piece, and there's a Web site where I can go to look through everything. It's too big - I could never sort through it myself! But these garments tell the stories of my life.

Almost every collection I do has 200 different references. I don't have two of the same coat, two of the same dress. I have it in one color, in one fabric. I've tried to adapt the culture of couture, and the know-how and the heritage, but I try to update it.

Some couture collections have everything including the kitchen sink! Everything gets thrown on to make it look expensive. I find it grotesque when clothes hit you in the face and there's no room for fault. But I don't expect to turn things around all by myself. I'm not a saint.

Cheap as chips, cheap as chips, it's a British expression. There's no couture in their darling.

Fashion is always connected to manual work, previously at least. That's what couture is all about. Today, this is giving an opportunity to people with those skills, but who don't really have those jobs anymore - it's something I always make sure I do.

My mum was very glamorous, an incredible seamstress. She made up those Vogue, Givenchy and Yves St. Laurent patterns they used to sell. It was church couture, darling! Because my dad was a pastor, she could get away with more than other women. Her skirts were that bit tighter.

Like in great painting and architecture, in couture, to make clothes you must eliminate, eliminate, eliminate to obtain the true sense of a line. You see, the more you add, the more you load on, the more it's mad. You must try to have just the silhouette, which is an intelligence in clothes.

As for middle school, I had a really horrible era of style. I'd only play basketball with the boys during lunch, so I went through a phase of only wearing Lakers uniforms to school - that was cute! And then I kind of went through the Puma phase that everyone went through with the sweatsuits, which turned into Juicy Couture sweatsuits.

I just think of couture clothing as wearable art. So from - to that extent I, you know, I love having the opportunity to just even be able to touch and look at, you know, these pieces of design. In terms of, you know, is it stressful and does it take a lot of time. It's mostly stressful because you're there because you're nominated.

I speak from a nerd's perspective because I've been watching anime since I was a kid. I grew up on 'Speed Racer' and 'Star Blazers' and 'Battle of the Planets,' and those were some of my first A) cartoons and B) introduction to Japanese couture before I even knew they were Japanese.

When my first novel, 'Crazy Rich Asians,' was published in 2013, many readers were astonished to learn that in Asia, there were women who dressed in couture from morning till night.

After I started training with some of the best in the world and fighting in the UFC, I started really wanting fights with guys I used to idolize and watch on TV. Guys like Tito Ortiz and Randy Couture.

When I started, everyone said couture was finished and I was so scared. Actually I was more terrorized than scared. I was arriving from a provincial area of Italy. They called me in to do Givenchy and I just thought, Wow.

I was on the couch watching Tim Sylvia beat Ricco Rodriguez, Randy Couture beat Tim Sylvia, and Josh Barnett fight in PRIDE.

The habit of breaking up one's colour to make it brilliant dates from further back than Impressionism - Couture advocates it in a little book called 'Causeries d'Atelier' written about 1860 - it is part of the technique of Impressionism but used for quite a different reason.

I have always been a fan of Alex Perry's work. His gowns are so beautiful, elegant, and always uniquely crafted to the woman wearing them on the red carpet. They are a true piece of art-meets-couture.

I have pictures of my grandmother from the 1920s and '30s in avant-garde dresses that looked like they could have come from the House of Worth or Lucien Lelong. She would never say if they were couture, but I do recall her telling me, 'All my clothes and shoes came from Paris.'

Some guys are real noble guys, like Rich Franklin or Randy Couture. These guys are just really good people who happen to fight.

Being outspoken was important... I helped make the UFC what it is today with Chuck Liddell, Royce Gracie, and Randy Couture. Some said I was outspoken in a bad way, but I was just trying to educate the fans what being a UFC fighter is all about.

When I first got Yves Saint Laurent Couture, I didn't know how to take off a cape. I would ask Katoucha and Dalma - the real divas of the runway - 'Can you show me?' I've never been afraid to ask for help.

Couture is also a matter of respect. In the end, all of these women sewing and embroidering the clothes, whom are almost all my mother's age, they're all 70 or 80 years old, have been here for a lifetime. They spend hours on it and come up with solutions. And because it's on a catwalk, people see if for five seconds and don't even see the technique, the drapery.

With couture, you're going right to the consumer, and that's something we learned from doing trunk shows. You're meeting the client; you're finding out what they like and what they don't like. You've really got your customer there in front of you, so you know what works and what doesn't.

I stumbled upon the 3x1 shop because it's a few doors up from the 'V' magazine offices on Mercer. The store is intense: They can take your measurements, and the sewers are right there behind glass making what amounts to a couture pair of jeans.

There is something I think we share, which is, of course, an appreciation for Helmut Lang. I think at a certain point he really changed so many things in fashion. I'm a bit younger than Helmut, but from my point of view he provided a true entrance into this new way of thinking - not being invaded into couture.

The sneaker comes from sports, but it's couture now. It's not made in Asia: it's made in my little village in Italy. I can customize everything. I use silk and diamonds and crystals. I think my sneakers have a lot of good vibrations.

After I knock out Randy Couture, I'll fight for the heavyweight title, the real heavyweight boxing title in October or November, come back and fight in the UFC in January or February. It doesn't matter, I'm a two sport athlete. The oldest man to ever do that.

Couture occupies the uppermost stratosphere of fashion. It is the holy of holies, as only about 2,000 women globally are fortunate enough to wear these precious garments tailored to their exact measurements, making it perhaps the most exclusive club in the world.

Only the fat-cat corporations can really afford to put on two mega-ready-to-wear shows a year, or four if you add two haute couture shows, or six if you count men's wear. Resort and prefall push the number up to eight. A couple of promotional shows in Asia, Brazil, Dubai or Moscow can bring the count to 10.

I was taken to my first fashion show - Nina Ricci haute couture - in Paris by the White Russian princess, down on her luck, whom I was boarding with in Paris in 1963. I was captivated by the glamour of the gilded salon, the elegant clothes, and the audience of grand ladies.

Cinema is haute couture or, if that's a little too ambitious, at least it should approach that standard. Pathe Plus is just part of the business. We have to improve all our cinemas. In France, we're not looking to open many more screens, but rather to raise the standards of our current cinemas.

I had the luck at 18 to become assistant to Christian Dior, and to succeed him at 21 and to meet with success from my first collection in 1958. That will be 44 years in a few days. Above all it was Christian Dior who was my master and who was the first to reveal the secrets and mysteries of haute couture.

I look up to fighters like Vitor Belfort, Anderson Silva, Chuck Liddell and Randy Couture. A lot of the fighters that fought into their older age and for me, as a warrior, I just love it.

At 185 in the UFC they had Rich Franklin and Anderson Silva, and I couldn't go to 205 - they had Randy Couture, Chuck Liddell and all of those big guys. I just wasn't mature enough, so if I hadn't fought at 170 I probably wouldn't have had the career I've had.

Because I worked in fashion, I know that I like fashion. Haute couture is a form of art that I can appreciate. I'm definitely not someone who wakes up every day and thinks about what I'm going to wear, but on the red carpet, it's reflective of the mood I'm in, or the movie I'm going to represent.

I'm sorry, but Juicy Couture tracksuits and Ugg boots don't move me in any way, shape or form. I refuse to wear them. Modern fashion doesn't appeal to me; the 1950s were better in every way, don't you think?

I always used to love couture because it was more theatrical than the runways. The runways always felt more like part of the machine.

I was fascinated looking at John Galliano's couture. They're just extraordinary extravaganzas and I love it. I love looking at it because it's like going to a museum.

When I went to England, to Saint Martins, I was traumatized, in a positive way. It was that British sense of transgression and the dark. Then when I went to Paris, I was doing couture, which everyone was saying was finished. Bullshit! For me, in the end, it was all a mixing of ingredients.

It was Yves Saint Laurent who realised the high-end design houses could make a lot more money if they sold more accessible clothing than the usual couture, when he opened his pret-a-porter store, Rive Gauche, in 1966.

I love cashmere. For casual, I like Juicy Couture. I love the beading in Badgley Mischka. I like Dolce & Gabbana. There's such a lot to choose from.

Nobody criticizes The Rock. Nobody criticizes Randy Couture when he goes over and did 'Expendables 3' or anybody who's a crossover.

EXTREME LUXURY ISN'T THE MOST BLING-BLING, IT'S EXTREME REFINEMENT, WHICH IS COUTURE AT ITS FINEST.

In the beginning, to be honest I was super-scared. I turned up and took a step back and said, 'I am here to learn,' and I feel the same today. I've got only to learn from these people because they have been doing couture for 30 or 40 years, so I keep learning every season.

I only take risks in couture, but I don't take risks in athleticism.