Top 93 Silhouette Quotes & Sayings - Page 2

[About Paz De La Huerta....] And there is this girl in the audience and she's gorgeous I can only kind of see her silhouette and she's getting like her t*ts out and I'm like: God, that's unusual.

At the end of the day, I want to create collections that, although I am inspired by very creative women, I want my customer to walk away with a silhouette that she doesn't even know what collection it comes from. That it just lasts in her wardrobe and makes her feel strong and confident and hopefully happy.

I usually experiment with posture and physical attributes that may inform the character. Next, my impression gets a nice injection of inspiration when the costumes arrive and I can see his silhouette in the mirror. Then I go memorize all the lines and try and connect each line to a thought I think he might have. Then I show up on the day, wait my turn, and when the director calls "action," I trust that I have done enough work on my impression that I can just believe it strongly enough to play with abandon from inside that character.

A good pump is a silhouette, like the bone structure of the face. It's like a beautiful face with no make-up. You can cover a not-so-beautiful face with make-up, but it is just a mask - it is the same with shoes.

It is the Late city that first defies the land, contradicts Nature in the lines of its silhouette, denies all Nature. It wants to be something different from and higher than Nature. These high-pitched gables, these Baroque cupolas, spires, and pinnacles, neither are, nor desire to be, related with anything in Nature. And then begins the gigantic megalopolis, the city-as-world, which suffers nothing beside itself and sets about annihilating the country picture.

Benedict (Cumberbatch, who is playing Sherlock) looks amazing. He's still got a Sherlockian silhouette, with a large overcoat, but in a classic cut. Watson dresses with an urban elegance, a touch of old school dashing, giving a feeling of both the military and medical profession. I suppose it's something they have in common as well. They're a bit metrosexual.

I love to see a woman in high-heeled shoes. There's something about the curve of the feet up the leg to the butt that's really, really wonderful, and the right pair of shoes can give you the right silhouette.

With your silhouette when the sunlight dims Into your eyes where the moonlight swims, And your match-book songs and your gypsy hymns, Who among them would try to impress you? -Bob Dylan, "Sad-Eyed Lady of the Lowlands” (1966)

I have been carrying on a dialogue between the landscape and the female body (based on my own silhouette) I am overwhelmed by the feeling of having been cast from the womb (nature). Through my earth/body sculptures I become one with the earth I become an extension of nature and nature becomes an extension of my body

As an artist, as I design and lay out a page, the less-important things, things I want you to spend less time looking at, I draw them very small, maybe even silhouette them. The more-important pivotal scenes, I draw them larger, maybe even a double-page spread.

I think being partnered with C. Wonder as their creative director and also getting to kind of educate her on how to mix prints and how to incorporate color into her wardrobe and how to go from an easy silhouette to using some of our accessories to cinch her waist or make it more cocktail - I think will be really, really fun.

It was weird working with all of them - Stallone, Schwarzenegger, Bruce Willis, Chuck Norris. There's a sequence in the movie where myself and Jean-Claude Van Damme are running through this airport and there's this silhouette behind this big screen - it smashes, and there you see Schwarzenegger, Stallone, and Bruce Willis all firing their weapons at me and Jean-Claude. It's kind of surreal when you think about it, the three '80s icons of action movies, unloading as many bullets as they could at us. It's pretty crazy.

Actually, I do happen to resemble a hallucination. Kindly note my silhouette in the moonlight." The cat climbed into the shaft of moonlight and wanted to keep talking but was asked to be quiet. "Very well, I shall be silent," he replied, "I shall be a silent hallucination.

[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.

As with any outfit, the primary elements of normcore are fit, color, and texture, all of which must match both normcore's loose silhouette, and at the same time, suit your body. Above all else, it's about comfort. So if it doesn't look effortless and easy, it's not normcore.

For me, fantasy and speculative science fiction are the genres that feel closest to how I feel about being alive. Like, when I feel the most invigorated by just even a walk down the block in twilight, when the street lamps are just coming on and there's mist and some shadowy thing in silhouette in a window, I naturally invest all of those things with deep mythology and mystery and meaning. I think I need to believe in that version of reality because I get very scared when I don't.

The thing I always try to remember is that feet are attached to the leg, and that you must prolong the silhouette. The shoe elongates the leg and does it discreetly. The goal is to get people to look at a woman's legs. It's all about the leg. No, it's not about the leg. It's about the woman.

Kate Middleton has a nice silhouette and she is the right girl for that boy. I like that kind of woman, I like romantic beauties. On the other hand, her sister struggles. I don't like the sister's face. She should only show her back.

It requires a certain kind of mind to see beauty in a hamburger bun. Yet is it any more unusual to find grace in the texture and softly carved silhouette of a bun than to reflect lovingly on the hackles of a fishing fly? Or the arrangements and textures on a butterfly's wing? Not if you are a McDonalds's man.

I think the silhouette of the kimono costume will become engraved in people's minds. I do think there'll be lots of red accents in the near future. For me personally, I can't see myself flaunting around in a geisha uniform but it'll make me smile when I see what others do with it.

Amid the moon and the stars, amid the clouds of the night, amid the hills which bordered on the sky with their magnificent silhouette of pointed cedars, amid the speckled patches of the moon, amid the temple buildings that emerged sparkling white out of the surrounding darkness - amid all this, I was intoxicated by the pellucid beauty of Uiko's treachery.

That's what I'll be. A silhouette, rarely seen, and yet believed in. Kaeleigh wants to believe in me. I am her twin, forever alive inside her. And when she needs me, I am always here.

Oh, may your silhouette never dissolve on the beach; may your eyelids never flutter into the empty distance. Don't leave me for a second, my dearest.

We've turned off all the lights in the living room to make hand shadows. We've got this big flashlight aimed at the wall. I make the silhouette of my hand into a duck. Robin makes his into a rabbit. Now my duck kisses his rabbit And-POOF!- it turns into a turkey. And for some reason this strikes us as hysterically funny. But you probably had to be there.

If you will observe, it doesn't take A man of giant mould to make A giant shadow on the wall; And he who in our daily sight Seems but a figure mean and small, Outlined in Fame's illusive light, May stalk, a silhouette sublime, Across the canvas of his time.

I think my attitude's different when I'm in the different places. I don't walk around in character. I try not to walk around with the accent, but those little things change you, whether it's your hair, your clothes, your shoes or a different silhouette. People absolutely look at you differently.

I don't think there's a right or wrong things in your style. It's about how you clearly reflect who you are; how you more clearly tell the story. Who are you? How do you want to transmit that to the world, and how do you more clearly say that? Then I have a philosophy, FFPS: fit, fabric, proportion, and silhouette. Proportion's everything, really, knowing your body and understanding that. Those things have been really crucial for me. It's about being clear about the story you want to tell to the world about who you are - and maybe a little bit of FFPS.

Fashion is an archetype: you're trying to build a silhouette, and that is very similar to building up a building because you're trying to create a new structure, a new proportion, a new shape, and you're using a material to cut which is a bit mathematical. That idea of finding something new in terms of proportion is something that drives me.

We walked at night towards a cafe blooming with Japanese lanterns and I followed your white shoes gleaming like radium in the damp darkness. Rising off the water, lights flickered an invitation far enough away to be interpreted as we liked; to shimmer glamourously behind the silhouette of retrospective good times when we still believed in summer hotels and the philosophies of popular songs.

You can't remember sex. You can remember the fact of it, and recall the setting, and even the details, but the sex of the sex cannot be remembered, the substantive truth of it, it is by nature self-erasing, you can remember its anatomy and be left with a judgment as to the degree of your liking of it, but whatever it is as a splurge of being, as a loss, as a charge of the conviction of love stopping your heart like your execution, there is no memory of it in the brain, only the deduction that it happened and that time passed, leaving you with a silhouette that you want to fill in again.

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.

Fashion is one thing, you kind of can change your silhouette and try this and try that. But I think that with skin care, you know anything that you put into your skin goes into your body, so you want to know it's actually good for you. So I think I don't believe in fashion when it comes to skin care if that makes sense.

Magnus stood up and went to the window. He pushed the curtain back, letting in just enough light to silhouette his hawklike profile. "Blood," he said, half to himself. "I had a dream two nights ago. I saw a city all of blood, with towers made of bone, and blood ran in the streets like water." Simon slewed his eyes over to Jace. "Is standing by the window muttering about blood something he does all the time?" "No," said Jace, "sometimes he sits on the couch and does it.