Zitat des Tages über 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 love couture, but the other side of me loves the street, and I think the mix of these two can create something new.
Model S has, really, the ready-to-wear elements. Gen 3 has the opportunity to be more couture.
Yeah, that's what I'm working for. The couture house of the future.
It must be said that it is challenging to balance uncompromising artistic integrity with commercial requirements, but I've also come to learn that couture clients are adventurous and particularly unpredictable in their taste.
I have a very haute couture way of working.
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 did that Dior Couture 60th anniversary show in July. It took so long to get ready, I think I would have rather been watching.
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.
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.
Couture has a power that ready-to-wear can never have; the attention of les petites mains as they sew; all that love and belief goes into the cloth. That's what you feel when you wear it.
I've sold everything from fashion, make-up, couture magazines, radio, reality television, movies. There isn't a thing I haven't sold, including Tampax. You name it.
I'd say I play on old world couture as opposed to modern day bridal; there's something very timeless and appealing in that.
There are people who, if they see something in couture that they perceive as ready-to-wear, they're in shock.
Ever since I was a little girl, I wanted Valentino to design my wedding dress. Valentino is the definition of timeless elegance. I don't think there's another couture house like it.
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've never tried to do couture, because it's a whole different beast.
I've worn dresses from all different price ranges, and the thing that couture dresses have in common is that the fit is amazing.
I saw a photo of a Christian Lacroix couture dress when I was in my teens and decided right then that that's how I wanted to look on my wedding day. In my mind, that's what angels looked like.
I started collecting couture when I was about 10 or 11 years old, and the very first piece I bought was a Balenciaga suit from 1962.
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.
It's couture. Everything has to be done by hand. That is most important. That is the crucial element. Without it, that is not couture anymore.
Fashion is so mass-produced now; I hope there will come a refocus on how people see couture. And I would also hope for a new focus on the craft.
The pret-a-porter collection will be the same as couture in essence: I love luxury, beautiful products, handmade with care, but at more accessible prices.
The ultimate art form of fashion is couture. I completely geek out when it comes to couture. It shows fashion as it used to be. I don't know how many people can actually afford the clothes, but in a way, that's beside the point.
I love the idea of couture and its emphasis on creation. There's where I made my name - in design - and there's where I'd like to stay.
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.
I call the language of political figures, pundits and administrators 'the haute couture of language.'
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.
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 know quite a few eco designers who build dresses out of old couture gowns. They disassemble, 'upcycle,' and reuse them in extraordinary ways. To me, that's a sustainable way of doing things.
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.
Haute couture is like an orchestra, for which only Balenciaga is the conductor. The rest of us are just musicians, following the directions he gives us.
I love fashion. I love couture. I'm going to erect a shelf in my bedroom with an art light to be the spot for the shoes of the month. I want them to serve another purpose.
I only take risks in couture, but I don't take risks in athleticism.
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.