The clothes most worn by people are the clothes least commented on by the press.
I like the concept of dressing people. I used to not care whether people bought the clothes or not, but I kind of like it now. I wouldn't label that commercialism; it's more like I do this work because I want people to wear it.
I used to do my own taxes. You know how you buy that gigantic sheet at Staples, add up the restaurants, clothes, and taxis and glue your receipts into the book month by month? The more money I made, the more complicated things got.
People, when they say 'streetwear,' they miss the central component, which is that it's real people; it's clothes that are worn on the street.
I have fun with my clothes onstage; it's not a concert you're seeing, it's a fashion show.
The connection between dress and war is not far to seek; your finest clothes are those you wear as soldiers.
I'd done my time in corporate America, from McDonald's making shakes to Morgan Stanley making deals and, yet, I felt awfully constrained by the uniform - not just my clothes, but how I felt I needed to conform - that a traditional job required me to wear.
Paul Poiret did wonderful things because he was so influenced by motifs, but Vionnet really understood the kimono and took the geometric idea to construct her clothes - and that brought such freedom into European clothes in the 1920s.
Before WeWork, I had a baby clothing company. When I started out, I had no real contacts in the garment business and no mentor to guide me on how things worked. I just had an idea to put pads on the baby clothes on to protect the baby's knees.
I really see myself continuing to design clothes, fragrances.
When I started out, the idea of wearing interesting clothes seemed to contradict the idea of being a serious artist. The first Moloko record, 'Do You Like My Tight Sweater?' was kind of a reaction to all that.
I never leaf through a copy of National Geographic without realizing how lucky we are to live in a society where it is traditional to wear clothes.
I've treated the waistcoat as if it were a corset, so that it becomes the first layer in the process of putting clothes on the body. There is constant motion between layering and revealing.
If I had to model clothes in a time period other than the 21st century, I think I'd like to model way back when they just wore skin loincloths. That would be best suited for me - better than corsets. I'm quite claustrophobic.
I've always been attracted to romantic secondhand clothes. But my style developed as I started going to these strange raves where everybody had these very definitive costumes.
My problems are sort of more on a nuisance level. I can't stand scratchy clothes, I've got to have soft kinds of cotton against my skin, and I don't know why some 100% cotton t-shirts itch and others don't; it has something to do with the weave.
You work around a body and adapt the clothes to your own customer, and this is the interesting part. This is why the haute couture exists: because in ready-to-wear, you have not too much fitting.
I admire a person who, for the love of art, is able to take off their clothes in front of a camera. But I'm not capable, I'm too cowardly for that.
I think Indians dress better than anyone, but I don't want to imitate more than a detail or two; I prefer my clothes humdrum and inconspicuous, and a cowboy hat just doesn't work for me.
I do think I know more about clothes than any 500 designers, because there's nothing like wearing them. You buy them, you study them, and you start to understand how they're crafted.
