I just use fashion as an excuse to talk about politics. Because I'm a fashion designer, it gives me a voice, which is really good.
Vivienne WestwoodRead
I wish you didn't have to design so often. Try to do quality and cut down on quantity. I think fashion is very, very important.
Interpretation
Quality in design is more important than the frequency of design.
Vivienne Westwood emphasizes the necessity of focusing on high-quality design rather than producing designs in large quantities. She believes that the realm of fashion is significant and that each piece should reflect excellence rather than mere volume, highlighting the importance of thoughtful creation over mass production.
In practice
A fashion designer can quote this when presenting a new collection that emphasizes individuality and craftsmanship.
I just use fashion as an excuse to talk about politics. Because I'm a fashion designer, it gives me a voice, which is really good.
The fight is no longer between the classes or between rich and poor but between the idiots and the eco-conscious.
Buy less. Choose well. Make it last. Quality, not quantity. Everybody's buying far too many clothes.
Instead of buying six things, buy one thing that you really like. Don't keep buying just for the sake of it.
I think it is a good thing to buy less and choose well - it's good for the environment and to be fair it's also good for me because my clothes are quite expensive.
There is a real connection between culture and climate change. We all have a part to play and if you engage with life, you will get a new set of values, get off the consumer treadmill, and start to think, and it is these great thinkers who will rescue the planet.
The great advantage of being a writer is that you can spy on people. You're there, listening to every word, but part of you is observing. Everything is useful to a writer, you see - every scrap, even the longest and most boring of luncheon parties.
I must say here in France I had more serenity or security as I was working because I knew I was making the film the way I wished and that the film would be seen, ultimately, which is not always the case in Iran. In Iran, you always work having in mind this worry of will I be able to carry on my project as I wish and will the audience see the film.
My friend George and I were walking on the beach in Norfolk, and there were thousands of [razor-clam] shells. They were so beautiful, I thought I had to do something with them. So, we decided to make [a dress] out of them. . . . The shells had outlived their usefulness on the beach, so we put them to another use on a dress. Then Erin [OβConner] came out and trashed the dress, so their usefulness was over once again. Kind of like fashion, really.
The uglier, older, meaner, iller, poorer I get, the more I wish to take my revenge by doing brilliant color, well arranged, resplendent.
In a clown, we see what we do that makes us laugh and cry. I kept the white face, the tradition of the Pierrot. My clown became a romantic and stylized figure. I wanted to be an abstract and concrete figure, a symbol of humanity.
A lot of photographers walk around looking for something 'out there,' but I'm very much interested in what's 'in here.'
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