Best 4010 quotes in «fashion quotes» category

In a fashion similar to the leftist occupiers on Wall Street, their antics would be the target of rabid moral indignation on the front pages of the New York times and Washington Post and on the lead stories of every cable news show.

In America there are people advocating for trans rights and people like Vice President Pence, who is vehemently opposed. In Pakistan, too, you have all kinds of folks - from flamboyant gay fashion designers and female Air Force pilots to the Taliban. A cross-dressed man used to be the top TV talk show host. It was actually quite radical. So the diversity of these societies is often lost on people.

In a lot of ways I think food is starting to take the place in culture that rock and roll took 30 years ago, in that eating has become incredibly political. And just as the street has always dictated fashions on music and other things, it’s starting to happen that way in food.

[I]n America, at least, we have a pretty good record for behaving in a fiscally responsible fashion, with one exception - namely, the fiscal irresponsibility that prevails when, and only when, hard-line conservatives are in power.

In an age when the fashion is to be in love with yourself, confessing to be in love with somebody else is an admission of unfaithfulness to one's beloved.

In an address before the "Academia," which had been organized to combat "science falsely so called," Cardinal Manning declared his abhorrence of the new view of Nature, and described it as "a brutal philosophy to wit, there is no God, and the ape is our Adam." ...These attacks from such eminent sources set the clerical fashion for several years.

In architecture and interiors, as well as fashion, there is an interaction that is both functional and aesthetic.

In any closet, you can find it, if it is too small, or out of style, or there is just one of it where there should be two

In any form or fashion, people are finding a way to inflict pain and sadness on people, on a daily basis. We have this situation in Turkey, we have this situation with ISIS, and we have our own internal fights within the United States.

In a very real sense, the Constitution is our compact with history . . . [but] the Constitution can maintain that compact and serve as the lodestar of our political system only if its terms are binding on us. To the extent we depart from the document's language and rely instead on generalities that we see written between the lines, we rob the Constitution of its binding force and give free reign to the fashions and passions of the day.

In a world rife with unsolicited messages, typography must often draw attention to itself before it will be read. Yet in order to be read, it must relinquish the attention it has drawn. Typography with anything to say therefore aspires to a kind of statuesque transparency. It's other traditional goal is durability: not immunity to change, but a clear superiority to fashion. Typography at its best is a visual form of language linking timelessness and time.

In a world where concepts are so often deployed in an ad hoc fashion, half explored before being displaced by others, it is immensely refreshing to encounter such serious and sustained attention to the building blocks of inquiry—and to the responsibilities thereby incurred. Designs on the Contemporary is a work of profound importance to the philosophy of anthropology. In conjunction with Rabinow’s other works, it creates a nonpareil, a configuration of thought with no equal.

In childbirth, as in other human endeavors, fashions start with the rich, are then adopted by the aspirant middle class with an assist from the ever-watchful media, and may or may not eventually filter down to the poor.

In contrast to the values of morality, which depend on and encourage our similarities to each other, values like friendship or beauty depend on and encourage our differences. Ultimately, friendship is essential to our fashioning ourselves in ways that don't simply repeat the fashions of our surroundings: it is a mechanism of individuality.

In contrast to a dream a reverie cannot be recounted. To be communicated, it must be written, written with emotion and taste, being relived all the more strongly because it is being written down. Here, we are touching the realm of written love. It is going out of fashion, but the benefits remain. There are still souls for whom love is the contact of two poetries, the fusion of two reveries.

Independent documentary isnt beholden to some of the interests that the mainstream media are influenced by. Its a pathway to renegade, independent reporting in an in-depth, investigative fashion, and it can do so with a compassionate lens; it allows people to speak in a way that is more human than the mainstream media approach.

Indeed, among the lesser auxiliaries to success in love, an absence, the declining of an invitation to dinner, an unintentional, unconscious harshness are of more service than all the cosmetics and fine clothes in the world.

Indeed, many of the illegal crossers who have entered the country in the last two years after being detained have actually been either unaccompanied minors or families who request political asylum. The ability of the smugglers to attract large numbers of families and unaccompanied minors is a function of the inability of our immigration court system to process asylum claims in a timely fashion.

Indian men don’t understand fashion unless they are gay.

In difficult times, fashion is always outrageous.

I need to be performing. I need to be acting. I need to be designing a condo and ripping down walls and buying new plates and looking at fashion magazines. There always has to be some movement in the artistic department for me to not get really, really low.

I never cared for fashion much, amusing little seams and witty little pleats: it was the girls I liked.

I never cared about buying things for myself, like clothes. And then all of a sudden I realized how great it is to be very precise about the shirts that I wear and all the things that are a part of my closet. So the ritual of fashion and shopping became very personal to me.

In England, where I come from, fashion and music go hand in hand. They're integral to each other.

I never intended being a business person I wanted to be a fashion designer.

I never had worked in high fashion before, had never experienced it when I was a model before. I appreciate it, being able to work with such talented people; it feels like a gift now. I think for everyone everything happens at the right time, and this is my time.

I never looked at magazines before I started modeling. I was 13 or 14 and none of my friends were into magazines. We were into the fashion of the day, though. Designer jeans were really popular - Sasson, Gloria Vanderbilt, Calvin Klein, Jordache. Once I started modeling, I began to learn about these things, and magazines helped me to understand who was who.

I never make a trip to the United States without visiting a supermarket. To me they are more fascinating than any fashion salon.

I never look at fashion magazines. I find them incredibly boring. To me, reading a fashion magazine is the last thing I need to do. I've got books I need to read. More people should read books. It's the most concentrated experience you can have. You know, all those incredible geniuses concentrated their lifetimes' experiences in books. It's much better than chattering away to somebody who's never read anything and knows nothing at all.

I never look at fashion magazines. I find them incredibly boring.

I never really understood fashion as a career. For me, it was really a state of mind, more like something that I always had in my life.

I never try to follow a trend or fashion.

I never thought I was somebody that would be on the cover of magazines in fashions, wearing fashions. It's like not me. But that is what movie stardom entails.

I never try to make a major fashion statement but I want to be the friend in a woman's closet. I make dresses that women get laid in.

I never thought I'd be doing poetry books. I never really studied poetry. But the first one I did was after my mother died, and I realized that people sort of think and talk about her style and fashion, but in fact, what made her the person she was was really her love of reading and ideas.

I never wanted to be a fashion designer, although there is a book somewhere of fashion design I did for a collection when I was seven years old. I always wanted to be an actor.

I never was interested in being part of the fashion world - I just wanted to design shoes. I didn't even know Vogue existed when I was growing up. Vogue, what is that?

I never watched the Oscars. Come on, it's a fashion show . . . What straight black man sits there and watches the Oscars? Show me one. And they don't recognize comedy, and you don't see a lot of black people nominated, so why should I watch it?

I never wanted to design clothes. I never wanted to work for the fashion industry. Shoes sort of belong to the fashion industry, which is why I'm part of the fashion industry. But that's never been my thought. My thought since I was a child was really to design those shoes for girls on stage.

I never wanted to get into high end in Colombia - the percentage of people who can afford it is very small, and they can shop abroad anyway. It's just not what I had in mind. I wanted to bring international fashion to as many people here as possible, who don't usually get exposed to such styles.

I never wanted to work in fashion. At age 12 or 13, I wanted to design for showgirls - for the theater! And I was crazy for the Hollywood of the 1950s: Dietrich, Elizabeth Taylor, Jennifer Jones. They were my idea of glamour - and Sylvie Vartan, the French singer.

In externals we advance with lightening express speed, in modes of thought and sympathy we lumber on in stage-coach fashion.

In every interior my firm and I design, we are always reaching for vintage pieces, and materials that feel classic and timeless. It's how I feel about fashion as well, and definitely one of the intentions I had when designing the layette collection. I'm not a fan of trends.

In fact, if you take any group of scores, it's likely that fifty to sixty percent are going to be so much alike that it's difficult to tell any difference among them. But I sometimes wonder if that has more to do with the quality of the art that's being made. There are always those composers who are going to move toward whatever is currently in fashion, there are others who will deliberately attempt to go in another direction. And sometimes, there are composers who will see themselves as being outside the stream and not even try to present their music to the general public.

In fashion as in life, the right thing at the right time is the right thing. The right thing at the wrong time is the wrong thing.

In fashion, general people will look to the piece itself. [Some designers] concentrate on, 'How can I make this seam look special?' or 'What am I going to do with that button so it looks interesting?' I am not interested in that. At the moment, I am more interested in the shape and the form. I have a big desire to make clothes without defining them.

In fashion we're lucky, we make dreams come true.

In fashion, you know you have succeeded when there is an element of upset.

In figure skating, your body can only last for so long. I can't be 50 and trying to skate but I can be 50 and be in fashion, so I have to look to my future and what I want to achieve.

In fashion, there are so many gangs, if you identify too much with one, you get caught - I would lose my freedom.