Quotes from Peter Marino

That was really the Fifties for me - that whole spirit of flicking the paint on the canvas.

I believe that women would crawl across broken glass to get a cool pair of shoes.

The Peninsula - it's a combination of great service and good design.

I like more the fact that I like to think out of the box. Thinking out of the box goes along with dressing out of the box and living out of the box.

In 1991, if someone came in with a $1 million budget for a boutique, I would have fainted. Nobody spent even half that. But now, the bar has risen very high.

I am very happy working for my European brands. My legacy isn't going to be a museum. Yet I would be very good at it. It's so painful. It's like everything - the same old guys - Herzog & de Meuron, Frank Gehry, Renzo Piano - they don't pick original people.

Motorcycle garb is the way I looked to Warhol. Then came the Armani suits.

I simply loathe the crude 1960s distinctions between commerce and art. For me, Warhol and pop obliterated all of those separations - that was the whole point of the Brillo Boxes and Campbell's Soup Cans. And believe it or not, in 2009, moronic journalists are still saying to me, 'Your work is so commercial.'

If you want to come up with a really original design idea, and you want to capture a whole new design direction, perhaps the best way to arrive at that is not by acting and thinking and doing like everybody else. That's all.

I always look for inspiration, and the creativity of artists is an essential element to my life, my work, and my happiness.

I want to be the first person to animate bags - everything done for handbags bores me to tears - I want to make it more playful.

I've benefited enormously from an arts education and a music education in New York. When they cut the programs for funding, I was devastated.

Design-wise, I look at everything. If I don't personally design it, I'll review it. I'm kind of creative director of the firm.

If I need a pair of tennis shorts, I'll buy them online. I don't really care. Not going to go and try on a pair and see how my bum looks. Who cares? But for things that you care about - I mean, a jacket and a pair of trousers, you've got to try them on.

Publicity doesn't really get me anything. Clients are not going to hire me for a $100 million building because I have a brand. They really want the product.

I work 12 hours a day, seven days a week - and I love it. I'm creative. I feel fulfilled. I'm from a solidly lower-middle-class background; I'm not from the world that I'm in now. So I appreciate it a lot. I've really got a rich, full life.

My parents spent a lot of money so I wouldn't sound like I came from Queens. I went to speech class.

I have this 'Alice in Wonderland' idea in my head that a garden should be a place of wonderment.

Architects have big egos. We like to think we're creating the pyramids and they're going to be around for thousands of years. And it's a joke because they're not even going to last our lifetime. I built a home for umpteen gazillion dollars on a gorgeous piece of property in Palm Beach, and 11 years later somebody else bought it and knocked it down.

Creating work for the time that one lives in means no retro thinking. It can and hopefully does mean timelessness.

The French use gardens to show grandeur and the English to show how things have endured for hundreds of years, but for me, they're all about fantasy.

I don't sell anything. So, I have a personal image, but I think that's because I'm from an art background, and I'm an artist, and I think most artists do have personal images. I consider myself more in that category of the way an artist had a look.

When I opened Chanel in London, they were happy. People would go, 'Oh, I just came in to see it. It's so beautiful.' And you leave with a positive attitude toward the brand. Now, you don't really get that online. You don't go, like, 'Wow.'

All bronzes are made to be touched. Bronze is a sensual 'living' material. The sweat and oil of your palms adds to the patination.