Quotes About Fashion

Style, no matter how outrageous it is, is still an expression of someone's personality. And my personality is somewhere stuck in the classics.

I am stuck in the 70's. I can't seem to get away from that era.

I was really stuck in the whole Farah Fawcett hairdo long after it was past being in fashion.

I got my heel stuck in a drain as I was crossing the street and cars were coming. It was really scary. A girl in heels in New York is a hard combination.

If you are a new, upcoming designer, you've got to think of new, cool ways to make the industry look at you. Don't just get stuck in a rut, show your clothes, and be like, 'You should like this.'

I'm still stuck in the '90s in a lot of ways.

I've always had my ear pierced with a diamond stud. I did it myself when I was 16.

Boho to me is a first-year student who's just discovered the tie-dye shop.

I'm still a student of fashion, but I like hooking up with the people that really know how to make cool clothes.

I'll be honest; I'm a student of fashion. I say that because I just wear what I feel. I'm not led by name brands and things like that.

I studied literature design and fashion design.

I studied in London, so I was high street fashion conscious. For me it was more about fitting in rather than standing out.

I shopped at J. Crew in high school, I studied computer science. I was a nerd-nerd, now I'm a music-nerd.

When I was in college at the University of Pennsylvania, where I studied international relations and French, I studied abroad in Paris for a semester. I think when you're there, you can't help but be immersed in fashion because it's such a part of the city.

Designing was always something I was interested in. I studied fashion design in high school as well as how to sew.

I was 5 years old when I did my first catwalk and did commercials at 16. I went professional after my studies.

I got into modelling simply because I wanted to avoid studies.

I invited a group of students to my studio to expose them to both the creative and business sides of the fashion industry. It was fun because the group was so bright and full of curiosity. They asked really challenging questions about all aspects of the business and absorbed so much information so quickly.

Sometimes there's a sense of closing yourself off on a shoot, and I try not to do that. Sometimes you have to, like when you're in a studio and you're doing fashion shooting, but I don't even do it then.

When you think mid-seventies, you think of Studio 54, but there was a whole other thing going on. Where I was, it was more deep-woods preppy. Real-guy preppy.

When we were in the design studio I always was pretending like I was in a closet asking my friend before I step out into the world what do I look like? And everybody wants that honest friend before they go and go to dinner or go to an event.

I like the gritty parts of fashion, the design, the studio, the pictures.

It was really inspiring to be in West London in the late 1980s and early 1990s, especially in Mark Lebon's Crunch Studios, where I met people like Ray Petri, Neneh Cherry, Judy Blame, Nick and Barry Kamen, Zoe Bedeaux, and Venetia Scott.

Until I was eighteen, I did not know that you could study fashion design or art. I really didn't know. I already had my nose in the art world; I was already looking at things, but I didn't really get it that you could study that because my school was a very different environment.