Quotes About Heritage

Every Hermes scarf has a tale.

My parents knew about the story of Aladdin far before the animation film. It's a folk tale that is very prevalent in Egypt.

I'd love to do something like 'A Canterbury Tale,' because I love the English language.

My family were great story-tellers. My mum was one of 12 and they were all fighting to tell stories. You have to tell a good tale or no one is going to listen. You have to make it entertaining and interesting. That's how I learned to tell stories.

In fact, in the original folk tale, Aladdin was actually of Chinese descent. So what we wanted to do with this was represent as many different cultures from that part of the world as possible.

It's not enough to have talent, you also have to be Hungarian.

Culture, which makes talent shine, is not completely ours either, nor can we place it solely at our disposal. Rather, it belongs mainly to our country, which gave it to us, and to humanity, from which we receive it as a birthright.

There is in the DNA of the Italians a bit of madness, which in the overwhelming majority of cases is positive. It is genius. It is talent. It's the masterpieces of art. It's the food, fashion, everything that makes Italy great in the world.

I was born in a family of very talented people. Music runs in my blood and I could never think of anything else but this.

At LVMH, we have amazing heritage brands, and we put interesting talents in those brands, sometimes very young, like we did at Givenchy with Riccardo Tisci at the time, or like we just did with J.W. Anderson at Loewe, but also talents that are already further along in their careers, like Raf Simons at Christian Dior or Nicolas at Vuitton.

To what better purpose can a man's energy be devoted, and his talents, than the resuscitation of his country's language?

Everything starts with fishermen's tales. Everywhere you go the fishermen talk.

There are constant cycles in history. There is loss, but it is always followed by regeneration. The tales of our elders who remember such cycles are very important to us now.

My grandmother was born in 1900, and she would regale me with tales I call 'Little House on the Prairie' tales, but they were tales of segregated and racist America growing up in Alabama and Mississippi, where she came from.

Folk tales are the most authentic way of understanding a region, its legend and people.

My father was full of tales. He said his family were ministers in the Church of Scotland, or they were lawyers.

The Buddhas had to be destroyed by the Taliban to get the world thinking about Afghanistan.

No, I didn't forget Samoan - I understand it when you talk to me but, you know, to put phrases together I sound like I do in English.

I come from a background where you don't really talk about yourself much.

My father's mother was a secular Jew who died in Auschwitz. I only found out as an adult because my father never talked about it. He was a secularist and never defined himself in ethnic terms - partly, I think, because he was scared; partly out of the habit of not talking of such things; partly because he didn't like being defined by other people.

I became a playwright and screenwriter. Italian-Americans were my particular specialty. I liked the way they talked. There was something free in it.

Growing up, my mother and grandparents often talked about our family's Native American heritage. As a kid, I never thought to ask them for documentation - what kid would?

During my childhood in Cyprus, the British talked about the Cypriots as if the Cypriots were outsiders in their own country. And even though I was born in Cyprus, my parents were American, and so I was an outsider in the land of my birth.

I had family in Carolina who were very hood and talked differently in this sort of Southern cadence.