Quotes About Design

'Mad Fashion' follows the everyday workings of me and my workshop, where we make fashion, costumes, props, and couture!

One of the ideas that was developed at MIT in a workshop was, imagine this pipe, and you've got valves, solenoid valves, taps, opening and closing. You create like a water curtain with pixels made of water. If those pixels fall, you can write on it: you can show patterns, images, text.

As I enjoy making knick knacks out of wood, I visit my friend's workshop to craft them.

Architecture has joined the world of fashion, but fashion is passing and architecture is timeless.

Music's designed to be timeless.

For the most part, my house stays the same over the years. I tend to design with pieces that feel timeless to me, so I'm not constantly rearranging my home.

I love Stella McCartney because she's timeless and classic, and I love Isabel Marant for wearability - you don't need 'an occasion' for her clothes.

I wanted to create things that you can always pull out of your closet and rely on. I wanted to create a timeless, classic collection of clothing that you can keep expanding on.

My job at the end of the day is to design timeless, desirable, beautiful products. It's not about just designing a bunch of organic jumpers. I have a balance within the brand. If you try to create something people enjoy, and it happens to be made in a responsible way, then that's when you can really strike an incredible balance.

Massimo Vignelli designed a timeless, elegant, and powerful identity for American Airlines.

In my personal life, I'm a huge fan of Carolina Herrera. I just think her stuff is timeless and classic.

I have always had an interest in fashion and design and I appreciate style and timelessness within my footwear and accessories both on and off the court.

We're really focused on being 'of no time.' We studied the idea of timelessness, looking at what designs in history have become timeless.

Form follows profit is the aesthetic principle of our times.

I've always wanted to design a Mustang. I just never really had the opportunity in my career because the timing was never right.

Being a sci-fi geek myself and going to movies all my life, I came to the conclusion that there were really two camps of how robots have been designed. It's either the tin man, which is a human with metal skin, or it's an R2D2.

My buildings are not particularly expensive. It is not a tin shed. If you want a tinny car, you pay for that.

Design has long gone from tinkering and sketching of auteurs in isolation to a powerful catalyzer of growth.

It's a massive motor in a tiny, lightweight car.

Even though I build buildings and I pursue my architecture, I pursue it as an artist. I deliberately keep a tiny studio. I don't want to be an architectural firm. I want to remain an artist.

There is something in the act of having tattoos done that I love. It can be quite addictive. I've got a few on my back because my friend is an artist, and a few on my arms. Every time I pass a tattoo parlour, I think, 'Maybe just a tiny one.'

I've only ever seen a couple tiny home spaces that are actually a clever use of space.

If I had to give a tip to aspiring designers, it would be to re-look past designs and be inspired. But don't just copy.

I describe the design process as like the tip of the iceberg. What you don't see is the long haul: all the endless auditing and things like that.