Quotes About Design

Design is the underlying skill that activates innovation. If you want to innovate, you've got to design.

My line is all based on what I would wear, what I love to wear... It's very selfish! The first thing I ask myself is, "Is this something I would want for myself?" If so, I make it.

The couture client wants the latest things, but she wants the clothes to be super-special - the fabrics won't even touch or go near anything like prêt-à-porter.

We go to war only to make peace. We never went to war with any other design. We carry the national conscience wherever we go.

Helvetica is the font of the Vietnam War.

It takes five years to design a new car in this country. Heck, we won World War II in four years.

What has happened to architecture since the second world war that the only passers-by who can contemplate it without pain are those equipped with a white stick and a dog?

Child, the good Lord got plans for all of us that we don't know-and he always got His reasons. He want us to learn and rejoice in the good that come from His design. God's plan ain't a free pass. Uh-uh. He give us moments to make choices, and we make them. We accountable for those choices. God's job ain't to make our lives easier, it's to make us better souls by the lessons he give us. I tell you now, I wouldn't change one choice I made since I met you. No matter what.

Gracie: You have an unusual house. Have you lived here long? Bobby Tom: A couple of years. I don't much like it myself, but the architect is real proud of it. She calls it urban Stone Age with a Japanese Tahitian influence. I sort of just call it ugly.

Religion is about integration, about successfully bringing the selfish ego into line with the centre of the personality where God exists, as a divine spark, in every human being. Religion is about helping man to live in harmony with his true self and to become the person God's designed him to be.

Work helped distract him from his morbid state of mind. The library wasn't his biggest project, but he was exhilarated by it. He approached it with a kind of freedom he had never experienced before. He believed that its design could fuse everything he had learned and loved in the visual world into a monument to things he valued most: history, books, philosophy, design, aspiration, creativity.

It's amazing to see things that are suggested in the book fully developed and so brilliantly realized through the artistry of the designers.

Now he's [Cinna] arranging things around my living room: Clothing, fabrics, and sketchbooks with designs he's drawn. I pick one up and examine one of the dresses I supposedly created. You know, I think I show a lot of promise," I say. Get dressed, you worthless thing.

I wish Peeta were here to hold me, until I remember I'm not supposed to wish that anymore. I have chosen Gale and the rebellion, and a future with Peeta is the Capitol's design, not mine.

by Tim O'Brien Cover design by Elizabeth B. Parisi & Phil Falco e-ISBN: 978-0-545-22993-7 All rights reserved under International and Pan-American Copyright Conventions. No part of

I have chosen Gale and the rebellion, and a future with Peeta is the Capitol's design, not mine.

But other people had plans as well.

Cinna, it seems, has thought of everything.

In fashion design, you can divide people into two groups. You have people who come with an aesthetic that is there forever, even if it evolves. Then you have people I call 'jumpers.' One season it can be this; the next season it's completely something else. I always knew I am more of a jumper.

I can create clothes for so many different time periods. I've always tried to avoid being pigeonholed. Plus, everything I learn about design and costume from one movie somehow works its way into something else.

Houses mean a creation, something new, a shelter freed from the idea of a cave.

In fashion, you need to present something new every six months, but it takes time to study things. Development is very important.

In the fashion business, there weren't any rules. In fact, the better you were at creating something new, the greater the likelihood you would be successful.

For designers, the rigidity of an alphabet presents a never-ending artistic challenge: How do you do something new and still preserve the letters' essential forms?