Michael Carter-Williams Quotes

We must never lose sight of the fact that shoes go on the feet, and if people can't walk in them, they are worthless. Fashion designers who are not specialists need the help of technical people. We help decide the collections together.

I love doing these little collaborations. We collaborate with Stubbs & Wooton on the shoes for Michael Bastian.

There's a lot of shoes that people consider high-end fashion, from Balenciaga to this and that or whatever, and the Pro Models are very similar to me. They're very fashionable to me - the design and the shape of them. I just like them.

I mix talents and friendship, which is not very professional, but it's my way of thinking. So I love Azzedine Alaia, because I've known him for 30 years, and he's making my dresses most of the time.

Marc Jacobs is full of creative people and Louis Vuitton is again a name on the door, a name that has existed for many years but I'm a collaborator there and I bring in other people, other artists and I work with a great creative design team.

I could design an $800 shoe line; it's easy. You use the best materials and you can make beautiful shoes. It's easier than making great shoes for $90.

I love Tom Ford loafers.

I believe [the architecture firm] Herzog and de Meuron and our collaboration made the product the best it could be.

I am honoured to be a part of H&M's designer collaborations. The work with their team is an exciting, fun process. They are very open to pushing boundaries and to set a platform for creativity. This will be a great way for a wider audience to experience elements of the Alexander Wang brand and lifestyle.

These are my shoes that I designed from top to the very sole to the very top to the bottom. Laces.

Kanye is always here in my factory. In the last three years, he has come here maybe every month and worked with the employees 10 to 12 hours a day. [Kanye] loves learning about shoes, both the design and construction, and we’ve tried to design something together. In a couple of months, he could have his own special collection out.

Schiaparelli’s collaborations with Dali and Cocteau as well as Prada’s Fondazione Prada push art and fashion ever closer, in a direct, synergistic, and culturally redefining relationship.

For me to get to work with a writer-director over time in developing a project - my investment feels much more profound. I know that whatever is on the other end I'm going to feel that much closer to.

Whenever a maker and a thinker get together, really cool stuff happens.

I wanted to work on a cable show and with a writer/director because that's a much more fulfilling and freeing experience, as an actor.

I would imagine after the first recording session with Jerry Leiber and Mike Stoller and Atlantic Records I began to realize that this is going to be like this for the rest of my life and I knew that what, what they were doing was going to be successful because with each session that we would do, it would get better and better and better, the songs would become better, the, ah, the feeling of success was there and we were all in the middle of that as well.

To switch right into creativity usually takes a bit of time, and this came up right at that juncture where I thought, okay, here's an opportunity to work with somebody I really respect in a new medium.

That's kind of how I've based my career. I find talented people and beg me to let me work with them.

A lot of solo directors have a really strong creative producer with them. Jay and I have less of a need for that because we have each other.

Only when Genius is married to Science can the highest results be produced.

Navigating with a partner makes it half as difficult. We keep each other in check. It's not like she [Angie Marr] was ever a quiet little wifey wife behind the scenes. She's exactly like me. She's very smart. We're very lucky that we've always wanted the same things. She loves guitar music, she loves important records, and our lives are about records and shows and great bands.

There's a lot of people I'd love to work with at some point, but I think the song has to be the right thing. It has to be the right fit.

I like to work with artists from around the world. There are so many new inspiring filmmakers. I had the privilege recently to work with Ethiopian filmmaker Zeresenay Mehari and his wife on the film Difret. They are that unique balance of very thoughtful conscious filmmakers who are also brilliant, original artists.

Brad Wright, who created Grant MacLaren, had me in mind. We'd actually worked together 20 years ago. He wrote an episode of The Outer Limits that I was in in '96 or '95? So we'd been aware of each other for years. I'd lived in Vancouver off and on, where he's based. And it just came to me, and I'm always looking for something different. Perception was a different show than Will & Grace.

My bottom line is that I think Ridley Scott is one of the greatest visual artists of our time and I feel very privileged that he wants to work with me, so I go with that flow.