Nicolas Ghesquiere Quotes

I can design a collection in a day and I always do, cause I've always got a load of Italians on my back, moaning that it's late.

In fashion we're lucky, we make dreams come true.

You know, I used to not understand fashion, a lot of it, but I completely understood being a playwright or a screenwriter and suddenly having an actor say your words and making them come to life. That I can understand. Finally, I'm starting to understand this.

So for [Alexander Wang] to actually put me in a campaign, I was really honored. I'm excited to see how it comes out because I didn't look at the photos on set; I like to just live in the moment and do what I do and let him and his people put their touch on it.

I talked to the record company about what I had in mind. They said they wanted something lush. I figured the best thing to do was let them hear what I had in mind.

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

My job is to come up with something that you like and you agree with that you would play wholeheartedly. If we disagree, I may not be doing my job correctly.

People get this very romantic vision of a fashion designer who in one night makes 25 sketches and in the morning throws them on the table and there are a lot of women in white aprons with the pins on the lapel and they start to grab the sketches and... It's not like that.

We just wrote songs that seemed good to us. We wrote the album in like two weeks. We could have had more time, but we accomplished what we needed to in the two weeks.

That was, in writing the 'Twilight' script I had about five weeks to write that. I'd taken about a month to write the outline and then it was slam into a script and write it down fast because the writer's strike was looming.

I have always been fascinated by fashion. I never had any interest in waiting tables or bar-tending, so retail was sort of my best option.

With fashion, you go deep into a shoot for one day, but a movie lasts so much longer. It's literally like going to summer camp.

I watched 'Lagerfeld Confidential,' which was such an insight into the daily life of a maverick designer.

'The September Issue' is really a film about Anna Wintour's relationship with long time 'Vogue' Creative Director Grace Coddington. The two of them have been working together for two decades, and the extraordinary symbiosis between them has left an indelible mark on the fashion industry.

When I'm doing a session for another artist, it's a very scheduled thing, and it's kind of imperative that I write a song in that time. But if I'm trying to write a song for myself and I don't have an idea that day, I just can't force it.

Since it's no longer my singular source of income, I've withdrawn from fashion spaces a bit. However, I still have a deep love for fashion and want to continue to work with designers and houses that inspire me - like Rick Owens, whose show I would no doubt walk in again if the opportunity arose.

When you're working in cinema, you often have a very, very compressed schedule - very few weeks to just kind of go through that whole process of reflection and refining - and it has to be done.

We don't test out the songs live, and we don't play them for weeks on end in the studio. We have, like, one day to get two songs down. So what happens is, everybody's attention and energy gets ratcheted up. But it's good because it helps us focus.

Oooh, fashion, we are the goon squad and were coming to town, beep beep.

There's a really brilliant photographer who's deceased who in my sort of fashion and modelling days, I was fortunate enough to get to work with before he passed away, but Richard Avedon was utterly genius and creatively brilliant.

I don't necessarily want to direct because it's too much work and I don't have the attention span to stay with it that long. But I think getting everyone together on something that appeals to me and developing the material is something that I like to do.

My first really big job was an advertorial for Italian Vogue. I cried on set because I didn't know what to do. That was two weeks after being in Milan for the very first time. I think I had one or two test shoots there.

A journalist is stimulated by a deadline. He writes worse when he has time

[Stanley] Kubrick was a fascinating, larger than life guy who had been a friend for many years prior to our working together on that film. I found the best part of working with him to be the long conversations we had between set-ups.

Fashion, though Folly's child, and guide of fools, Rules e'en the wisest, and in learning rules.