Emilia Wickstead Quotes

I gravitate toward floral and graphic prints.

It's interesting for me because in my work, a lot of times, I like to scrutinize the clothes and think what's going to make them look dated, and I do the same with vintage. In vintage, you want something unique and different, but at the same time, something that doesn't make you look like you dress like a grandpa.

The Gucci woman can be the equestrian woman, the woman in the suit, the woman in the flowy bohemian dress, or the couture woman.

I'm known for color and prints and embroideries.

The models have always been the least interesting thing about fashion.

Mini dresses that have an over skirt of tulle makes it traditional and modern at the same time.

At first, I was only interested in music, but I spent so much time in the clubs and seeing fashions change. So naturally, I developed an interest in it.

My constant goal is to create clothing that applies to the lifestyle of my customers. My clothing must be aesthetically pleasing in color, texture, and construction. Rapid changes are a part of fashion, and the demands of the industry are that I remain fluid and versatile. But my aesthetic requirements will always be the same.

All the drawings and sketches and clothes of Yves Saint Laurent in the '70s were so colorful, so bright.

I wish I had invented blue jeans. They have expression, modesty, sex appeal, simplicity - all I hope for in my clothes.

I used to design for my body, which was flat-chested with big hips. That's why my clothes were tight on top with full skirts.

Basically, my idea and explorations on fashion have not changed; however, I believe I'm going state-of-the-art on fashion.

I think the success of any brand reboot is to acknowledge the heritage but to embrace and interpret it in a way that makes it relevant and wearable to the modern consumer.

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 really have a generation gap about modern clothes.

The apparent pointlessness of fashion may be just what makes it so strong as a zeitgeist sensor. Even I, a designer, do not know why a certain proportion feels dated or why another one feels exciting at a given moment. I leave that to the cultural historians and theorists.

Part of fashion is newness. It's got to be a new combination of elements that's shocking-stunning-beautiful all at the same time. But it doesn't have any emotion.

It has always been very important to look carefully at young people and the way they wear clothes.

I realised I've got quite a talent for coming up with ideas for design. I've got so many ideas about fashion.

In high school, girls started wearing high-waisted pants with their shirts tucked into them. I don't get what that's about.

Rules like 'don't wear white after Labor Day' or 'shoes matching the handbag' are antiquated. Modern women should feel free to experiment.

I am wrestling with the overalls trend. I wore so many pairs in junior high, and no one thought they were cute. Perhaps I'll try them cuffed with a tasteful crop top?

My personal style changes wherever I am. When I'm in Ibiza, I'm a bit girlier because there's an opportunity to be more romantic and dress up for the beach scene. Whereas in New York, I tend to go for suiting and tailoring that almost feels like weaponry for the city - but I think I'm quite playful no matter what.

Cuts of clothes and shapes of clothes are really important.

I'm still a student of fashion, but I like hooking up with the people that really know how to make cool clothes.