Zac Posen Quotes

I drape a lot. I cut. I have to touch. For me, it's almost impossible to start without that.

As far as the mechanics go, working with other people on received ideas was for me a very interesting technical problem. I can't say that any of my collaborations engaged my heart, but they engaged the craftsman in me.

A dress is an emotional thing to make. You've got to fall in love with it and not just with the dress - the whole process of designing it has to be a good experience.

Everything I make starts very personally.

No one ever taught me, and I never had formal classes in pattern making, so I was like, Okay, I'll just drape, and I'll sew as I pin it.

I had used the stretch materials for years to shape the inside of garments I made for private clients. Then I just started using them on their own.

It's a lot of fun to be a part of films that you don't exactly know how they're going to turn out.

Fashion is much more collaborative than one might think. You have to have an idea and vision, and you have to communicate that vision to a team of people, and you have to create an environment that allows those people to give the best that they can give.

Every time that I wanted to give up, if I saw an interesting textile, print what ever, suddenly I would see a collection.

I believe in sketching because there is something very sensitive in sketching, you know, in sketches that you don't have out of a computer that looks the same like everybody even if, later on, the dresses are OK, but I like to sketch, and I like to see trails made after my sketches that look the same. It is you know, what I like.

The fashion business got boring. I was working with big companies, but the minute it became too formulaic, I got bored with it. I wanted to do a creative space where I could just make stuff - kind of like an atelier, where I could collaborate with other artists, drape geometric shapes on the body, make cushion covers, or whatever.

A lot of fashion might seem boring, but it is actually quite fun: the inside, the outside, the silhouette... All the different finishes. That's a skill.

The way Beyonce works, the song is a jigsaw piece and then she will piece various elements.

I don't design. I don't paint. I absolutely never touch my works.

I personally think if you're given four months instead of four weeks on a play, with the people who want to work that way, the play will invariably be different and stronger, and much more fulfilling and richer on all counts. There's no doubt in my mind about it.

I like working with family and friends and people I admire. All my movies are filled with family members of some capacity. I think it means more when you have a personal relationship with someone.

You have to collaborate with the moment and the environment. It kind of was magnified by the house being a studio.

Everything I do with BLK DNM is more personal than anything I have done before. I've worked hard to go deeper in my true intuition, and therefore I am definitely more pure in my personal taste than ever.

Like the weaver, the writer works on the wrong side of his material. He has only to do with the language, and it is thus that he suddenly finds himself surrounded by sense.

I have this very strange relationship with my work, which is that it's like a conversation between me and it.

I think Grace [Dunham] and I are always working from a personal place, and the fact that these were issues that we'd been talking about in our own families really clicked, but also Jason's [Benjamin] passion about it and his clear sense that this was going to be something emotional and remarkable to watch. It was very hard not get excited about it and want to help in any way we could.

When I design the clothes, I have a very good team around me, showing me different pieces and cuts. I'm very involved in the process, I go to L.A. and get onto the design floor, and I help pick out the best pieces.

I always feel when you work with an artist and whenever I work with a really good photographer, I try to give him or her their own artistic freedom because that's the way you get the best work or at least the most interesting work.

My job is to write songs that have emotional meaning to me.

Theater for me is terrifying but much more rewarding, because you know what they're seeing. Film is all little bits and pieces. And you can do an amazing job, but if the camera isn't getting it, it doesn't work. And then other times when you feel you really weren't present, and then you see it and somehow it works. So there's a mystery, there's a strange collaboration that takes place with everybody.