Tiesto Quotes

I'm like a conductor. I come up with ideas, and I get all these people to make great music together. I have a team of really talented assistant designers. I have architects in my office. People I trained from the beginning in menswear, womenswear, and home. I have a great team who know what I want and feel and translate that into beautiful results.

Collectively with my design team we spent time working on the feel, fit and style to ensure the product is not only something I would wear but one which I would be proud to put my name to. I always want to challenge myself and this was such a rewarding experience for me. I'm very happy with the end result and I hope H&M's male customers will be as excited as I am.

Fashion is such an octopus. You're connected to so many people: suppliers, pattern makers, production teams, marketing teams, vendors.

Karl Lagerfeld never touched a pair of scissors in his life.

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.

This idea of collaborating with designers - that's something I can identify with.

Every time I design clothes, I'm making a movie.

I am still taking care of the creation of the collection alongside my staff, and my daughter Nathalie Rykiel, is the artistic director of Sonia Rykiel, who takes care of a lot of things. We are very alike and also very close.

No one person can take credit for the success of a motion picture. It's strictly a team effort. From the time the story is written to the time the final release print comes off the printer, hundreds of people are involved - each one doing a job - each job contributing to the final product.

So far, designing is the most exciting thing. Ive done I have a vision of what I want the clothes to look like in my mind and its fun to see it come alive on paper.

It's so hard to do fittings [for Yeezy] because we want to do things that are inspiring, that people could look at and say, "Wow, I like that color palette, I could put that together." And there are so many images of things that it's almost impossible to have your clothes go up against the amount you're seeing and carry it into one language.

I love what I do, and I only want more. I love the whole process. I love designing, I love figuring out how to make the clothes happen, I love the ad campaigns.

Joel Little and I have this certain chemistry we have when we work together.

I know I wasn't allowed to go to fashion school; I can't cut a dress like Galliano, right? But I had enough wherewithal to go to that studio on my first collection and bring Kim, [stylist] Christine Centenera, Ian Connor, Theophilus London, Virgil Abloh...they all came down to [Vetements/Balenciaga designer] Demna Gvasalia's studio that night and hung out.

As filmmakers, you're not working on just one project, you're producing something, directing something, shooting something, and so it becomes hard to do it by yourself.

The whole thing of working in collaboration with filmmakers is the thing that I love the most, and possibly the thing I do the best.

I love everything about fashion. I even love the fittings and watching it evolve from a pattern to a muslin to the final product.

I got involved in the design process a long time ago. I've been working with their main designer [Berlei] for a while. It's been really fun all around.

Filmmaking is such a collaboration. At a certain point, I suppose you do have to let go and trust the people you're working with.

Well, there's lots of different things going on at the moment, I'm in talks with some people from Japan to do something and I'm also talking to Hugo Boss to do a very small line, which I want to keep to just 10-12 pieces, but what I want to do is sit with the designers for a couple of days bashing some stuff out.

I'm very fortunate in that all the mediums I work in are extremely collaborative. Movies are probably the most solitary on a day to day basis, but even then you have producers and studio executives to work with and bounce ideas off of.

I'd like to cut an attitude into clothes.

Harry [ Hannigan] and Chris [Ellis] are sitting there while we're doing [ Fresh Hell], and Chris is directing, obviously, but if we start fooling around a little bit, Harry comes in, and he's got some addition that makes it even funnier. But we start with a complete script.

It's an art installation to put out a collection, with the people behind the scenes who are inventing and creating these designs and making sure they're realized on the catwalk, and just how much hangs on it for the designers. Their livelihoods hang in the balance, as far as whether this year's collection works for them or not, and there are so many people's jobs on the line, as a result of that. I just had no idea.

Absolutely, you rise and fall based on your creative team. I have continuity across different films that I've done. I was even fortunate enough to reach back and include people that had worked on Horton with me, as well.