Frida Giannini Quotes

I have a big responsibility to my licenses. All my licenses draw from and take ideas from the runway.

We are really living the American dream, to be a successful brand in the States and in Europe and to steep ourselves in our heritage. But we do it with a sense of humor. We don't take ourselves too seriously in fashion.

There are two kinds of designers: ones who are very happy locked in their office surrounded by their coterie. The last thing they need to do is to go to a trunk show; they'd go running for the hills. I not only enjoy it, I think, how do you design things that are applicable to life - unless you live it?

At LVMH, we have amazing heritage brands, and we put interesting talents in those brands, sometimes very young, like we did at Givenchy with Riccardo Tisci at the time, or like we just did with J.W. Anderson at Loewe, but also talents that are already further along in their careers, like Raf Simons at Christian Dior or Nicolas at Vuitton.

Occasionally projects just take off unexpectedly, sometimes you can work away at sketches and ideas for years before they are published. There are a number of authors I would be eager to illustrate.

There are so many designers that I love, and I'm so lucky that I get to work with so many of them and sometimes spend time with them.

I worked with the best - Givenchy, Dior, Yves Saint Laurent - and it gave me an ability to be confident. It turned me into a CEO and a creative director and a brand.

As in many other industries, the luxury fashion consumer increasingly desires to put a personal stamp on important purchases.

I have been a muse to Mr. Saint-Laurent, Valentino, Calvin Klein, Donna Karan, Versace.

There are highlights when you become irreplaceable as a model, like when you become a muse to designers. They look at you differently; you're not a coat hanger for hire.

A lot of my peers don't think about collaborating the way I do. My approach is to imagine my world. The Jason Wu woman isn't just floating around in a beautiful dress. I like to know where she's going, what she likes. I'm not just in the fashion business. I'm in the lifestyle business.

I love working with Chanel, and long may it reign, to be honest. I hope it lasts forever.

As soon as the show is over, I always think, 'How will the woman I design for go forward?' It's so important to start quickly because I can't let her get away.

Many a fashion designer's career was founded using packs upon packs of Polaroids, and though we love them, we forget that the image quality was often circumspect.

I love working with Prada, I would do it all the time if I could. Working with them is like working on a film: it is very collaborative.

I have made things for Calvin Klein and other designers, and it's interesting to see the way each person approaches it.

You always need a textural landscape. I think that's what fashion is about, and I think when you come to a brand and you're trying to re-instill its history, the history only comes through being personal.

It's hard to tell if fashion will hold on to its 'exclusive' attitude, or change completely. Only time and Instagram will tell.

With a brand like Gucci, you have to give something that belongs to beautiful Italian culture in terms of craftsmanship and materials.

I liked the fact DAKS was an unknown quantity. It's more like Gucci before Tom Ford got there. There's a lot you can do.

The music business inspires designers, and designers inspire the music business.

I don't really design for myself. It would be very limiting.

Sometimes you listen to a piece of music that inspires a collection. You listen to the music, which creates the mood, which creates the clothes.

If you put the collections together, whether it's Rick Owens, Alexander Wang, or whomever, sometimes they do streetwear, but they're never called that. They're always called 'sportswear' or 'high-end' or 'luxury.' I feel like I'm tossed into that streetwear category so that I don't exist in this space.

I'm a big Gucci fan. So, just working with Gucci and seeing his creative process. It was also really cool to work with Scott Storch. He's a legend.