Artisanal Techniques Quotes

My cooking philosophy, what I try to do, is to make a cuisine where the produce and the product shines, compared to some current trends that are maybe more adding additional things, like molecular cuisine, with a lot of additives and chemicals, which are now showing that they could be bad for your health.

150 years ago in [Charles] Dickens's time there was at least a sense of craft. So some of the things people had inside of them, they had the possibility of expressing in the making of things - even in a daily way with their clothes or their food. People made a good deal of both themselves. Now our daily lives are almost all consumption. Craft plays a tiny role.

I made two rings for myself and when I was in Los Angeles, I walked into a store called Maxfields and they essentially bought them off my hands. Those were originally made in New York. There wasn't craftsmanship, there was just manufacturing, and I wasn't interested in doing that. My first workshop was in Rome, and that was the start of House of Waris. In a little magical atelier, a goldsmith, his apprentice, his stone setter - and that was where it began.

I’m interested in vernacular cultures, where people lived a little closer to the source of materials and the making of objects for use. And for me, not to rely strictly on the history of art has always been an interesting process, to be looking into areas that we call craft and trades.

Pastry school is great for a foundation and introducing you to basic techniques, but it is really up to the chefs to practice, practice, practice and refine their techniques.

Some crafts have been practiced for centuries. These crafts were created using skills passed from generation to generation, and were motivated by necessity such as baskets and pottery, or artistic expression, such as more baskets and more pottery. Today, there is a much more leisurely attitude toward crafting, and virtually anyone without a job and access to pipe cleaners can join the elite society of crafters.

The most precise work is generally done by hand, with hand tools. Some people rely on machines for their precision, and my way of working is backwards. I rely on the machines for doing the gross stock removal and then, when it comes to the final refinements and fitting of joints and things, making things work together, I rely more on sharp-edged tools that I push by hand.

There is no one who has cooked but has discovered that each particular dish depends for its rightness upon some little point which he is never told. It is not only so of cooking: it is so of splicing a rope; of painting a surface of wood; of mixing mortar; of almost anything you like to name among the immemorial human arts.

As readers, we have gone from learning a precious craft whose secret was held by a jealous few, to taking for granted a skin that has become subordinate to principles of mindless financial profit or mechanical efficiency, a skill for which governments care almost nothing.

As long as people have been making little people, they've wanted to know how not to.

I have a huge amount of respect for all Japanese designers because I think there is consistency and respect to craft.

Almost any modern video camera can take stills, so there's always this fresh crop of kids that like making things and moving them by hand. So it's as much our desire to keep it going as what we believe is the public's desire for handmade stuff that really feels handmade, where they aren't being tricked into it being handmade.

Do everything by hand, even when using the computer.

I made my final collection in college in London using Irish handwoven wool. That is how I discovered Ireland first; I just fell in love with it, really.

My own show with Sterling Ruby, for example, seems like such a huge disconnection from Dior couture, but then I think, yeah, in both collections there was a very strong focus on the human hand and the actual work of people making garments. So in that sense, they were completely related. But I didn't realize that during the process.