Luxury Fabrics Quotes

The clothes that fire up my emotions are colorful and 'different' pieces. My eye still picks out gilded-cloque glamour from among Burberry's streamlined trench coats or a hand-printed coat from Dries Van Noten.

My mum was very conscious about fashion, and my dad was born into the tailoring tradition, so fashion has always been my life, although now, really, I wear the same thing - just in different weights - light and heavy cashmere in winter and cotton in summer. And jeans.

Any opportunity to get into fashion and find a beautiful dress, I'm very definitely excited about that.

The big difference between couture and ready-to-wear is not design. It is the fabrics, the handwork, and the fittings. The act of creation is the same.

I used to wear a lot of Helmut Lang. Painted jeans. Cropped crombies with t-shirts. A lot of V-necks. The perfect V-neck was very important.

Now, I'm older. I don't follow the vagaries of fashion: my look tends to be skinny flat-front trousers with a long-sleeve American Apparel T-shirt and a V-neck cashmere jumper - preferably Loro Piana.

In the early '50s, it was still the time of Christian Dior's New Look. Every dress was big and important, and I thought I must do something completely different. Women needed something for daytime that was wearable.

I find my dress sense tends to be a bit of a mixture between high fashion and unique vintage pieces with a little bit of street trends. For example, I might find a really nice, suede dinner jacket that I'd wear with a basic plain white shirt and some chinos and a pair of Nike trainers.

I love leather and I love lace, but not necessarily together. I'm probably happiest in a long black velvet dress, black suede boots, and some kind of really beautiful wrap than I am in anything else. I don't even own a pair of jeans.

J.Crew's a great brand.

When we started, there was lots of formalwear made with quality fabrics, but Loro Piana's innovation was to use these in casualwear, too.

The design process usually starts as a fantasy, with ideas that I dream of and visualize. These ideas become a reality by bringing various ingredients together, from the lifestyle of my bride, her age and sex appeal, to the textures of the finest fabrics and embroideries that we produce in my family factories in India.

My mum was very glamorous, an incredible seamstress. She made up those Vogue, Givenchy and Yves St. Laurent patterns they used to sell. It was church couture, darling! Because my dad was a pastor, she could get away with more than other women. Her skirts were that bit tighter.

The best-dressed man is an Italian who is trying to look English, or an Englishman who is trying to look Italian.

People should think about their closets like they think about a stock portfolio. There are things you want to invest in; you make those investments, and those are your blue chips. So you should invest in a great pair of jeans, in a great cashmere sweater.

Vulgarity is more obvious in satin than in homespun.

Silks, velvets, calicoes, and the whole lexicon of female fopperies.

Lardini is my go-to tailor. They work with me on a lot of personal things, which is nice.

Every designer needs a story. Mine is all about glamour because my family has been in the business of glamour for three generations. My grandfather Shamshuddin Khan started his embroidery and fabric-making business in the 1930s.

I was never really interested in fashion before I started to work with Dior. I didn't see fashion as an art form.

I'm a big fan of everything that Zara does; they have so many great tailored pieces.

Loro Piana is all about seeking quality materials.

Fabrics such as raw silk, velvet, shimmer, satin and georgette work well for the wedding season.

I do really modern with materials that are so luxurious that they're, like, baroque.

In Italy they take cheap cloth and make it look expensive, but I take expensive cloth and make it look cheap. They just don't understand.