Textile Artistry Quotes

I seem to always start a collection by designing outerwear and jackets.

Beginning writers are often advised to 'write what you know,' and since I knew about quilters - their quirks, their inside jokes, their disputes and their generosity, their quarrels and their kindnesses - the lives of quilters became a natural subject for me. Quilting wove together my two themes as completely and effortlessly as I could have hoped.

If you take away print and embroidery, you have to challenge yourself a bit more on the cut.

Making clothes involves what I like...color, pattern, shape and movement...I like the everyday process...the people, the pressure, the surprise of seeing the work come alive walking and dancing around on strangers. Like red lipstick on the mouth, my products wake up and brighten and bring the wearer to life...drawing attention to her beauty and specialness...her moods and movements...her dreams and fantasies.

I'm good at pants. They are just two big sleeves sewn together.

The suits are as similar as uniforms, and yet you can tell their individual qualities by how they respond to movement - the good ones ripple like wheat in a field and provide not a show of monotony but rather a spectacle of plenty.

It was as if I had worked for years on the wrong side of a tapestry, learning accurately all its lines and figures, yet always missing its color and sheen.

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.

I have made bouquets of pleats, bouquets of flowers, bouquets of ruffles, bouquets of feathers. Often I design in mousseline, held tightly around the waist, and with something else going on all around.

Anybody can make a thousand dollar garment because you find the finest fabric and the finest mills, and you churn that out.

I work in fashion because the world is such a heavy place that I need to be in this industry that fights for five hours to get a dress.

There is so much talent in British fashion: a real cookie jar of different aesthetics with designers like Mary Katrantzou, Erdem, Christopher Kane, J. W. Anderson, and Simone Rocha.

Felt is not the easiest thing to animate. It's very flimsy.

I can make 10 jackets of the same colour, same two pockets and same length, that will look like 10 completely different jackets when you put them on. It's about the way they are cut - it makes them look and feel completely different and move differently, and that's a never-ending study. People who wear my clothes will know exactly what I mean.

I always think about how Chaka Khan used to take suede, all these classic fabrics, and then make them very movable. She's my everything!

Even before it opened its retail arm, Beigh was renowned among pashmina cognoscenti for the quality and complexity of the work produced in its workshop, a large, airy, sunlit rectangle of a room directly across from its second-floor shop.

I didn't long to be a designer. I always liked fashion, but it was always a bit sleeping in me.

Tailoring was considered to be a world that was very traditional, and basically going out of fashion. Fashion designers did not have a real link with tailoring or tradition, so I fused the two worlds together.