I'd experienced the '40s and '50s by looking at my grandparents' old clothes, books, and magazines.
I'd experienced the '40s and '50s by looking at my grandparents' old clothes, books, and magazines.
There's always some kind of hidden logic.
They say that the best furniture and clothing design from the '50s and '60s is Scandinavian or Milanese.
Italy is a divided country without a center.
French design hardly exists, except as artificial modernism.
My fear was that people expected radical change because of the new contract. But no.
For me, elegance is not to pass unnoticed but to get to the very soul of what one is.
But the Milanese have made bad choices, bad fashion, and bad jewelry.
There are days when I'm completely depressed and able to do only one drawing.
We all look for lost time.
Going out in Paris was like going out in the '30s dressed like the Andrews Sisters. It was everything I'd seen in books at my grandparents' house, only it was our generation.
I translated Beatles songs for my English class.
Much later, designers like Dior and Saint Laurent recreated styles form the '30s and '40s.
I wanted to go back to the beginning and to the codes of the house.
With the development of the Christian Lacroix house in Paris and my work notably for the theater, it wasn't serious doing things by half,
For fifteen years I've had Swiss clients who tell me that it's a mystery how the French react to their own artists, especially the painters.
The idea of seeing everybody clad the same is not really my cup of tea.
The notion of time bothers me. You look at thirty-year-old photographs and realize how the time has passed.
I've known for a long time, but I have only really taken it in this morning - and I think I will be shedding a tear by tonight,
But it seemed like the more we advanced, the more the future looked impossible, making us return to the more radical times in the past.
In Italy, the Milanese are well organized but follow bourgeois taste. They adhere to certain codes of elegance, but not to individualism.
My first time in England, in the '60s, the interiors were somehow familiar to me, probably because of the books I'd read and the images I'd seen.
The Paris store Colette is successful because it's a filter for things that are made elsewhere. It's the kind of store France needs.
© 2020 Inspirational Stories
© 2020 Inspirational Stories