About Alber Elbaz: Alber Elbaz is an Israeli fashion designer. Elbaz has worked for the Paris fashion house Lanvin since 2001.
It's a major job to help men and women look beautiful.
I am very much a people person.
If I am in a beautiful place, but I don't like the people, I am miserable.
I think that if you want to pass emotion, you have to write a letter. Emotions do not pass in SMS or in e-mail.
Why not touch things that we hate and turn them upside down and inside out?
Almost every collection I do has 200 different references. I don't have two of the same coat, two of the same dress. I have it in one color, in one fabric. I've tried to adapt the culture of couture, and the know-how and the heritage, but I try to up...
I want to know where is that committee in Switzerland that sits to decide what is in and what is out. I don't listen to the formula makers. I think maybe I have a selective hearing disorder.
I wanted to go out of fashion, to study medicine. I thought, you know, who needs fashion? How important is it if you wear a red dress and an orange jacket? It's not, really.
I've always said fashion is like roast chicken: You don't have to think about it to know it's delicious.
For me, Lancome was more than just a brand. There was something very nostalgic about the name, about the whole story.
I hate bridges. I'm always very insecure on bridges.
I never think people should do things for me. I think I should do things for others. That makes me more comfortable.
Our clothes are not always beautiful on the hanger, but put them on, and they fit like bathing suits.
I don't go out to parties because I'd look terrible in pictures. My escape is television - it's like meditation to me.
I was a fat child; I was asthmatic. No wonder I'm a hypochondriac.
There is always a reason why, and I need to tell the stories.
Our logo for Lanvin is a mother and a daughter. I've always said, 'It's not a lion, and it's not a horse. It's a mother and a daughter.' I find the logo very emotional.
My dream is to be a doctor. I'm almost working in a laboratory, because I'm trying new techniques, new directions and fabrics, new weaving.
Nothing is ever enough for me. I'm always thinking what is wrong, what needs to be fixed.
I am always trying to put myself inside: Every dress I do, I think, 'If I were a woman, would I wear it?'
I don't think you can be a designer if you don't care.
