After all, it's very important for any big-name designer to have a couture range. I leave the ready-to-wear to my partner and team.
One of the big luxuries of being in Antwerp is that I can easily walk in the city. In Paris and New York, I am more recognized.
If I ever loved a woman, the more I loved her, the more I wanted to hurt her. Frida was only the most obvious victim of this disgusting trait.
I like to be in New York. Le Corbusier described it in the 1930s as a 'wonderful catastrophe.' It is still a wonderful catastrophe, but inspiring.
I believe designers should eliminate the unnecessary. That means eliminating everything that is modish because this kind of thing is only short-lived.
A lot of people say I'm bent, and I've heard it so many times that I've almost learned to accept it.
I like styling girls that don't normally dress in vintage clothes and don't normally wear red lipstick; I like seeing those kind of girls restyled in a retro way.
I'm a designer, producer and I am hands-on for every project I undertake. The creative side of what I do is really something I think people overlooked for a while.
The suit does not represent the businessman anymore. Nor does the loud shirt represent the rock star. The same man can now wear both.
Many young people don't know what Versace represent. I want to show what makes Versace an iconic brand.
Look at every action movie in Hollywood. Every leading man from Spider-Man to Batman to James Bond, 'Bourne Identity', every one of them possesses martial arts skills.
If you're playing a cop in a modern film, you don't have to walk with your spine straight up and bow before a fight. There's a lot of free form of expressing yourself as an actor.
I like to stay within the context of the character's background. If he's a cop, I have to make sure the audience is convinced that this person, a cop, can do only so much without a gun.
For me, I like to have explosive moments, whether it is a particular movement itself in the whole sequence. I like to have shocking moments; for audiences to feel, like, 'Whoa!' It's always been my forte.
In Boston, I developed my eye from the drawing. In Paris, I was fascinated by what my eye saw in the way that Paris is built, its 'measure.'
I was taught to draw very well when I was in school at Boston. And I grew to enjoy drawing so much that I never stopped.
Shape and color are my two strong things. And by doing this, drawing plants has always led me into my paintings and my sculptures.
I don't like acrylic because you can't get the density of color. And with each coat of oil paint, the surface gets better and richer.
My forms are geometric, but they don't interact in a geometric sense. They're just forms that exist everywhere, even if you don't see them.
Ever since I was little, I really loved boyish clothes - I had a real obsession with strict clothes, like uniforms. They really got me going.
I'm still ambivalent about Hollywood. I think that's why I made 'Star 80.' To deal with the ambivalence. I really wanted to succeed Gene Kelly, and I thought it was a fair bet.
