Mobile video is now a reality and a force to be reckoned with. I think it is essential to think about how people interact with their phones; how they consume content and how they share.
The thing that has always struck me is that there has always been a bit of a hole at YouTube when it comes to authenticity, human emotion, fun and play.
What better way to connect with people than by staring and talking straight at them? Don't blink - that's one less connection you could have made.
People don't talk to you properly. It's the way they talk to you; they dismiss you. I think it's a combination of me being a woman and a foreigner.
I have been interested in fashion since I was a kid. Then I lived in London, where it was more about costume and a personal statement of who you are than about fashion.
Everybody wants to be a star right now, to be heard, to have a voice, so you have to give the confidence for people to have that ability - and give them the wardrobe to become a star.
I work on fittings, mostly. You know, I sketch less and less in my work. I sketch for the show sometimes, but then it becomes more conceptual. But when I don't sketch, it becomes more pragmatic.
The subject of my work has a lot to do with general, artistic matters, questions like: What is creativity? Where do we come from? What are our motors? What is coincidence? What is logic?
I think I'm a global citizen. My parents came from China, were educated in France and emigrated to the United States. And I think that opened up my mind to be able to live and work anywhere.
In France you cannot not have lunch. If you stopped the French from having lunch, you will have a second revolution, I can tell you this. Not going to work - it is part of the French privilege.
I had done some commercial work in junior high and stuff - my mother would bring me into the city, and we'd go on these crazy castings. Acting was something I always dreamed of doing... it was my passion when I was young.
I'm a designer, and I work very hard at that. People sometimes want to put down fashion by saying it's frivolous or superficial, but it's not that way at all. It's actually very hard work.
What moves those of genius, what inspires their work is not new ideas, but their obsession with the idea that what has already been said is still not enough.
If the work is pure then you have to think it could be understood. If it is not understood it doesn't mean that your work is not accessible. It doesn't worry me, but, of course, I would be pleased if people liked my work.
I like my drawings to be direct. I don't generally work on them for too long, but that doesn't mean that they are not works in their own right.
I guess I created LeRoy Neiman. Nobody else told me how to do it. Well, I'm a believer in the theory that the artist is as important as his work.
I enter my studio at 9 a.m. I have lunch here, I return right away to my work and I go out to dinner at 8 p.m. My daily tasks vary very much.
Any system that sees aesthetics as irrelevant, that separates the artist from his product, that fragments the work of the individual, or creates by committee, or makes mincemeat of the creative process will, in the long run, diminish not only the pro...
I was really a little housewife with two small children, and I had a husband who really didn't want his wife to work. He didn't like the competition. That's why I'm not married to him anymore.
One of the first things I picked up when I was very, very young out of a record store was work from Peter Saville - the early things he used to do for Factory Records.
Well, for over a year now at my desk, a prototype program of Luigi and Mario has been running on my monitor. We've been thinking about the game, and it may be something that could work on a completely new game system.
