I'm doing what all modern artists do now, which is nothing - just sit around and dream about things. I'll do what they call 'the stroke of genius.'
I never do the cute thing with animals; they are interesting shapes. I just use their profile. Because German shepherds are so easily recognizable, they would fall outside my purview.
So that is the design process or the creative process. Start with a problem, forget the problem, the problem reveals itself or the solution reveals itself and then you reevaulate it. This is what you are doing all the time.
Those 25 dancers we worked with for a day, in as highly productive a way as possible - a long class, a period of teaching bits of the repertory - in fact I didn't teach Bank, I've used parts of Oil and Water.
Unfortunately, the greatest photographers don't pay extreme attention to the clothes. If they decide to put a dress in a bathtub or in front of a cow in the countryside with dirt everywhere, well, the dresses come back... ready to be put in the garba...
I adore the challenge of creating truly modern clothes, where a woman's personality and sense of self are revealed. I want people to see the dress, but focus on the woman.
Things that came before, people and things and experiences - that does mean something to me. It doesn't mean I don't embrace the new, but I don't forget the past, either.
I wear Rick Owens T-shirts to bed. They are like my thermals, since I sleep with the room at near freezing temperatures, like a meat locker.
The sexiest people are thinkers. Nobody's interested in somebody who's just vain with a hole in their head, talking about the latest thing - there is no latest thing. It's all rubbish.
It's true the punk fashion itself was iconographic: rips and dirt, safety pins, zips, slogans, and hairstyles. These motifs were so iconic in themselves - motifs of rebellion.
We are so conformist; nobody is thinking. We are all sucking up stuff; we have been trained to be consumers, and we are all consuming far too much.
I was still interested in the youth rebellion but never-the-less I stopped being a victim. Stopped trying to attack the establishment realizing that it takes too much of your energy.
I used to always fight for human rights. I still fight for Leonard Peltier, who's spent 35 years in jail for a crime he didn't commit.
My clothes have always got a very strong dynamic rapport with the body - they are very body conscious, they help you to look glamorous, more hourglass, more woman.
The sound of colors is so definite that it would be hard to find anyone who would express bright yellow with base notes, or dark lake with the treble.
The spirit, like the body, can be strengthened and developed by frequent exercise. Just as the body, if neglected, grows weaker and finally impotent, so the spirit perishes if untended.
Whatever an artist's personal feelings are, as soon as an artist fills a certain area on the canvas or circumscribes it, he becomes historical. He acts from or upon other artists.
With dance and theatre, I think people get very nervous about not knowing the right things. They feel like they've missed something, or that they're not bright enough to watch it. It's not a test.
I've always been just as interested in making people think as I am in making them feel, and one of the things this scientific process allows me to do is make the audience look differently at dance.
The notion of 'reduce and refine' is one I've pursued. I truly believe that by making things less complex, by finding innovative ways to make sustainability affordable, we can advance the notion that it is possible.
Since my childhood, I have always made works with polka dots. Earth, moon, sun and human beings all represent dots; a single particle among billions.
