Just watching the people on the streets of N.Y. is inspiring; there are so many styles and unique points of view. Fashion is very much inspired by the streets, has always been, and I'm sure it will continue to do so.
I came from a different world from other designers because I already had such a strong fan base that was interested in fashion. You have to give the little divas something.
We can also cut by heat - heat punch. And we also can cut by cold - extreme cold. When you cut with heat, it makes a mark. With cold, no mark. It depends on the fabric.
One of my assistants found this old German machine. It was originally used to make underwear. Like Chanel, who started with underwear fabric - jerseys - we used the machine that made underwear to make something else.
Many people will say, well, clothes should be worn; but I think people can look at them in public, like seeing a film. I think museum exhibitions are very important.
From the beginning I thought about working with the body in movement, the space between the body and clothes. I wanted the clothes to move when people moved. The clothes are also for people to dance or laugh.
I don't think I'm an artist or that I'm doing anything superintellectual. What's important to me is to get a visceral reaction from people, for them to want that coat because they think it's beautiful.
Various different people have inspired me throughout my career. From Francis Bacon to Vassareli, Coco Chanel to Christian Dior, Cecil Beaton, musicians, architects... the list is endless.
I like it when you have something happening by coincidence. Just something in a book is enough. But I prefer a fragment of an image so you are far more free to bring in elements of your own.
I'm part of the fashion system, but I don't want to follow all the rules. I don't want to be contrarian - I just want to do my own things, which are most honest and correct to do.
I'm really hands-on. My team brings in elements, but, every season, it's kind of a personal struggle to find the balance and to see how far I want to push the elements.
Mammals require three essentials in life, identity, stimulation, and security, and by far the most important of these three psychological cornerstones is identity.
I grew up in Del Mar, Calif., north of San Diego. I got my first job the summer after eighth grade at a small Internet service provider.
I come from very humble origins, so the last thing I would ever do is to look down my nose at people who can't afford to come here to my shop.
I enjoy looking at old photos of some of my favorite rock icons, but also get inspired from the younger bands that are coming up and really creating their own style, their own image.
I never wanted to be the face of the brand. You haven't seen me in my own ads. You don't see my logo all over my clothes. From the beginning, I wanted the clothes to stand on their own.
I have a really simple wardrobe. I wear a low-scoop tee every day with a tux or leather jacket and tux pants or black jeans. That's pretty much it.
I make very proper clothes. But I was never that person. For a long time, I thought that was the image I needed to have for my brand. And I thought that's the person that I needed to be. Because it gave me a distinct image that no one can deny.
The work that I feel is most authentically mine is the one that is my first reaction, the first thing that feels like the truth. In aggregate, those choices, those series of decisions, create your point of view, your visual language.
Steve: You know Teague, he won't take "Go to Hell" for an answer. Diane: What are you going to do? Steve: I'm gonna give him directions.
Dr. Lesh: Well, I'm off. Now these tapes, I am going to have to present them you know. Steve: But please, not on "60 Minutes". Diane: Or "That's Incredible."
