Alexander McQueen Famous Quotes
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Birds in flight fascinate me. I admire eagles and falcons. I'm inspired by a feather but also its color, its graphics, its weightlessness and its engineering. It's so elaborate. In fact I try and transpose the beauty of a bird to women.
I am a melancholy type of person.
I think I should be a president. President of the United States.
My friend George and I were walking on the beach in Norfolk, and there were thousands of [razor-clam] shells. They were so beautiful, I thought I had to do something with them. So, we decided to make [a dress] out of them ... The shells had outlived their usefulness on the beach, so we put them to another use on a dress. Then Erin [O'Conner] came out and trashed the dress, so their usefulness was over once again. Kind of like fashion, really.
I'm interested in designing for posterity.
Youth culture now really looks back and embraces the past, but keeps it contemporary but not sticking to one particular style.
I use things that people want to hide in their heads. War, religion, sex; things we all think about, but don't bring to the forefront. But I do and I force them to watch it
Animals fascinate me because you can find a force, an energy, a fear that also exists in sex.
I can design a collection in a day and I always do, cause I've always got a load of Italians on my back, moaning that it's late.
I like the idea of infiltrating an area that is not really exposed to me or my work.
I'm about what goes through people's minds. The stuff that people don't want to admit or face up to. The shows are about what's buried in people's psyches.
It's good to know where you come from. It makes you what you are today. It's DNA, it's in your blood.
I was never a big networker, but I was a spin doctor, all those shock shows, that's how I got my first backers. But fashion's a scary industry to be in, especially if you've not grown up with it.
I feel more Scottish than Norman.
You've got to know the rules to break them. That's what I'm here for, to demolish the rules but to keep the tradition.
I was three years old when I started drawing. I did it all my life.
When we put the antlers on the model and then draped over it the lace embroidery that we had made, we had to poke them through a £2,000 piece of work. But then it worked because it looks like she's rammed the piece of lace with her antlers. There's always spontaneity. You've got to allow for that in my shows.
I spent a long time learning how to construct clothes, which is important to do before you can deconstruct them.
For people who know McQueen, there is always an underlying message. It's usually only the intellectual ones who understand what's going on in what I do.
I want to be the purveyor of a certain silhouette or a way of cutting, so that when I am dead and gone people will know that the twenty-first century was started by Alexander McQueen.
I oscillate between life and death, happiness and sadness, good and evil.
Clothes and jewellery should be startling, individual. When you see a woman in my clothes, you want to know more about them. To me, that is what distinguishes good designers from bad designers.
I don't want to be too proud, but I have a good personal style.
These beautiful models were walking around in the room, and then suddenly this woman who wouldn't be considered beautiful was revealed. It was about trying to trap something that wasn't conventionally beautiful to show that beauty comes from within.
Life to me is a bit of a (Brothers) Grimm fairy tale.
The turnover of fashion is just so quick and so throwaway, and I think that is a big part of the problem. There is no longevity.
For a long time I was looking for my perfect equilibrium, my mojo. And now I think I'm getting there: I've found my customer, my silhouette, my cut.
There is a hidden agenda in the fragility of romance.
I have been skiing since I was in school, but I'm not great. I am never going to break an Olympic record, I just want to go down the hills, on red or blue runs, but not ... black.
I come from a different era and I design clothes for our era. I think of people I want to dress when I design.
People don't want to see clothes, they want to see something that fuels the imagination
British fashion is self confident and fearless. It refuses to bow to commerce, thus generating a constant flow of new ideas whilst drawing in British heritage.
Rap music's been around for too long now to be inspirational. The words are, but the music isn't.
I find beauty in the grotesque, like most artists. I have to force people to look at things.
When Charles Darwin wrote The Origin Of The Species, no one could have known that the ice cap would melt, that the waters would rise and that life on earth would have to evolve in order to live beneath the sea once more or perish. We came from water and now, with the help of stem cell technology and cloning, we must go back to it to survive.When the waters rise, humanity will go back to the place from whence it came.Make no mistake, this is not sci-fi, this is evolution
There is no better designer then nature
Fashion is self confident and fearless.
There is no way back for me now, I'm going to take you on journeys you've never dreamed possible
I think the idea of mixing luxury and mass-market fashion is very modern, very now - no one wears head-to-toe designer anymore.
There has to be a balance between your mental satisfaction and the financial needs of your company.
I'm not big on women looking naive.
I think there is beauty in everything. What 'normal' people would perceive as ugly, I can usually see something of beauty in it
You can get insular with fashion.
Fashion should be a form of escapism, and not a form of imprisonment.
Sting's my ideal man, because he's a real man.
Fame should be left to the film stars.
I want to empower women. I want people to be afraid of the women I dress.
Some designers are so airy-fairy people can't connect with them. I hope people can relate to me, to a normal person who just happens to be a fashion designer, that people can take me as they find me. It's not the designer's job to care about what people think. Whatever else I've done, I've never tried to be something that I'm not.
For me, what I do is an artistic expression which is channeled through me. Fashion is just the medium.
Now I design what I want to wear, and it works that way.
What I do is look at ancient African tribes, and the way they dress. The rituals of how they dress ... There's a lot of tribalism in the collections,
I came to terms with not fitting in a long time ago. I never really fitted in. I don't want to fit in. And now people are buying into that.
I am constantly trying to reflect the way women are treated. It's hard to interpret that in clothes or in a show but there's always an underlying, sinister side to women's sexuality in my work because of the way I have seen women treated in my life. Where I come from, a woman met a man, had babies, moved to Dagenham, two up two down, made the dinner, went to bed. That was my image of women and I didn't want that. I wanted to get that out of my head.
It is important to look at death because it is a part of life. It is a sad thing, melancholy but romantic at the same time. It is the end of a cycle - everything has to end. The cycle of life is positive because it gives room for new things.
The world needs fantasy, not reality. We have enough reality today
I'm not interested in being liked.
Women should look like women. A piece of cardboard has no sexuality.
I want to empower women.
I just want to be a wallflower. Nondescript. Just not anything. I don't want to see me.
It's a new era in fashion- there are no rules
I think there has to be an underlying sexuality. There has to be a perverseness to the clothes. There is a hidden agenda in the fragility of romance. It's like a Story of O. I am not big on women looking naive. There has to be a sinister aspect, whether it's melancholy of sadomasochist. I think everyone has a deep sexuality, and sometimes it's good to use a little of it-and sometimes a lot of it-like a masquerade.
It needs to connect with the earth. Things that are processed and reprocessed lose their substance.
It's the ugly things I notice more, because other people tend to ignore the ugly things.
When you see a woman wearing McQueen, there's a certain hardness to the clothes that makes her look powerful. It kind of fends people off.
Give me time and I'll give you a revolution.
As a designer, you've always got to push yourself forward; you've always got to keep up with the trends or make your own trends. That's what I do.