Peter Marino Quotes
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What frustrates me is florists who put everything at the same size on the table. I like it when there's mountains and valleys.
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Not enough people enjoy working with color, which delights and inspires me.
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I am very happy working for my European brands. My legacy isn't going to be a museum. Yet I would be very good at it. It's so painful. It's like everything - the same old guys - Herzog & de Meuron, Frank Gehry, Renzo Piano - they don't pick original people.
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Koishikawa Korakuen Garden - one of Tokyo's oldest Japanese gardens, and one of the best spots for viewing the cherry blossoms.
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We have a thousand hydrangea plants bordering the house, and they were all supposed to be pink, but a handful of them keep turning purple.
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I loathe when architects only analyze architecture in intellectual, nonvisual ways. I really love direct response, and that's very pop. I don't want to discuss abstract transparencies with a bunch of kooks.
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I want to be the first person to animate bags - everything done for handbags bores me to tears - I want to make it more playful.
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I collect art like other people eat pizza. I can't get enough of it. I need a constant source of inspiration.
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I work 12 hours a day, seven days a week - and I love it. I'm creative. I feel fulfilled. I'm from a solidly lower-middle-class background; I'm not from the world that I'm in now. So I appreciate it a lot. I've really got a rich, full life.
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The French use gardens to show grandeur and the English to show how things have endured for hundreds of years, but for me, they're all about fantasy.
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Motorcycle garb is the way I looked to Warhol. Then came the Armani suits.
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I believe that women would crawl across broken glass to get a cool pair of shoes.
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Universal human characteristics are a good base for great art.
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Ginza! Where I've done two Chanel towers and Louis Vuitton and Dior stores. I just feel at home there.
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I always look for inspiration, and the creativity of artists is an essential element to my life, my work, and my happiness.
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Creating work for the time that one lives in means no retro thinking. It can and hopefully does mean timelessness.
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In 1991, if someone came in with a $1 million budget for a boutique, I would have fainted. Nobody spent even half that. But now, the bar has risen very high.
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I've benefited enormously from an arts education and a music education in New York. When they cut the programs for funding, I was devastated.
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That was really the Fifties for me - that whole spirit of flicking the paint on the canvas.
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If you want to come up with a really original design idea, and you want to capture a whole new design direction, perhaps the best way to arrive at that is not by acting and thinking and doing like everybody else. That's all.
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I have this 'Alice in Wonderland' idea in my head that a garden should be a place of wonderment.
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I do really modern with materials that are so luxurious that they're, like, baroque.
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Architects have big egos. We like to think we're creating the pyramids and they're going to be around for thousands of years. And it's a joke because they're not even going to last our lifetime. I built a home for umpteen gazillion dollars on a gorgeous piece of property in Palm Beach, and 11 years later somebody else bought it and knocked it down.
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I don't talk about myself in the third person. When I start doing that, you'll know I'm having an out-of-body experience.