Peter Marino Quotes
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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.
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All bronzes are made to be touched. Bronze is a sensual 'living' material. The sweat and oil of your palms adds to the patination.
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There's a very important aspect to all my work, now more than ever, which is tying the interior design and architecture with the art.
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I don't sell anything. So, I have a personal image, but I think that's because I'm from an art background, and I'm an artist, and I think most artists do have personal images. I consider myself more in that category of the way an artist had a look.
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My father's house was on East 55th Street on 1st and 2nd Avenues. I'm fifth-generation Marino in the East 50s - I live on 57th Street. I can't be more East 50s.
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When I opened Chanel in London, they were happy. People would go, 'Oh, I just came in to see it. It's so beautiful.' And you leave with a positive attitude toward the brand. Now, you don't really get that online. You don't go, like, 'Wow.'
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My name is on the door, and I care very much about the design that gets put out. I'm sorry, but it has to be my way. You learn that by working for people like I. M. Pei. You think he isn't a design tyrant? Is Calvin Klein a tyrant? When it came to his dresses, he had to be.
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The Peninsula - it's a combination of great service and good design.
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If something's a high-margin product, I understand its importance to the store.
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Design-wise, I look at everything. If I don't personally design it, I'll review it. I'm kind of creative director of the firm.
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I got into architecture via fine arts, and I was a sculptor myself, and I have always involved artists in my projects. When I say 'involved,' I mean I always bring artists in at the beginning projects before they're built and say, 'Will you do a room? Will you do a sculpture floating in mid-air? Will you make a chimney? Will you do something?'
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I simply loathe the crude 1960s distinctions between commerce and art. For me, Warhol and pop obliterated all of those separations - that was the whole point of the Brillo Boxes and Campbell's Soup Cans. And believe it or not, in 2009, moronic journalists are still saying to me, 'Your work is so commercial.'
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Nine out of nine architects start with a sketch, and then they say, 'What should we make it out of?' I start from the bottom up - what should it be made out of - and then I worry about what should it look like. The material, the color of the material, the way it feels, and the way you respond to it is every bit as valid as the form or the shape.
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Publicity doesn't really get me anything. Clients are not going to hire me for a $100 million building because I have a brand. They really want the product.
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It's a good marriage because each of us is what we are, allows the other one to be themselves, and appreciates each other for the right reason. You know, it's rare that you'll find two people who don't try to change the other person and let everyone be what they are.
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Anytime I see an unusual combination of colors or patterns or texture, I buy it.
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One of my first fashion clients was Calvin Klein. We did his first freestanding stores. He was very exact and precise. But talk about high-fashion people who brand themselves!
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People in Shanghai make a lot more money than the farmers in the rice paddies. The rice-paddy farmers are not buying Louis Vuitton bags, but the upwardly mobile ones in Shanghai, who are all working in Wall Street-type firms, are infinitely better-dressed than people in the West. Their women take this fashion thing seriously.
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My parents spent a lot of money so I wouldn't sound like I came from Queens. I went to speech class.
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I'm really a fighter against modernism equaling brutalism.