Alber Elbaz Quotes
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I certainly can't complain. I work six days a week, if not seven, and eighteen hours out of twenty-four - fortunately, with a great deal of pleasure. Why? Because I only do something if I want to do it; I need to feel a desire, to find pleasure in moving forward, creating, moving, inventing.
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If you take something out of the freezer, it's cold, but what happens when it melts? It's a cool party, a cool person, a cool collection. What does that mean? I'm more interested in things that are uncool, things that have a certain individuality, a certain soul, a certain longevity, emotion, fragility.
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I live many lives at once.
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In fashion, the time is so short, and even with pre-collection, there are not only dresses, shoes, bags, and furs but now raincoats and T-shirts. It's just an endless amount of work that we have to produce in no time.
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I barely finish one pre-collection before I must start on another. Sales start, but I am already elsewhere creatively. The men's show is being prepared, but we also need to think about accessories, perfumes and other items. In sum, I never stop.
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The worst thing that can happen is if you're stuck within a bubble and you think that is what life is all about. It's great to see other people and hear from people of different ages and opinions.
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I am very much a people person.
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I'm not a religious person in the regular sense, but in the Bible you're not allowed to steal, you're not allowed to lie and you're not allowed to feel you're above other people.
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My father, who was a hair colourist, died when I was young, so my mother had to work very hard. But at the same time, I do believe that if you have everything, it is easy to make a dinner. When you only have flour and water and olives and potatoes, you have to be much more creative, and that's what my mother is all about.
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How do you stand out as a fashion ad campaign? By using people off the street; it does generate buzz.
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For me, Lancome was more than just a brand. There was something very nostalgic about the name, about the whole story.
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'Commercial' is not the word that has to be said only by CEOs. It has to be something that is maybe the essence of design, because design has some sort of art in it and creation, but it's also some object that you have to use. There is also this pragmatic end to it.
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I spend my time backstage at the Lanvin shows, and when I come out at the end, all I see are people's eyes.
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I am not interested in perfection, and neither are the women who wear my clothes.
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I thought, 'It doesn't matter what that woman is wearing,' but then I realised actually it's our job as designers to make women smile; to bring them the chocolate without the calories.
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The designers, photographers and models I work with, they are really hard-working people who are devoting their lives to fashion. They're kind of like nuns of fashion.
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To be a fashion critic is easy because you just say, 'I love it, I hate it,' but life is more than love and hate.
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Fashion is not always about what's new, it's also about what's good. And I think if you need to see what's good, you have to be there.
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I don't think that you can write music if you don't know how to play an instrument. You have to know the basics, then you can go forward.
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A singer can quit once he or she has made ten great songs; a director can finish once he or she has made five amazing films; a writer just needs to write three great books.
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I want to know where is that committee in Switzerland that sits to decide what is in and what is out. I don't listen to the formula makers. I think maybe I have a selective hearing disorder.
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Women can dream at 9 in the morning and at 10 o'clock at night - it doesn't matter.
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I adore women, and the one thing I want to do more than anything is to see a transformation of personality when someone puts on one of my dresses.
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I work on fittings, mostly. You know, I sketch less and less in my work. I sketch for the show sometimes, but then it becomes more conceptual. But when I don't sketch, it becomes more pragmatic.