I live in solitude. I have need of solitude to do the next day's work. I can't be to parties where the noise tires me. I can't speak on the telephone. I must have complete calm.
If men wanted to look good in a skirt, they would need the body of an African. And the colour. A skirt with white, skinny legs. Horrible!
A visit to Marrakesh was a great shock to me. This city taught me color.
I told myself repeatedly, 'One day you will be famous.'
It pains me physically to see a woman victimized, rendered pathetic, by fashion.
I am very happy to design haute couture. It's a love story between couture and me.
I want to give haute couture a kind of wink, a sense of humour - to introduce the whole sense of freedom one sees in the street into high fashion; to give couture the same provocative and arrogant look as punk - but, of course, with luxury and dignity and style.
I do not decide that skirts shall be short or long. The shape of the dress itself often dictates the length.
I couldn't love a woman who inspired me to be totally disinterested. If I fell in love with a woman for an artistic reason, or from the point of view of my work, I think it would rob her of something.
I had noticed men were much more confident in their clothes. So I sought through trouser suits, trench coats, tuxedos, and pea coats to give women the same confidence.
I wanted women to have the same basic wardrobe as a man. Blazer, trousers, and suit. They're so functional. I believed women wanted this and was right.
I hate fashion. I don't have any fun doing it. A show terrifies me.
I have often said that I wish I had invented blue jeans: the most spectacular, the most practical, the most relaxed and nonchalant. They have expression, modesty, sex appeal, simplicity - all I hope for in my clothes.
The big difference between couture and ready-to-wear is not design. It is the fabrics, the handwork, and the fittings. The act of creation is the same.
Basic clothes are for all women, to last for decades and decades. They are the future and will never change. I am persuaded of that.
Pacifists are like sheep who believe that wolves are vegetarians.
Blue suggests the sea and sky, and they, after all, are in actual, visible nature what is most abstract.
Pure, existential space was regularly winking at me, each time in a more impressive manner, and this sensation of total freedom attracted me so powerfully that I painted some monochrome surfaces just to 'see,' to 'see' with my own eyes what existential sensibility granted me: absolute freedom!
The immaterial told me that I was indeed an occidental, a right-thinking Christian who believes in the 'Resurrection of the flesh'. A whole phenomenology then appeared, but a phenomenology without ideas, or rather without any of the systems of official conventions. What appeared was distinct from form and became Immediacy. 'The mark of the immediate' - that was what I needed.
