I suppose everything I do has sexual undertones, but I don't set out to make everything about sex. My clothes are more about sensuality. What I do is dress and beautify the body. My feeling is, if you have something beautiful, then show it.
My real life’s not like the fantasy Tom Ford world – with naked girls pouring perfume everywhere. It’s more staying in and watching Friends on television.
I think what's important for myself and anyone else who wants to create a film, or art, is [to] make sure that they have something to say, that they want to share something important, express something important.
My career in fashion has been very much about sexuality and sex, and I think a lot of people think that's all I can do and what I am all about.
It's like everything in your life is wonderful, but you have so much wonderful - this is all going to sound horrible - but when you have so much wonderful, it isn't wonderful because you don't actually have time to enjoy it.
I was not popular. I was the kid in school that was bullied.
A good trick as you get older is to get a thick pair of glasses that have a dark frame. Everything else can droop and slide but that pair of dark glasses stays sharp and crisp. Look at Cary Grant. Look at Vidal Sassoon.
Part of fashion is newness. It's got to be a new combination of elements that's shocking-stunning-beautiful all at the same time. But it doesn't have any emotion.
A lot of people think a high armhole is restrictive, but it gives you total movement because it's cut right up to your arm.
Your connections with other people are important, our connection to the earth.
We are living in a material world, so why not live with something beautiful?
Give me the control, don't ever come on the set, and I'll show it to you when it's cut.
In fashion as in life, the right thing at the right time is the right thing. The right thing at the wrong time is the wrong thing.
Your name is a funny thing. It stands for what you're about, and everything I do is really about pride.
The dynamics of film directing and fashion design - in the ways that I've done it - were not dissimilar.
Banking types should take their cue from Gordon Gekko. Or pick the best-looking banker in their firm and copy him.
Certain directors are known for a certain kind of beauty; it becomes their signature.
In the early Seventies, I had shoulder-length hair, bell-bottom pants, love beads and shirts that laced up at the front. But then I smartened up.
I think the 1970s will always be the decade for me. Obviously, I grew up in that era, but the beauty standard was touchable, kissable.
When I was a kid, I thought I was going to be an actor.
I am a spiritual person in an eastern religion kind of way. I learned that happiness for all of us is a switch that you flick in your brain. It doesn't have anything to do with getting a new house, a new car, a new girlfriend, or a new pair of shoes. Our culture is very much about that; we are never happy with what we have today.
It was like one of those dreams at high school when everyone else has clothes on except you.
While fashion is exciting because it changes all the time, it is also fleeting. Film, though, is forever. In a way therefore, film is the ultimate design project.
It's not a feminizing product; it's designed to make your skin look better.
My grandmother was probably the first person who I thought was beautiful. She was incredibly stylish, she had big hair, big cars. I was probably 3 years old, but she was like a cartoon character. She'd swoop into our lives with presents and boxes, and she always smelled great and looked great.
