French Quotes

Since I was a child I've loved going to the opera, theatre and ballet.

Perhaps I shouldn't have been influenced by the idea that my name could be spread across the entire world.

In Italy, the Milanese are well organized but follow bourgeois taste. They adhere to certain codes of elegance, but not to individualism.

If you look back at the history of creativity in clothes - the French Revolution, the First World War and the Second World War - they have all been creative reinventions, the moment new forms of luxury come into play.

If I was a fashion designer just following trends or designing for celebrities, I would not be fulfilled.

I'd experienced the '40s and '50s by looking at my grandparents' old clothes, books, and magazines.

I translated Beatles songs for my English class.

I think it's always difficult to reconcile the needs of art and business.

I never loved the world around me as it was.

I look for friends who make me laugh.

I am still in love with couture because it is just two months from drawing pad to runway so everything on the catwalk is hot from the oven.

I am not nostalgic for the past.

I am always anxious to know what has happened while I've been asleep.

Going out in Paris was like going out in the '30s dressed like the Andrews Sisters. It was everything I'd seen in books at my grandparents' house, only it was our generation.

French design hardly exists, except as artificial modernism.

For me, I am still very happy to be able to do stage design as it's an opportunity to express the extreme.

But the Milanese have made bad choices, bad fashion, and bad jewelry.

The exchange by e-mail is more intimate than conversation - you allow yourself to say things you otherwise wouldn't.

People want to be in their own fashion tribes, so they want to wear the same clothes to be connected to everyone else in that tribe. But they want to be different from other tribes.

Italy is a divided country without a center.

Fashion needs to be worn.

Which is why we cannot say of the purloined letter that, like other objects, it must be or not be in a particular place but that unlike them it will be and not be where it is, wherever it goes.

The Mirror Stage as formative in the function of the I as revealed in psychoanalytic experience.

Since Freud, the center of man is not where we thought it was; one has to go on from there.

But this emphasis would be lavished in vain, if it served, in your opinion, only to abstract a general type from phenomena whose particularity in our work would remain the essential thing for you, and whose original arrangement could be broken up only artificially.

The narration, in fact, doubles the drama with a commentary without which no mise en scene would be possible.

The knowledge that there is a part of the psychic functions that are out of conscious reach, we did not need to wait for Freud to know this!

Symptoms, those you believe you recognize, seem to you irrational because you take them in an isolated manner, and you want to interpret them directly.

For the signifier is a unit in its very uniqueness, being by nature symbol only of an absence.

Aside from that reservation, a fictive tale even has the advantage of manifesting symbolic necessity more purely to the extent that we may believe its conception arbitrary.