American - Designer | 1950 -
If you want someone to feel warm, you dress them in a warm color and put a warm light on them and you get the picture. Sometimes, all that needs pushing a little bit to help tell the story.
Colleen Atwood
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I've always loved movies, art and clothes.
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I'd seen the current stage production and the 1975 production of Chicago. I liked them both very much, but I didn't use them necessarily as inspiration.
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I had to work out that it was something that could move, without having everybody in spray painted leotards.
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Each simian had a much different body suit, so besides trying to define class across species, there was a definite attempt to dress each group in different styles.
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As a designer, you have to solve a lot of problems. Even though people are wearing clothes that are supposed to look beautiful, they'll have to do all kinds of things.
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I don't design my own clothes. It's so not what I think about.
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For contemporary fashion, I'm a huge fan of so many of the people out there. I think Azzedine Alaia holds up through three generations of very specific, beautiful design. I think Jean Paul Gaultier also is very interesting with a long span.
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I always have a moment when I know I'm designing the last costume that gets made for a movie, and it's always been floating up there, but it's kind of the last one. That's always probably the hardest one for me.
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I'd say probably the most expensive costumes I've ever made were the costumes in 'The Planet of the Apes,' because of the research and development that went into them and the amount of layers.
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I have watched 'Project Runway,' but I'm not a devout watcher of it. But I think it's a great show, what I've seen of it, and I think Tim Gunn is a very positive, amazing guy.
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People like to stir up the fashion vs. costume world, and I think what they mean by 'too costumey' is that it's too much, or not real enough for everyday wear. You couldn't say that about John Galliano's shows, right? I mean, they're awesome, and they're total costume.
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