A challenging economy is always good for design. It unites necessity and functionality. You are forced to be creative with poor materials.
Interpretation
A challenging economy can foster creativity by forcing designers to innovate with limited resources.
Diane Von Furstenberg suggests that tough economic times can actually benefit the design world by merging necessity with functionality. When resources are scarce, designers are motivated to think outside the box, leading to creative solutions and innovative designs that may not have emerged in more affluent circumstances.
In practice
In a discussion about resilience in design during economic downturns.
There's design, and there's art. Good design is total harmony. There's no better designer than nature - if you look at a branch or a leaf, it's perfect. It's all function. Art is different. It's about emotion. It's about suffering and beauty - but mostly suffering!
The little black dress is the true friend...she travels with you...is patient and constant...you go to her when you don't know where else to go and she is ALWAYS reliable and timeless.
One of the most important things about fashion is to dress as well as you can, look as attractive as you can, and at the same time be comfortable with yourself. Be easy about your clothes; forget about them.
All women are strong. My mother survived Auschwitz, and fear wasn't an option when we were growing up. If we were afraid of the dark, we were put into the closet until we weren't.
You're always with yourself, so you might as well enjoy the company.
I design for the woman who loves being a woman.
In music, silence is more important than sound.
I never consciously place symbolism in my writing. That would be a self-conscious exercise and self-consciousness is defeating to any creative act. Better to get the subconscious to do the work for you, and get out of the way. The best symbolism is always unsuspected and natural. During a lifetime, one saves up information which collects itself around centers in the mind; these automatically become symbols on a subliminal level and need only be summoned in the heat of writing.
For us artists there waits the joyous compromise through art with all that wounded or defeated us in daily life; in this way, not to evade destiny, as the ordinary people try to do, but to fulfil it in its true potential - the imagination.
The important thing in writing is the capacity to astonish. Not shock - shock is a worn-out word - but astonish.
A story is not like a road to follow... it's more like a house. You go inside and stay there for a while, wandering back and forth and settling where you like and discovering how the room and corridors relate to each other, how the world outside it altered by being viewed from these windows.
That strain again! It had a dying fall: _x000D_ _x000D_ O, it came o'er my ear like the sweet sound _x000D_ _x000D_ That breathes upon a bank of violets, _x000D_ _x000D_ Stealing and giving odour! Enough; no more: _x000D_ _x000D_ 'Tis not so sweet as it was before.
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