When I met my designs in the market of a remote village in the West Indies, or in the airport restaurant in Zurich, I felt like the mother of many well-behaved children.

When I design something, I think of it as a gift to somebody else.

I never wanted to do something grotesque. I never wanted to shock. I wanted my audience to be happy, to be kind.

Modernism, rebelling against the ornament of the 19th century, limited the vocabulary of the designer. Modernism emphasized straight lines, eliminating the expressive S curve. This made it harder to communicate emotions through design.

My designs are meant to attract the hand as well as the eye.

I don't call myself an 'industrial designer,' because I'm other things. Industrial designers want to make novel things. Novelty is a concept of commerce, not an aesthetic concept.

The pleasure of making things beautiful or useful involves your feelings as well as your thinking. When your original sketch evolves into a tangible, three-dimensional object, your heart is anxiously following the process of your work. And the love involved in making it is conveyed to those for whom you made it.