Riccardo Tisci Quotes

My mom didn't teach me about Marco Polo. She didn't teach me about Napoleon. She didn't teach me about any of that. But she did teach me how to survive and to be a good person. And you need to be a strong woman to do that. She's the biggest person in my life. She's my Virgin Maria. That's why I love religion so much.

Black is always elegant. It is the most complete colour in the whole world, made of all the colours in the palette.

I am very attracted to the United States. Why? Well, as a little kid from Southern Italy, not from a wealthy family, it was always my dream to go to the Big Apple. I'm not one to listen to classical music. I am very much for what is American, but I also prefer the America of the ghetto. I love the Bronx. I love hip-hop and R&B. I love electro-Latino, Latin music, that whole realm.

If you buy a Cartier ring you want people to know it is a Cartier ring or a diamond, or a piece of art that's giving an emotion - then people read it and say, "wow that's really amazing". With prêt-à-porter you see people in the street, in a club, in a restaurant or whatever, and you think, "Oh my god, he's wearing my trousers!" In a way it's more open - people can put together the way they want - mixed with other designers.

I've always been obsessed with things that are half animal and half human - like mermaids and Minotaurs - because they are trapped in an animal body. And I felt trapped in my own life.

I think that's what you and I have in common, Donatella Versace, that careful balance. It makes me proud to be an Italian. In the end, I am proud to do what I do.

I am one who is very meridione - Southern Italian. I am proud of this. I design everything with my team, which is fantastic and small. I design by look. For example, people always comment to me, "When you do men's shirts, you always keep them closed on the catwalk." That's my thing.

My obsession when I was kid, from '85 into the '90s, was Gianni Versace. It was Helmut Lang. It was Margiela. So I said, "I cannot have Givenchy only as a luxury house; I'm going to introduce products for everybody, things that are reachable."

I believe that couture is not about shocking.

My luck has always been how I've had a family of women around me, and I have women who are very close to me - for example, Mariacarla Boscono, Carine Roitfeld, Marina Abramovic. I have different women whom I adore and value.

My mom always said to us, "You cannot judge anybody because of the color of skin." There were a lot of African immigrants in Italy at the time, and people would not even say hi in the street. And my mom, she would invite these people to the house. This is what I got from my mom: to not judge people because of their sexuality, their skin color, their religion, nothing.

In the beginning, to be honest I was super-scared. I turned up and took a step back and said, 'I am here to learn,' and I feel the same today. I've got only to learn from these people because they have been doing couture for 30 or 40 years, so I keep learning every season.

I listen to certain opinions because those are important to me. I am a Leo, so I very much have my feet on the ground, and I know what I want, but there is also a side of me which is a little softer, still a little bit of a boy who has not grown up and who listens a lot.

My inspiration comes from many sources, and one of those sources is precisely the maison Versace. When I was a little boy, my family was not very well off. I had a sister who worked in a hairdressing salon. I lost my dad when I was 4 or 5 years old. I grew up with eight sisters and my mom. Nine incredible women all a little "à la Donatella Versace." Real strong women from the South of Italy, women who had sensuality. They had a confidence in their body and in their sensuality. And it was a poor family, I am very proud to say it.

I didn't have many friends. I was very shy ... And, then, even worse, when I was 14 I became Gothic. I had long, black hair. I was going to school with makeup. Because I was trying to find my language, to scream to the world that I felt so closed in a box where I was living.

For me, aesthetically, Donatella Versace represent what the Italian woman is. There is always the American rock thing, the aristocratic, above-the-rest British manner, but Italy is at the heart of it.

The couture client wants the latest things, but she wants the clothes to be super-special - the fabrics won't even touch or go near anything like prêt-à-porter.

For me, creating the clothes of Givenchy is the way to make my tribe. It's related to religion, too, because it's people trying to find identity - the young generation is looking for tribes. You have the hip-hop tribes, the punk tribes, the rockers, you have the hipsters, the bourgeois ... The fact of the tribe is that it's like a religion. Punk is like a religion, because it's a belief.

My friends were like, "Oh, this weekend, we're going to go shopping." "Oh, this weekend I'm going to go to see the judo champion" ... you know. And I couldn't do anything.

In the beginning, I was very punk. I was very revolutionary. When they asked me to do Givenchy, I didn't want to do it. My friends pushed me. But the situation with my family was so bad financially. I really did it because, when they told me how much they would pay me, I saw that my sisters and my mom could have a better life.

I was a very nice boy. I was well-educated ... very Catholic family. So I was very respectful, never late at work. I was always the last one to leave. It's always been that way in my life.

Even though I had a fantastic family, I always felt lonely - not lonely in the melancholic way but knowing that, to really survive, I have to do everything for myself. I had to work and study, and I was out in the street really surviving, bringing food back home.

For me, fashion is a job. I love it. It's my passion. But the most important thing for me in general is life.

When I went to England, to Saint Martins, I was traumatized, in a positive way. It was that British sense of transgression and the dark. Then when I went to Paris, I was doing couture, which everyone was saying was finished. Bullshit! For me, in the end, it was all a mixing of ingredients.

My definition of beauty is something between extremely ugly and extremely fantastic.

What I very much admire about the Versace maison, and what I am still trying to learn to do myself as I am still young, is that from day one until today, Versace is the peak of sexy but never crosses that red line into the vulgar.

My relationship with religion is very strong because it was my hope, and it gave me two things very important in my life. It gave me the belief and it gave me a point to reach: Don't do something bad to the people next to you.

I didn't invent hot water. But when I approach menswear, I do it in a very honest way. And my menswear and womenswear are very similar, in the sense that I put men in leggings and lace shirts.

I don't have anything against homes for the elderly, but my mom, after having nine children, after all the sacrifices, living in an apartment - it gave me anxiety. Being the only male in the family, I said, "No I can't let this happen." Therefore I signed, because I wanted to buy a house for my mom. I started at Givenchy and the whole fashion world was saying, "Couture is finished." No, couture is not finished. Couture has changed - thank goodness.

Anything I do, I do with my heart. This is why I sometimes get very upset or sometimes get very personal when I'm working.

I was the last one of nine kids - eight girls and me last - and my sisters were going out. They were teenagers. And as they were getting ready, I would sit on the bathtub and watch them put on makeup and transform themselves - you know, putting on clothes and giggling about the boys they were going to meet and everything. So for me, that was an amazing thing - the fact of transforming themselves.

This is why I decided to work with Nike, too, because it is even more mass-market than Givenchy and could make entry-price shoes and make people dream to be part of the journey.

One thing my mom didn't want any of us to do was to cry or to complain about life. Every day and night, even when we didn't have much food, we would pray together. And that for me was a beautiful moment. The fact of being poor didn't really hurt me.

There are some people whom I esteem and want their opinion first, but that's my way. It is difficult for me to delegate. In the end, I do have two or three people on my team who I listen to.

I like when a man has one strong accessory. If it's a watch, it has to be major. If you have strong shoes, it should just be the shoes. I don't like when a man is overdone-that's just bad taste. Coco Chanel was always saying you have to watch yourself in the mirror, put on a lot of things, and then take them off. I think it should be that way for men as well.

When I do a show I have such high emotion; the energy is amazing - but, people don't really see the details and the work and the experimentation that we, the designers, put into the clothes. With prêt-à-porter you're having a look.

My mom and my sisters were amazing; they always see the good in people. My mom, she doesn't know how to write and read much, but she's one of the most fantastic women I've met in my life.

There was a loneliness because kids my age had video games, tennis. They traveled. They had beautiful clothes. I was wearing my sisters' old clothes that were adjusted on me, because we didn't have money to buy clothes. So that really made me go deep inside on my heart, because the only things I could have with me were my heart and my brain.

Most little children's obsessions are robots and Barbie dolls. My obsession as a kid was the Versace house. I used to save up my pocket money to buy Versus shirts. I was that obsessed!

I didn't want to dress anyone in the beginning, no celebrities. Then, very slowly I started with one, two, like that. There are some celebrities whom we dress because they are part of the family. They are women I admire. I don't care how famous she is, if she is at the movies or in a concert.

I love hip-hop and R&B. People always say, "You are dark, you make dark dresses. You probably only love The Cure or Diamanda Galás." I love Diamanda Galás, but I also love Madonna, Beyoncé, and Courtney Love. They are all from different worlds, but they all evoke emotions in me. I am someone who needs emotions and needs to transmit them. If that weren't the case, I'd be better off changing professions.

I remember that my sisters gave me this beautiful, like, empty book for Christmas. And I would draw all these beautiful women. Most of the time it was mermaids and a Minotaur: half human, half animal. I used to be obsessed with Minotaurs when I was a child.

When I started at 9, I was working with plaster. I worked with a florist. It was a little illegal for kids to work. They would give you tips because they couldn't really give you wages.

It's super-essential. Even though I don't have a very big team, for me, the word muse may be démodé or not. I adore it, but I am also one, in my delirium, to be quite classical. For a designer - especially a male designer - he absolutely has to have that female voice by his side, which he listens to, he filters, he digests. It's a huge need, because when you see through the eyes of a man, you see a woman a certain way, and how they have little tricks of their own.

I didn't know I was going to become a designer; I was going to become a successful person, but I really wanted to be free.

When I was far away, when I prayed every night, I felt I was very near with my heart, with my brain, to my sisters and my mom.

Religion and love don't have a price, don't have a gender, a skin color, nothing. We are all on the same plate.

Couture is also a matter of respect. In the end, all of these women sewing and embroidering the clothes, whom are almost all my mother's age, they're all 70 or 80 years old, have been here for a lifetime. They spend hours on it and come up with solutions. And because it's on a catwalk, people see if for five seconds and don't even see the technique, the drapery.