What I adore is mixing the unexpected, things you don't imagine should go together

— Paul Smith

The most relaxing Paul Smith quotes you will be delighted to read

Stop making sense. Logic is predictable. Think differently.

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Fashion is about today and tomorrow. Nobody cares how good you used to be

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People, even children, aren't really afraid of change.

They're afraid of not being prepared for change.

30

Great stories happen all around you every day.

At the time they’re happening, you don’t think of them as stories. You probably don’t think about them at all. You experience them. You enjoy them. You learn from them. You’re inspired by them. They only become stories if someone is wise enough to share them. That’s when a story is born.

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I'm very curious and being childlike is vital in our industry

20

Experience is the best teacher. A compelling story is a close second.

20

When life closes a door, God opens a window.

17

When knowledge is scant or conflicting, folklore takes over.

15

Christianity began in Palestine as an experience, it moved to Greece and became a philosophy, it moved to Italy and became an institution, it moved to Europe and became a culture, and it moved to America and became a business! We've left the experience long behind.

12

There's always an important person who helps support your interests and encourages you.

5

I think it was interesting that when you're in those formative years you respond to things that interest you and don't always know where they lead. But they accumulate and add up to something that enriches your later life or leads you to some new experience.

5

Jack Sturtzer, one of my cousins, had gone to art school and suggested that I might be interested in a private school called the Art Institute of Buffalo, and in fact that is what happened. So upon graduation in 1948, I then went to stay with my cousins on Seventeenth Street and enrolled in the program at the Art Institute on Elmwood Avenue.

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About Paul Smith

Quotes 61 sayings
Profession Fashion designer
Birthday July 5, 1946

Charles Burchfield would look at what you were working on and not say anything for several minutes. Then he would very sensitively respond - "Well, have you thought about?" or "Might you consider?" I respected that so much because I thought he was so sensitive to my work, and didn't want to offend me, but in the right way to encourage me.

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It [piano lessons] wasn't a priority, but it was an interest and through that I became acquainted with classical music, which was a main interest at the time.

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At school there were some programs in music.

I did take piano lessons, and we had a piano at home. I got very interested in that.

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It was mainly a growing farm, although we did have chickens and a few animals, but I did help to some degree with that. I have to say that it was not my favorite association.I did what I was asked to do.

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The class situation [at Art Institute on Elmwood Avenue] was such that one would be very much on their own to paint or draw. The faculty was roving to give opinions or help out technically, which all the faculty did very well.

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He [my father] didn't have a basement workshop as such, but I know that he did build things, construct things, repair things. My mother, likewise, was sewing and doing activities that often take place in a household.

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I became a bit of a teacher's pet, and it became known in the school by both faculty and students that I really excelled in the arts. So that recognition I credit for my growing interest in art that continued to evolve later on.

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The pastors and ministry leaders came away energized to have voter registration drives at their churches and motivated to encourage their congregations to "vote their values."

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At the end of the elementary program, I then had to move onto high school.

Simultaneously, my parents moved to Attica to a suburban area not far from the well-known Attica State Prison. Then I would take the school bus which was a very short distance away, where I was involved with a much larger community.

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Many people look but they do not see.

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The first important [step] one was going to school.

There was an advantage as there was a one-room schoolhouse that was within walking distance of my home. I went there being very shy, but I fit in quickly, and I was nurtured by a very dedicated and caring teacher, Magdalen George, who we referred to as Miss George. She was my teacher for a full seven years.

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I think I was really naïve. I had no context to think about what I wanted to do. Each step was a next stage of exploration.

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At home, the radio was a big source and the classic radio programs we would listen to like Amos and Andy and whatever other ones there were.

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In a social studies class I did a paper on the history of Attica, which ended up being a little book that I created.

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We've got a nation of people who have one eye looking out for the next speed camera, another looking for a speed limit sign and another looking at the speedometer - which is a bit of a shame, when you only have two eyes.

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I learned from books that I picked up.

That was something that just came out of nowhere but continued to be an attraction. So there was a continuum of my interest in the arts and involvement in creating that was strong enough that it later blossomed into much more.

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My parents' names were Florian and Mabel Smith.

My mother's maiden name was Dersam. They were of German heritage and were part of a family community with my grandparents and uncles and relatives. I was an only child.

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There was a certain amount of discipline, I think;

my parents wanted to be sure that I was not just sitting around doing nothing.

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The environment itself was culturally a vacuum, in that there was simply nothing that would inspire me in the arts. But my parents were always very supportive of anything that I explored or wanted to do.

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Upon graduation, in the yearbook I was voted "Most likely to succeed.

" which I know was credited to my artistic achievements.

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At one point I had dreams of being in the school band, but I didn't play an instrument that qualified me, and that was a problem. I always had fantasies to be part of that, but I did take my piano lessons quite seriously.

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I developed friends in the community that were in walking distance or a bicycle ride away, so that I socialized and did a lot of things that children do in their early years.

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In thinking back, not having any experience in any other elementary school, there may have been an advantage of being with different age groups to benefit from what they were learning in a more advanced capacity. With a small group like that, there was a lot of one-to-one teaching.

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You can find inspiration in everything. If you can't, then you're not looking properly.

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Even today, the bigger the city, the better. That's why I live in New York.

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I've always been a keen cyclist, I'm very close to the world of cycling.

Not just cycling really - also walking, adventures, being a curious person, traveling to new countries.

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I was always making things. I made model airplanes and did a number of hands-on activities. I liked creating in some form or another, not realizing what it was all about.

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I was there [in school] the full time with one teacher, and the student body was never more than 10 or 12 students of all ages.

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Going back to the elementary school days, I was always drawing.

I entered a Victory poster competition and won the top award that recognized my artistic instincts.

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In terms of any sacrifices at the time [of World War II], I was somewhat protected living on a small farm where there was food, different perhaps from living in a city environment. I know such things as gas rationing did exist, but it wasn't anything that interfered with my daily activity.

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I'm pleased to say that it [ a paper on the history of Attica] got much recognition with a 99 grade. It was shown to the Attica Historical Society, who enthusiastically responded to it and read it at one of their annual meetings resulting in an article in the local newspaper about this excellent paper being presented. As I now look back at it, I think of that as being really my first book and did indicate that I did have interest in research.

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Charles Burchfield was exceptional. As such an accomplished artist, he had limited previous association with academia and teaching.

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I got the letter about becoming a Sir in 2000, the same year that Pauline asked me if we could finally get married. My assistant, Colette, called up and it turned out both the wedding and the Buck House ceremony were happening on the same day. I was knighted at 11 and married at four. She became an instant Lady.

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I was always busy doing something, being an only child.

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Being born in '31 was during the Depression and in my earlier youth World War II took place - so it was not the best of times, and yet I don't recall ever having experiences that were a burden.

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I was engaged in all the required courses of math and geometry, but the area that I blossomed in was the art program.

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It was only when I got to high school and was in the art program that my artistic talent was recognized. The art program was directed by a wonderful and a very important person in my life - Charlotte Ranger, who was referred to as Mrs. Ranger. She had been teaching in the school for many years.

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