Seduction is about intelligence and wit. Someone who makes me laugh has every chance to seduce me.— Riccardo Tisci
The most sensitive Riccardo Tisci quotes to get the best of your day
Black is always elegant. It is the most complete colour in the whole world, made of all the colours in the palette.
My definition of beauty is something between extremely ugly and extremely fantastic.
For me, darkness is something very beautiful.
Religion and love don't have a price, don't have a gender, a skin color, nothing. We are all on the same plate.
My life has changed financially and I have a name, but I try to never forget people on my journey.
I am interested in beauty when it has something special and mysterious.
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.
We didn't have a television, so we sat around the table, and me and my sisters and my mom would do these jobs, like, a penny for a piece, you know, these paper jobs. You know, what really saved me as a human today is my sisters and my mom.
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.
I tried to never exclude people. I know what it means to be left out.
No matter how much people in fashion think we're so cool and avant-garde, for most fashion people, creativity is quite taboo.
Couture was only for rich people. Givenchy was for rich people. A bag cost 5,000 euro; a coat cost 10,000 euro. In the beginning, I couldn't react. I was just working like a machine, because I wanted to make the house happy.
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.
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."
People's wardrobes in history are something that society and culture imposed.
But sexuality is not about the way you dress.
I love art and music more than I love fashion, to be honest.
I had only two girlfriends. I didn't have many friends because I was staying at home and dreaming - drawing and dreaming.
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.
I think my heart is in a very good place.
And I think this is why I'm achieving what I've been asking to do in the universe for so long.
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.
Couture is more your own world, they come and buy head-to-toe - they buy the jewelry, bags, coats, dresses, bodies underneath.... But couture is not dead - it's taken another shape.
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.
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!
If I am in fashion, it is really due to very few designers that I admire - not because I don't like the rest, or that the rest are not beautiful, but because I am very selective. I adore Versace. I adore Helmut Lang, despite the fact that it's over.
I've had this sensibility since I was a child.
If there was a black boy in the school, I was the friend. If there was an effeminate guy, I was the friend. If there was somebody who was poor like me, I was the friend.
I come from a very poor family, with sisters.
I never really knew my father, so I miss this strong image of a man in my life.
My great strength, which I very much believe in, is family.
For me, family doesn't simply mean components of DNA. I mean family in the sense of siblings. My mom and my sisters are the energy and inspiration in my life.
We are Italian. We are all little tribes - not only in fashion, but also in music - in everything, basically.
I arrived here, with a destroyed house, with nothing.
I had to do everything very slowly. And with a little team and a great president, we achieved a lot. I am happy here. For now, it is still Givenchy by Riccardo Tisci, and I think that it will be for a long time, because it will be difficult to evict me from my house. I feel good here!
At the beginning, I didn't see what Givenchy could give my career.
It was like, "Okay, I'll do it for the money for a few years to help my mom and my sisters."
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.
I started to draw and design clothes that I couldn't find, because everything was all luxury, fashion clothes or very straight. So I mixed all of that together: Who says I can't put a man in a skirt? Who says that a man can't wear lace? Who says that men can't wear Swarovski? Who says that men can't wear makeup? You know what I'm like; for me, straight, gay, women, men, trans, we're all the same. I don't see difference.
I suffered a lot when there was, like, a birthday party and I was not invited.
Not because I was ugly or stupid; I was not invited because the parents would say to the kids, "Don't invite him, because he's poor and he comes from the south of Italy, and he can't give you nothing."
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.
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.
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 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.
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.
In prêt-à-porter now we understandably need to make the collection satisfy the big market more, so couture is extra special.
In the beginning I didn't want to do a menswear collection.
It felt a little forced. And then I found that it was an amazing world.
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.
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.
In Italy, especially in '70s and '80s, there was a lot of racism between north and south. And my mom immigrated from the south to the north, from Puglia, the heel of Italy. But what made me feel different was society, not my family.
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.
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.
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’m very faithful to myself. When you do things that are true it just comes out quite instinctively.
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.
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.