Frida Quotes

If I ever loved a woman, the more I loved her, the more I wanted to hurt her.

Frida was only the most obvious victim of this disgusting trait.

I imagined myself as Frida to Diego, both muse and maker.

I dreamed of meeting an artist to love and support and work with side by side.

Never before had a woman put such agonizing poetry on canvas as Frida did

I did not know it then, but Frida had already become the most important fact in my life. And would continue to be, up to the moment she died, 27 years later.

There's nothing wrong with a thick eyebrow; Frida Kahlo had them.

The art of Frida Kahlo is a ribbon around a bomb.

Women who stay true to themselves are always more interesting and beautiful to me: women like Frida Kahlo, Georgia O'Keeffe and Anna Magnani - women who have style, chic, allure and elegance. They didn't submit to any standard of beauty - they defined it.

Frida Kahlo taught me a lot without ever bragging about anything.

The significant element that is common to Rivera, Siqueros, Picasso, Pollock, Van Gogh and Frida Kahlo is the expression of pain.

The song "This Is Not Surreal," was inspired by a painter I love, Frida Kahlo.

She really did suffer for her art. She speaks to me. She was brutally honest in her work. At that time in fine art, you really didn't see many female artists expressing that. She was such a strong female presence, and I really look up to her. She had a lot of physical pain.

The pressure is always very high. I am the client, and when I am the client, I need to fight with the photographer or with the stylists or with all the people that are on the set, because I am the only one who has a very specific vision. I always have the pressure, either from myself or from the company. I am a control freak. It's part of my culture. I know that I am still working to build a Frida moment at Gucci.

The incident itself happened in London, but because we were all based at the time in Los Angeles we moved it there. Certain details are almost exactly like the true experience, but we decided to make the film more of a thriller, in the hope that it would reach a bigger audience. That's why it's called "Selling Isobel" and not "Selling Frida." We didn't want to make a dark, depressing "movie-of-the-week."

[Frida Farell] also wanted the film to serve as a cautionary tale for young women - to say, "Be careful when an attractive man asks you to go to a casting or a photo shoot, because it might be a demon in disguise."

I was approached by the filmmakers. I didn't know much about the project ["Selling Isobel"], and the more we talked, the more they started to confide in me. I read the script and thought it was really interesting, and then a week later I discovered that this wasn't just any old script, this was actually Frida's [Farell] story and she was trusting me to tell it. I felt very privileged.

Oh my goodness, I hate camping. I am like Frida times 1,000. I have always been attracted to wilderness stories, à la the movie Badlands, when Sissy Spacek and Martin Sheen are in the woods on the lam - maybe because it scares me a little.

I think that's such an important message, especially for younger women, to know, 'I don't have to come out of the womb painting like Frida Kahlo. My very first thing that I make isn't going to be an around-the-world sensation.' You have to paint a hundred really ugly, barfy, diarrhea paintings before you come up with that one where you start to really get into your groove.

For throughout history, you can read the stories of women who - against all the odds - got being a woman right, but ended up being compromised, unhappy, hobbled or ruined, because all around them, society was still wrong. Show a girl a pioneering hero - Sylvia Plath, Dorothy Parker, Frida Kahlo, Cleopatra, Boudicca, Joan of Arc - and you also, more often than not, show a girl a woman who was eventually crushed.