quote by Rei Kawakubo

I started with wanting to think about witches, about strong women who have special powers - who are often misunderstood. Then I found some beautiful blue fabric, so I made Blue Witches. My creative process is always like that. Organic, text, theme, subtext, each day evolving and trying to make strong, beautiful clothes. It's that simple.

— Rei Kawakubo

Most Powerful Subtext quotations

Melodies are just honest. They can only be what they are. Words have the capacity for deception. Theyre all full of subtext, and some of them are cliche and overused and vernacular. Theyre tricky. All I can say is, words are tricky.

The essence of Christianity is told us in the Garden of Eden history.

The fruit that was forbidden was on the tree of knowledge. The subtext is, All the suffering you have is because you wanted to find out what was going on.

I've always been a character actor, although I'm not quite sure what that means.

All my scripts are absolutely covered in notes, so any time I say anything - even 'pass the salt' - I have six subtexts, comments on what I really mean when I'm saying that. Maybe that's what gives the impression that I'm saying one thing and thinking something else.

Every new generation of SF writers remakes cyberpunk - a genre often laced with dystopian subtexts - in its own image.

Want to discover the truth about deception in therapy? Jeffrey Kottler and Jon Carlson have collected a formable collection of old pros whose compelling prose sheds light on an important, but previously unexplored, subtext that permeates psychotherapy. Don't fool yourself: The roadmap to avoid being duped is contained within.

Phone calls like ours only happen when you've spent several years hurting and being hurt, until every work you utter or hear becomes coded and loaded, as complicated and full of subtext as a bleak and brilliant play.

I believe that filmmakers have to internalize the story and subtext so well that all of the departments can start to speak to each other - that music can speak to cinematography can speak to writing and back again.

Celebrity poverty, that's the hidden scandal in Blair's Britain.

You can't help but worry for them. A girl I knew developed X-ray eyes for celebrity sorrows. She taught me to read the subtext of the down-market celebrity interview, she knew all the Hollywood codes, and followed the deep backgrounds.

There's no subtext in Harry Potter really;

it's all magic, anything can happen. Why do I say this? Because it's a magic spell. It's quite nice in a way. There is a real freedom to it.

... somehow I couldn't stop. I had turned into someone that I would have pitied in another life; someone who searched for signs, who analyzed patterns, who went over every word in a conversation looking for hidden meanings, secret signals, the subtext that said, Yes, I still love you, of course I still love you.

I try and make non-fiction films that feel like fiction, so I'm always looking for the subtext and that's what really excites me.

You can sing if you have a great voice, but to connect that instrument to the text and connect it to the subtext, what lies underneath and the emotion, is indeed a rare talent.

You have to watch out with my plays. They're like yeast. You think they're one thing, then all of a sudden subtext gets to working.

I think I am more attracted to characters with a subtext, whatever that is and they don't necessarily have to be virtuous, but they have to at least be human.

Shakespeare doesn't really write subtext, you play the subtext.

Sometimes, even when I'm writing the lyrics, I'm not sure what I'm getting at, but then months will pass and I'll listen to it and I'll understand it completely. I think I trust myself in that most of what comes out of me will be honest. Even if it seems like it doesn't make a lot of sense, I realize that it does. It's hard to follow, and maybe there's a lot of subtext to it that nobody knows, so it makes it impossible to follow.

We had an ancient Russian acting coach at my drama school who said the worst offense you could commit was to let your subtext show. That is the point of acting, is to be saying one thing and not be allowed by society or your predicament to show what you're really feeling. In a way, I think that's why the therapy generation has killed script writing, because all you ever get is people going, "Hi, I'm feeling really angry right now."

Obviously we're doing a comedy [Fresh Hell], and our intent is to entertain, but we're also really aware and trying to stay aware of the subtext of what it's like to reach a certain age and be dismissed, basically, from the fraternity you've always wanted to be a part of, and the desperation involved in trying to claw your way back into it.

With my horror movies or with this movie [Valley of Violence], same thing.

The subtext of this movie is what to take away from it. Plot is never something that's been my driving force as a filmmaker.

Half of a broadcast show, in my experience, is things happening, and the other half is people talking about how they feel about the things that happened. And so there's this sense of everyone saying their subtext out loud.

I love thinking about things subtextually and I actually - like for instance when I write, I actually, I'm not very analytical about it. I don't ever deal with the subtext because I just know it's there so I don't have to deal with it. I just keep it about the scenario. I keep it on the surface, on my concerns. And one of the fun things is is when I'm done with everything, like now, for instance.

I haven't made art about Israel. There's a covert subtext of Jewish identity in my artwork.

The emoji still doesn't really speak to the complexity that actually - or the subtext that goes on between when people actually speak face-to-face.

I like bringing little subtle complexities to a character.

It's all about the subtext. No one can really describe or fully know another human being, even if they get a hook on them. It's more about instinctively knowing whether you like somebody or not.

I think the benefit of being a writer is that I'm looking for the subtext on the page, because all good writing has subtext. And as a writer, you look at the big scope of things, the big story, rather than just your individual story line, because I think it's important to know what you're in and how you fit into it.

You don't always want to be using the music in a way to express ideas inherent that are on the screen. You might want to work more around the fringes of the story, and work more with the subtext, and add more depth to the story through the use of music.

I am not one of those actors who dwells on the histrionics and the subtext and future text of the character. I deal with the scenes that I'm doing at that specific time, because if I do that, they play in more of a real way.

I'd be a Libertarian, if they weren't all a bunch of tax-dodging professional whiners.

If writing is thinking and discovery and selection and order and meaning, it is also awe and reverence and mystery and magic....Authors arrive at text and subtext in thousands of ways, learning each time they begin anew how to recognize a valuable idea and how to reader the texture that accompanies, reveals or displays it to its best advantage.

God bless the physician who warms the speculum or holds your hand and looks into your eyes. Perhaps one subtext of the health caredebate is a yen to be treated like a whole person, not just an eye, an ear, a nose or a throat. A yen to be human again, on the part of patient and doctor alike.

I feel like math and writing are the same thing.

You're putting together a lot of complex things to satisfy different requirements. It's got to be aesthetically pleasing; it's got to have subtext; it's got to convey information.

I am obsessed with story. I had a late awakening in life. In college was the first time that I understood what you could do with a story and what a good novel is - literary value and subtext and irony and everything.

For better or worse, there is not a situation in one's daily life that does not have feminist subtext, superstructure, implications and one is constantly aware of it, even when you want to rest it stands up and hits you in the face.

With Shakespeare, there's no subtext; you're speaking exactly what you're thinking constantly.