I love doing fittings and seeing women look really confident in their clothes because they're not wearing something too boxy but that really shows off their figures. Everybody has a different figure - it's important to design for different shapes.

I love everything I design.

The message I want to put forward for women is that I never want it to be about, 'Oh, it's a bit difficult to put that together,' or, 'She can dress that way, but I can't.' Actually, my designs are for all women, and I truly believe that you can make yourself feel wonderful in whatever you wear. That's the importance behind what I design.

My autumn/winter 2011-12 collection embodies the bold and beautiful while reflecting an innovative style and passion for immaculate design. I believe that this collection radiates modern femininity and beauty in its purest form.

When our Founders created this great experiment in self-governance, the House of Representatives became, by design, the body closest to the people. We are the most accountable, and we must be the most transparent.

Often the most important moment in the design process is figuring out what the right question is.

Leo Hurwicz is the father of mechanism design theory and has inspired much of my work, and Roger Myerson is an old friend and collaborator and a tremendous economist.

Initially, it was the unpractical in fashion that brought me to design my own line. I felt that it was much more attractive to cut clothes with respect for the living, three-dimensional body rather than to cover the body with decorative ideas.

The interesting thing is when we design and architect a server, we don't design it for Windows or Linux, we design it for both. We don't really care, as long as we're selling the one the customer wants.

I studied literature design and fashion design.

You can be a mason and build 50 buildings, but it doesn't mean you can design one.

Design has long gone from tinkering and sketching of auteurs in isolation to a powerful catalyzer of growth.

It is to be noted that when any part of this paper appears dull there is a design in it.

I always treat shows as though they could belong on either platform. I always design it for the bigger stage, but I love it on the smaller stage.

I do not have a history in set design. I have a history in art. I draw. But I learned set design when I couldn't afford to have a team and I didn't want to look like I was indie. I wanted to give fans the visual.

Intelligent design, unlike creationism, is a science in its own right and can stand on its own feet.

There is an immediate payoff to intelligent design: it destroys the atheistic legacy of Darwinian evolution. Intelligent design makes it impossible to be an intellectually fulfilled atheist.

God is not an American. Nature did not design Americans to be prosperous forever.

I have beautiful, beautiful clothes, designed by my bachelor boy son, Kenny. Kenny has a big following as it is, and even Lady Gaga has asked Kenny to design dresses for her. But Kenny isn't very keen on, well, shall we say, extreme women. He likes someone that women all over the world can identify with.

We believe in a best-in-class vertical strategy, with PR at the center as its operating ethos of earned at the core, social by design.

Edelman diversified into public affairs in the late '60s with important programs for the Concorde SST, gaining landing rights at JFK Airport in New York, and in the late '70s generating public approval for the building of the very stark Vietnam Veterans War Memorial in Washington, D.C., from a design by the very young architect Maya Lin.

I went to art and design high school with a lot of people taking fashion. They would get up in the morning, and what they put on meant a lot to them.

I attended Art & Design High School, and at one point, you had to write about what you wanted to be when you grew up. I wrote that I wanted to be a writer for 'Mad' magazine.

I don't design my own clothes. It's so not what I think about.

The reward is that you can actually create a world separate from reality with a story, actors, music, and camera design. When it works it can entertain, move people and teach us all.

For contemporary fashion, I'm a huge fan of so many of the people out there. I think Azzedine Alaia holds up through three generations of very specific, beautiful design. I think Jean Paul Gaultier also is very interesting with a long span.

I worked in fashion, but I worked more in the sales side of fashion than in design. I was an assistant buyer for a department store back in the '70s and the early years of Saint Laurent. And I used to have a lot of private clients that I bought for.

I grew up in a small town in Washington State, so I wasn't really aware of costume design as a career growing up, but I loved clothes. I remember I saved all my money, and the first thing that I bought was a white blazer, which was to the horror to my parents. But I have always had a strange connection with clothing.

I can create clothes for so many different time periods. I've always tried to avoid being pigeonholed. Plus, everything I learn about design and costume from one movie somehow works its way into something else.

One thing about costume design - and I think design in general - but especially costume design, is people have a misconception that it's very glamorous work.

My own style is pretty classic; I much prefer to design for others.

I design for the movie and the character as well as the person wearing the costume. I show the ideas to the actor, then do fittings for shape and technical things such as movement in the costume. Once the costume in this form is on the actor, you have a sense of their connection with it. I then take it to the next level with the final fit.

I really don't over-theorize about design. I'd rather feel it than talk it to death. A lot happens as you unroll the design.

Being non-commercial is never an ambition. Movies come together at different points for fortuitous reasons. You do them as you get the opportunity, as opposed to doing them when you choose to or design to.

Whether by design or circumstance, every startup will eventually get disrupted.

Sacred spaces can be created in any environment.

I have the privilege of working with our in-house design studio, called Samara, and our humanitarian team, called Human. Samara is thinking about the future of Airbnb, and Human is working on ways to leverage our platform outside the cause of day-to-day business.

How do you convince somebody to host a stranger for the weekend? That's not a trivial thing. It's not something I think you can throw technology at, marketing at, or sales at. We threw design at it because that's all we knew, and in doing so, I feel like we brought a human touch to it, which is so needed.

Design has always been a driving force in my life: it's the lens through which I experience the world.

As our company has grown, how we configure and design our offices has been a crucial part of how we foster connection and collaboration throughout our teams.

Design is an expression of one's most deeply rooted internal values.

My home is in West Vancouver, B.C. My husband built it from drawings to design and colour.

If we get to the design sensitivity and make no detections, then there are a lot of things that will have to go back to the drawing board theoretically. If we fail, we're not expecting that the NSF will help bail it out somehow.

It isn't obvious and it took us a while to demonstrate that we could actually design a machine that bends.

Luckily I don't have to buy shoes anymore, because I design them! I'm off tour, so I can dive in and create the shoes that I want for my line. But okay, I did buy a pair of vintage combat boots because they were so beaten up - I had to have them.

If we don't have accurate information, if we are not able to tell difficult truth one to another, we will never be able to effectively design a policy for Iraq.

Architects design buildings; that's what we do, so we have to go with the flow; and, even though I'm still an old Leftie, global capitalism does have its good side. It's broken down barriers - the Berlin Wall, the Soviet Union - it's raised a lot of people up economically, and for architects, it has meant that we can work around the world.

There is no one-size-fits-all solution to the challenges facing our cities or to the housing crisis, but the two issues need to be considered together. From an urban design and planning point of view, the well-connected open city is a powerful paradigm and an engine for integration and inclusivity.

A greater focus on design in all new homes would make the best use of land, create homes and public spaces, and reinforce the structures of urban life.

Anything I do informs how I design. I wouldn't isolate any one activity. Everything I do feeds back to my life, and my life is expressed in my work.