Quotes about costume

A collection of quotes on the topic of costume, doing, time, likeness.

Quotes about costume

Tim Burton photo
Paul Watson photo

“It's dangerous & humiliating. The whalers killed whales while green peace watched. Now, you don't walk by a child that is being abused, you don't walk by a kitten that is being kicked to death and do nothing. So I find it abhorrent to sit there and watch a whale being slaughtered and do nothing but "bear witness" as they call it. I think it was best illustrated a few years ago, the contradictions that we have, when a ranger in Zimbabwe shot and killed a poacher that was about to kill a black rhinoceros and uh human rights groups around the world said "how dare you? Take a human life to protect an animal". I think the rangers' answer to that really illustrated a hypocrisy. He said "Ya know, if I lived in, If I was a police officer in Herrari and a man ran out of Bark Place Bank with a bag of money and I shot him in the head in front of everybody and killed him, you'd pin a medal on me and call me a national hero. Why is that bag of paper more valued than the future heritage of this nation?" This is our values. WE fight, WE kill, WE risk our lives for things we believe in… Imagine going into Mecca, walk up to the black stone and spit on it. See how far you get. You’re not going to get very far. You’re going to be torn to pieces. Walk into Jerusalem, walk up to that wailing wall with a pick axe, start whacking away. See how far you’re going to get, somebody is going to put a bullet in your back. And everybody will say you deserved it. Walk into the Vatican with a hammer, start smashing a few statues. See how far you’re going to get. Not very far. But each and every day, ya know, people go into the most beautiful, most profoundly sacred cathedrals of this planet, the rainforests of the Amazonia, the redwood forests of California, the rainforests of Indonesia, and totally desecrate & destroy these cathedrals with bulldozers, chainsaws and how do we respond to that? Oh, we write a few letters and protest; we dress up in animal costumes with picket signs and jump up and down; but if the rainforests of Amazonia and redwoods of California, were as, or had as much value to us as a chunk of old meteorite in Mecca, a decrepit old wall in Jerusalem or a piece of old marble in the Vatican, we would literally rip those pieces limb from limb for the act of blasphemy that we’re committing but we won’t do that because nature is an abstraction, wilderness is an abstraction. It has no value in our anthropocentric world where the only thing we value is that which is created by humans.”

Paul Watson (1950) Canadian environmental activist
Helena Bonham Carter photo

“No matter how many modern parts I do, people still refer to me as Mrs. Costume Drama.”

Helena Bonham Carter (1966) British actress

Los Angeles Magazine Vol. 44, No. 11 (November 1999), p. 96 http://www.edward-norton.org/fc/articles/boxinghelena.html

Benjamin Disraeli photo
Daniel Handler photo
Morrissey photo

“I know I've reached the stage where other artists would bleach their hair or buy a fancy costume, but, inexcusably, I can only be me, which is a full-time occupation and causes terrible backaches.”

Morrissey (1959) English singer

From "I’ll astonish you", interview by Len Brown, Details (March 1991).
In interviews etc., About himself and his work

Nicolas Chamfort photo
Richard Wagner photo
Abraham Lincoln photo
H.P. Lovecraft photo

“The negro is fundamentally the biological inferior of all White and even Mongolian races, and the Northern people must occasionally be reminded of the danger which they incur in admitting him too freely to the privileges of society and government. …The Birth of a Nation, … is said to furnish a remarkable insight into the methods of the Ku-Klux-Klan, that noble but much maligned band of Southerners who saved half of our country from destruction at the close of the Civil War. The Conservative has not yet witnessed the picture in question, but he has seen both in literary and dramatic form The Clansman, that stirring, though crude and melodramatic story by Rev. Thomas Dixon, Jr., on which The Birth of a Nation is based, and has likewise made a close historical study of the Klu-Klux-Klan, finding as a result of his research nothing but Honour, Chivalry, and Patriotism in the activities of the Invisible Empire. The Klan merely did for the people what the law refused to do, removing the ballot from unfit hands and restoring to the victims of political vindictiveness their natural rights. The alleged lawbreaking of the Klan was committed only by irresponsible miscreants who, after the dissolution of the Order by its Grand Wizard, Gen. Nathan Bedford Forrest, used its weird masks and terrifying costumes to veil their unorganised villainies.
Race prejudice is a gift of Nature, intended to preserve in purity the various divisions of mankind which the ages have evolved.”

H.P. Lovecraft (1890–1937) American author

Response to observations made in In A Minor Key by Charles D. Isaacson, in The Conservative, Vol. I, No. 2, (1915), p. 4
Non-Fiction

Abraham Lincoln photo
Hugh Laurie photo
Geoff Johns photo
Chuck Palahniuk photo
Jerry Seinfeld photo

“And that's when I realized, when you're a kid you don't need a costume, you ARE superman.”

Jerry Seinfeld (1954) American comedian and actor

Source: Halloween

Leo Rosten photo
Ram Dass photo
Emily Dickinson photo

“We outgrow love, like other things
And put it in the Drawer —
Till it an Antique fashion shows —
Like Costumes Grandsires wore.”

Emily Dickinson (1830–1886) American poet

887: We outgrow love, like other things
The Complete Poems of Emily Dickinson (1960)

Rachel Caine photo
John Boyne photo

“It reminds me of how grandmother always had the right costume for me to wear. You wear the right outfit and you feel like the person you're pretending to be.”

John Boyne (1971) Irish novelist, author of children's and youth fiction

Source: The Boy in the Striped Pajamas

Rick Riordan photo
Vytautas Juozapaitis photo
S. I. Hayakawa photo
Jonathan Stroud photo
Libba Bray photo
Pierre-Auguste Renoir photo
Anaïs Nin photo

“I see myself wrapped in lies, which do not seem to penetrate my soul, as if they are not really a part of me. They are like costumes.”

Anaïs Nin (1903–1977) writer of novels, short stories, and erotica

August 1932 Henry and June
Diary entries (1914 - 1974)

Marshall McLuhan photo
Rachel Maddow photo

“As you can tell, my Halloween costume this year is once again middle-aged lesbian pundit in cheap jacket. Boo.”

Rachel Maddow (1973) American journalist

The Rachel Maddow Show, MSNBC (October 31, 2012)

Menina Fortunato photo
Edward Hopper photo
George Eliot photo
Jean Cocteau photo

“Don’t for a moment believe He was killing the young; He was costuming angels.”

Jean Cocteau (1889–1963) French poet, novelist, dramatist, designer, boxing manager and filmmaker

Vogue (May 1984)

Bhakti Tirtha Swami photo
John Updike photo

“At last, small witches, goblins, hags,
And pirates armed with paper bags,
Their costumes hinged on safety pins,
Go haunt a night of pumpkin grins.”

John Updike (1932–2009) American novelist, poet, short story writer, art critic, and literary critic

October, A Child's Calendar (1965)

David Bowie photo
Alan Moore photo
Letitia Elizabeth Landon photo
Scott Lynch photo
Upton Sinclair photo
Herta Müller photo

“The world is not a costume ball”

Source: The Hunger Angel (2012), p. 5

Roger Ebert photo
C. Wright Mills photo
Francisco De Goya photo

“No recognition / Nadie se conoce' [Goya wrote on this plate no. 6:] The world is a masquerade, faces, costumes, voices, everything a lie. Each person wishes to appear what he is not. The whole world deceives itself, and no one recognizes himself.”

Francisco De Goya (1746–1828) Spanish painter and printmaker (1746–1828)

as quoted in Francisco Goya, Hugh Stokes, Herbert Jenkins Limited Publishers, London, 1914, pp. 355-377
Goya wrote this explanatory comment on the plate of Capricho no. 6
1790s

Joseph Gordon-Levitt photo
Sören Kierkegaard photo
Vytautas Juozapaitis photo
Sueton photo

“Nero watched the conflagration from the Tower of Maecenas, enraptured by what he called "the beauty of the flames"; then put on his tragedian's costume and sang The Sack of Ilium from beginning to end.”
Hoc incendium e turre Maecenatiana prospectans laetusque "flammae," ut aiebat, "pulchritudine" Halosin Ilii in illo suo scaenico habitu decantavit.

Source: The Twelve Caesars, Nero, Ch. 38

“[modern art is the story of certain peoples'] desire to get rid of what is dead in human experience, to get rid of concepts, whether aesthetic or metaphysical or ethical or social, that, being garbed in the costumes of the past, get in the way of their enjoyment.”

Robert Motherwell (1915–1991) American artist

Lecture at Mount Holyoke College, August 1944; later published as 'A Tour of the Sublime', in 'Tiger's Eye', 15 Dec. 1948; as cited in 'Robert Motherwell, American Painter and Printmaker' https://www.theartstory.org/artist-motherwell-robert-life-and-legacy.htm#writings_and_ideas_header, on 'Artstory'
1940s

Guillaume Apollinaire photo

“From this new alliance – for until now costume and scenery on one hand, choreography on the other, have been linked only artificially – there has resulted in Parade a kind of sur-réalisme.”

Guillaume Apollinaire (1880–1918) French poet

De cette alliance nouvelle, car jusqu'ici les décors et les costumes, d'une part, la choréographie, d'autre part, n'avaient entre eux qu'un lien factice, il est résulté, dans Parade, une sorte de sur-réalisme.
Excelsior, May 11, 1917; translation from Michael Benedikt & George E. Wellwarth (eds.) Modern French Theatre (New York: Dutton, 1964) p. xvii.
The first usage of the word surrealism in any language.

Rukmini Devi Arundale photo

“[Portraying Godzilla in the water] is the most dangerous part of my job. If I fell over, I could drown. I would never be able to get back up with the Godzilla costume on.”

Kenpachiro Satsuma (1947) Japanese actor

As quoted by David Milner, "Kenpachiro Satsuma Interview I" http://www.davmil.org/www.kaijuconversations.com/satsum.htm, Kaiju Conversations (December 1993)

James McNeill Whistler photo
Elizabeth Barrett Browning photo
Haruo Nakajima photo
Patrick Modiano photo
George William Curtis photo
William Burges photo

“Allowing, therefore, the great usefulness of the Government Schools, the Exhibitions, and the Museums both public and private, the question now arises as to what are the impediments to our future progress. The principal ones appear to me to be three.
# A want of a distinctive architecture, which is fatal to art generally.
# The want of a good costume, which is fatal to colour; and
# The want of a sufficient teaching of the figure, which is fatal to art in detail.
It will perhaps be as well to take these one by one.
The most fatal impediment of the three is undeniably the want of a distinctive architecture in the nineteenth century. Architecture is commonly called the mother of all the other arts, and these latter are all more or less affected by it in their details. In almost every age of the world except our own only one style of architecture has been in use, and consequently only one set of details. The designer had accordingly to master, 1. the figure, and the great principles of ornament; 2. those details of the architecture then practised which were necessary to his trade; and 3. the technical processes. Now what is the case in the present day? If we take a walk in the streets of London we may see at least half-a-dozen sorts of architecture, all with different details; and if we go to a museum we shall find specimens of the furniture, jewellery, &c., of these said different styles all beautifully classed and labelled. The student, instead of confining himself to one style as in former times, is expected to be master of all these said half-dozen, which is just as reasonable as asking him to write half-a-dozen poems in half-a-dozen languages, carefully preserving the idiomatic peculiarities of each. This we all know to be an impossibility, and the end is that our student, instead of thoroughly applying the principles of ornament to one style, is so bewildered by having the half-dozen on his hands, that he ends by knowing none of them as he ought to do. This is the case in almost every trade; and until the question of style gets gets settled, it is utterly hopeless to think about any great improvement in modern art.”

William Burges (1827–1881) English architect

Source: Art applied to industry: a series of lectures, 1865, p. 8-9; Partly cited in: Journal of the Royal Society of Arts. Vol. 99. 1951. p. 520

Johnny Weir photo

“If he doesn’t want to skate to music that’s pretty and wear a pretty costume, then go rollerblade or skateboard or do one of those extreme sports.”

Johnny Weir (1984) figure skater

About Evan Lysacek
"Figure Skating Rivalry Pits Athleticism Against Artistry," 2008

Orson Scott Card photo
Cormac McCarthy photo

“A legion of horribles, hundreds in number, half naked or clad in costumes attic or biblical or wardrobed out of a fevered dream with the skins of animals and silk finery and pieces of uniform still tracked with the blood of prior owners, coats of slain dragoons, frogged and braided cavalry jackets, one in a stovepipe hat and one with an umbrella and one in white stockings and a bloodstained weddingveil and some in headgear of cranefeathers or rawhide helmets that bore the horns of bull or buffalo and one in a pigeontailed coat worn backwards and otherwise naked and one in the armor of a spanish conquistador, the breastplate and pauldrons deeply dented with old blows of mace or saber done in another country by men whose very bones were dust and many with their braids spliced up with the hair of other beasts until they trailed upon the ground and their horses’ ears and tails worked with bits of brightly colored cloth and one whose horse’s whole head was painted crimson red and all the horsemen’s faces gaudy and grotesque with daubings like a company of mounted clowns, death hilarious, all howling in a barbarous tongue and riding down upon them like a horde from a hell more horrible yet than the brimstone land of Christian reckoning, screeching and yammering and clothed in smoke like those vaporous beings in regions beyond right knowing where the eye wanders and the lip jerks and drools.”

Source: Blood Meridian (1985), Chapter IV

Conor Oberst photo
Margaret Cho photo
Lee Meriwether photo
Amir Taheri photo

“It might come as a surprise to many, but the truth is that Islam today no longer has a living and evolving theology. In fact, with few exceptions, Islam’s last genuine theologians belong to the early part of the 19th century. Go to any mosque anywhere, whether it is in New York or Mecca, and you are more likely to hear a political sermon rather than a theological reflection. In the highly politicized version of Islam promoted by Da’esh, al Qaeda, the Khomeinists in Iran, the Taliban in Afghanistan and Boko Haram in Nigeria, God plays a cameo role at best. Deprived of its theological moorings, today’s Islam is a wayward vessel under the captaincy of ambitious adventurers leading it into sectarian feuds, wars and terrorism. Many, especially Muslims in Europe and North America, use it as a shibboleth defining identity and even ethnicity. A glance at Islam’s history in the past 200 years highlights the rapid fading of theologians. Today, Western scholars speak of Wahhabism as if that meant a theological school. In truth, Muhammad Abdul-Wahhabi was a political figure. His supposedly theological writings consist of nine pages denouncing worship at shrines of saints. Nineteenth-century “reformers” such as Jamaleddin Assadabadi and Rashid Rada were also more interested in politics than theology. The late Ayatollah Khomeini, sometimes regarded as a theologian, was in fact a politician wearing clerical costume. His grandson has collected more than 100,000 pages of his writings and speeches and poetry. Of these, only 11 pages, commenting on the first and shortest verse of the Koran, could be regarded as dabbling in theology, albeit not with great success.”

Amir Taheri (1942) Iranian journalist

"The mad dream of a dead empire that unites Islamic rebels" http://nypost.com/2014/06/14/the-mad-dream-of-a-dead-empire-that-unites-islamic-rebels/, New York Post (June 14, 2014).
New York Post

William Burges photo
Haruo Nakajima photo
F. Scott Fitzgerald photo
Ambrose Bierce photo
Peter Gabriel photo

“Dressing up in costumes, playing silly games
Hiding out in tree-tops shouting out rude names
— whistling tunes we hide in the dunes by the seaside
— whistling tunes we piss on the goons in the jungle.
It’s a knockout.”

Peter Gabriel (1950) English singer-songwriter, record producer and humanitarian

Games Without Frontiers
Song lyrics, Peter Gabriel (III) (1980)

Eugène Delacroix photo

“Mythological subjects always new. Modern subjects difficult because of the absence of the nude and the wretchedness of modern costume.”

Eugène Delacroix (1798–1863) French painter

13 January 1857 (p. 338)
1831 - 1863, Delacroix' 'Journal' (1847 – 1863)

Walter Benjamin photo

“Things are only mannequins and even the great world-historical events are only costumes beneath which they exchange glances with nothingness.”

Walter Benjamin (1892–1940) German literary critic, philosopher and social critic (1892-1940)

Protocols to the Experiments on Hashish, Opium and Mescaline (1927-1934)

Mahatma Gandhi photo
Rani Mukerji photo
William Burges photo

“We have no architecture to work from at all; indeed, we have not even settled the point de depart… our art… is domestic, and… the best way of advancing its progress is to do our best in our own houses… if we once manage to obtain a large amount of art and colour in our sitting-rooms… the improvement may gradually extend to our costume, and perhaps eventually to the architecture of our houses.”

William Burges (1827–1881) English architect

Source: Art applied to industry: a series of lectures, 1865, p. 91-92; Cited in: "William Burges 1827-1881 London Architect" in: In Pursuit of Beauty: Americans and the Aesthetic Movement http://books.google.com/books?id=56F8Qv96FzwC&pg=PA406. Metropolitan Museum of Art, 1 jan. 1986. p. 405

David Fincher photo
Theodor Mommsen photo

“.. As Salmanezer and Nebuchadnezzar had formerly carried the Jews to Babylon, so now from all the frontier provinces of the new kingdom (of Armenia) - from Corduene, Adiabene, Assyria, Cilicia, Cappadocia - the inhabitants, especially the Greek or half-Greek citizens of the towns, were compelled to settle with their whole goods and chattels in the new capital, one of those gigantic cities proclaiming rather the nothingness of the people than the greatness of the rulers, which sprang up in the countries of the Euphrates on every change in the supreme sovereignty at the fiat of the new grant Sultan. the new 'city of Tigranes", Tigranocerta, situated in in the most southern province of Armenia, not far from the Mesopotamian frontier, was a city like Nineveh and Babylon, with walls fifty yards high, and the appendages of palace, garden and park that were appropriate to sultanism In other respects, too, the new great king proved faithful to his part. As amidst the perpetual childhood of the East the childlike conceptions of kings with real crowns on their heads have never disappeared, Tigranes, when he showed himself in public, appeared in the state and costume of a successor of Darius and Xerxes, with the purple fagtan, the half white half-purple tunic, the long plaited trousers, the high turban, and the royal diadem - attended moreover and served in slavish fashion, wherever he went or stoood, by four "kings."”

Theodor Mommsen (1817–1903) German classical scholar, historian, jurist, journalist, politician, archaeologist and writer

Vol. 4, Part: 1. Chapter 2 Pg. 47 - "Rule of the Sullan Restoration" Translated by W.P. Dickson.
The History of Rome - Volume 4: Part 1

Hugo Ball photo
James Hudson Taylor photo

“We wish to see churches and Christian Chinese presided over by pastors and officers of their own countrymen, worshipping the true God in the land of their fathers, in the costume of their fathers, in their own tongue wherein they were born, and in edifices of a thoroughly Chinese style of architecture.”

James Hudson Taylor (1832–1905) Missionary in China

(A.J. Broomhall. Hudson Taylor and China’s Open Century, Book Four: Survivors’ Pact. London: Hodder and Stoughton and Overseas Missionary Fellowship, 1984, 356).

Jeff Morrow photo
L. Frank Baum photo

“The scenery and costumes of 'The Wizard of Oz' were all made in New York — Mr. Mitchell was a New York favorite, but the author was undoubtedly a Chicagoan, and therefore a legitimate butt for the shafts of criticism. So the critics highly praised the Poppy scene, the Kansas cyclone, the Scarecrow and the Tin Woodman, but declared the libretto was very bad and teemed with 'wild and woolly western puns and forced gags.' Now, all that I claim in the libretto of 'The Wizard of Oz' is the creation of the characters of the Scarecrow and the Tin Woodman, the story of their search for brains and a heart, and the scenic effects of the Poppy Field and the cyclone. These were a part of my published fairy tale, as thousands of readers well know. I have published fifteen books of fairy tales, which may be found in all prominent public and school libraries, and they are entirely free, I believe, from the broad jokes the New York critics condemn in the extravaganza, and which, the New York people are now laughing over. In my original manuscript of the play were no 'gags' nor puns whatever. But Mr. Hamlin stated positively that no stage production could succeed without that accepted brand of humor, and as I knew I was wholly incompetent to write those 'comic paper side-splitters' I employed one of the foremost New York 'tinkerers' of plays to write into my manuscript these same jokes that are now declared 'wild and woolly' and 'smacking of Chicago humor.' If the New York critics only knew it, they are praising a Chicago author for the creation of the scenic effects and characters entirely new to the stage, and condemning a well-known New York dramatist for a brand of humor that is palpably peculiar to Puck and Judge. I am amused whenever a New York reviewer attacks the libretto of 'The Wizard of Oz' because it 'comes from Chicago.”

L. Frank Baum (1856–1919) Children's writer, editor, journalist, screenwriter

Letter to "Music and the Drama", The Chicago Record-Herald (3 February 1903)
Letters and essays

Ambrose Bierce photo
Amanda Lear photo

“People only know me as a celebrity and don't realize how much more important art is to me than makeup and set costumes. Show business pays the rent, but painting is my only true passion, so I define myself as a painter who works in show business. Art is a kind of therapy to me, thanks to which I can interpret my feelings. An empty canvas before my eyes is synonymous with the absolute freedom of expression.”

Amanda Lear (1939) singer, lyricist, composer, painter, television presenter, actress, model

http://www.eventiesagre.it/Eventi_Mostre/18010_Sogni+Miti+Colori.html, Eventi Mostre. Sogni Miti Colori 07/06/2008-30/06/2008 Pietrasanta (LU), Toscana, www.eventiesagre.it, Italian, 28 February 2013