Quotes About Expression

I am the woman with the cool vintage glasses... I am the proud wife beside her husband... I am the writer who has written a new novel.

I'm tall with broad shoulders, and therefore, I like clothes with a bit of a swagger - mannish clothes that you can wear with a lot of feminine, sweet tops. I put my own looks together - a favourite coat, a bit of vintage, a bit of high street.

I like to wear short-sleeved collared shirts and high-waist trousers with shiny shoes. And at night, when I'm playing, I'll often wear suits. But it started with my uncle's vintage clothes.

I still wear my trousers baggy as I did in my teens. But in a different way. I've loved trainers since my youth - limited edition, vintage, whatever. You could recognise people and judge their character through their trainers. I'm a Nike man.

I often enjoy wearing loud and outspoken clothing on stage, so off it, I usually wear loose-fitting vintage shirts, jeans, or track suits I've had forever. I just add styling to those pieces.

I love vintage cowboy boots, and some days I'm into platform stilettos encrusted in jewels. It's really all over the place.

Don't be afraid to mix things up by pairing a military-style jacket with a velvet skirt, vintage with modern, off-the-rack with couture, formal with casual.

I was preppy, then suddenly switched around age 14. I asked my mother to go to this vintage store, and she let me buy a leopard swing coat, pink cigarette pants, and lime-green gloves.

When it comes to a vintage store, we're not concerned with men's or women's. I want you to treat it like no other store. Just find stuff that you love and go for that.

My style changes constantly, but I always love a baggy, ripped-up vintage jean with combat boots and a button-up shirt.

90% of my clothes are from vintage stores. It's not about where you buy but how you look.

I like to pick one piece that pops against everything else. I like flashy shirts, or I'll wear a simple shirt with a fancy tie. I also like vintage pieces, more stand-out ones.

When I feel down I put on my most bonkers vintage dress and it always cheers me up. The way we dress is an expression of who we are, and I use clothes to let people know that I don't care about fitting in.

Keith Moon was amazing as a drummer, but he was also a nut, and it reflected in his drumming. And the great thing about Who records is that you can almost get hold of the vinyl and feel his heart.

My parents let me get my outfit in the gayest place possible, the 'International Male Catalog.' They sold mostly speedos and thongs and clubwear, and I was like, I'm getting that sheer shirt with the dragon on it, and then those vinyl patent leather pants and the cheetah platform boots.

The whole point of an album is to understand the artist and enjoy the music - it's supposed to make you want to go to a concert to see them in the flesh and get the album on vinyl and be a part of everything. That's what I'm about.

My mother and father are very involved with music. It's completely part of their soul. They have an incredible record collection, all vinyl, of some of the best artists, in my eyes, that you can come across.

I always go back to old vinyl albums I loved, and that's sort of the aim I had with 'Hero' - just to make it look classic and feel like me, but also timeless in a way.

I'm really nervous about coming off as exclusive or elitist. At the same time, I recognize that when I put out vinyl or an expensive coffee table book not everyone can afford it or listen to it.

The more of what our music does violates the premise of its format that it's presented in, the better. So, hearing our music in the supermarket, a Muzak version, is great.

It's the Spanish state which should say sorry for violating the right to protest and freedom of expression.

I think for writers, I think it's really important to court eviction from your tribe: to expose things and to wake people up. And so I think that that can feel like a violation to the people you love the most.

When language fails, violence becomes a language; I never had that feeling.

I want to gesture toward a poetry of ourselves and others under the conditions of twenty-first-century absolutism, making us dimensional in a time when the human concrete is continually erased by state and religious violence and by disingenuous jargon serving state power.