"Either it works or it doesn't"
About this Quote
Brutal in its simplicity, "Either it works or it doesn't" is Isaac Mizrahi’s little guillotine for creative indecision. It sounds like a shrug, but it’s really a philosophy of taste dressed up as practicality: no committee-speak, no overexplaining, no hiding behind a mood board. Fashion is one of the few public arts where the verdict arrives immediately and bodily. The garment meets a real person, a real mirror, a real room. If the line is off, if the proportion lies, if the energy doesn’t land, the audience doesn’t need theory to sense it.
The intent is decisiveness. Mizrahi is arguing for edit culture: the courage to kill a look, a joke, a silhouette, a whole collection idea, even if you love the concept. Subtextually, it’s also a defense mechanism against the preciousness that haunts creative industries. Designers are pressured to narrate every choice as meaningful, ethical, referential, disruptive. Mizrahi’s binary cuts through that: the body doesn’t care about your artist statement.
Context matters because Mizrahi is both insider and entertainer - a designer fluent in runway drama and in the realities of selling clothes. His line reflects fashion’s constant negotiation between fantasy and function, taste and commerce. It also hints at a democratic truth: you can’t bully people into believing something looks good. The work either convinces, or it doesn’t.
The intent is decisiveness. Mizrahi is arguing for edit culture: the courage to kill a look, a joke, a silhouette, a whole collection idea, even if you love the concept. Subtextually, it’s also a defense mechanism against the preciousness that haunts creative industries. Designers are pressured to narrate every choice as meaningful, ethical, referential, disruptive. Mizrahi’s binary cuts through that: the body doesn’t care about your artist statement.
Context matters because Mizrahi is both insider and entertainer - a designer fluent in runway drama and in the realities of selling clothes. His line reflects fashion’s constant negotiation between fantasy and function, taste and commerce. It also hints at a democratic truth: you can’t bully people into believing something looks good. The work either convinces, or it doesn’t.
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