Mix And Match Fashion Quotes

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Like it or not, it's the society we live in. Even the standard of right and wrong has been subdivided, made sophisticated. Within good, there's fashionable good and unfashionable good, and ditto for bad. Within fashionable good, there's formal and then there's casual; there's hip, there's cool, there's trendy, there's snobbish. Mix 'n' match.
Haruki Murakami (Dance Dance Dance)
Latter-day capitalism. Like it or not, it's the society we live in. Even the standard of right and wrong has been subdi-vided, made sophisticated. Within good, there's fashionable good and unfash-ionable good, and ditto for bad. Within fashionable good, there's formal and then there's casual; there's hip, there's cool, there's trendy, there's snobbish. Mix 'n' match. Like pulling on a Missoni sweater over Trussardi slacks and Pollini shoes, you can now enjoy hybrid styles of morality. It's the way of the world—philosophy starting to look more and more like business administration. Although I didn't think so at the time, things were a lot simpler in 1969. All you had to do to express yourself was throw rocks at riot police. But with today's sophistication, who's in a position to throw rocks? Who's going to brave what tear gas? C'mon, that's the way it is. Everything is rigged, tied into that massive capital web, and beyond this web there's another web. Nobody's going anywhere. You throw a rock and it'll come right back at you.
Haruki Murakami (Dance Dance Dance)
Latter-day capitalism. Like it or not, it's the society we live in. Even the standard of right and wrong has been subdivided, made sophisticated. Within good, there's fashionable good and unfashionable good, and ditto for bad. Within fashionable good, there's formal and then there's casual; there's hip, there's cool, there's trendy, there's snobbish. Mix 'n' match. Like pulling on a Missoni sweater over Trussardi slacks and Pollini shoes, you can now enjoy hybrid styles of morality. It's the way of the world -- philosophy starting to look more and more like business administration.
Haruki Murakami (Dance Dance Dance)
I gesture to his jacket. “Do you really think you’re qualified to give fashion advice?” He laughs, rubbing the back of his neck. “I thought I looked like an absolute tool—now I’m sure of it.” “Did the producers pick that out for you?” “Yes. I’m supposed to ride down to the castle on horseback. Make my grand entrance.” Briskly, his long fingers unbutton the jacket. He shrugs it off, dropping it on the ground, revealing a snug white T-shirt and gloriously sculpted arms. “Better?” “Yes,” I squeak. The teasing smirk comes back, then he grips the back of his T-shirt, pulling it off. And my mouth falls open at the sight of warm skin, perfect brown nipples, and the ridges and swells of muscles up and down his torso. “What do you think of this?” he asks. I think this is worse than I thought. Henry Pembrook isn’t a Fiyero—he’s a Willoughby. A John Willoughby from Sense and Sensibility—thrilling, charming, unpredictable, and seductive. Marianne Dashwood learned the hard way that if you play with a heartbreaker, you can’t be surprised when your heart gets shattered into a thousand pieces. I shrug, trying to seem cool and unaffected. “Might look a bit too ‘Putin’ on the horse.” He nods, then puts his shirt back on, and my stomach swirls with a strange mix of relief and disappointment.
Emma Chase (Royally Matched (Royally, #2))
Like it or not, it's the society we live in. Even the standard of right and wrong has been subdi-vided, made sophisticated. Within good, there's fashionable good and unfashionable good, and ditto for bad. Within fashionable good, there's formal and then there's casual; there's hip, there's cool, there's trendy, there's snobbish. Mix 'n' match. Like pulling on a Missoni sweater over Trussardi slacks and Pollini shoes, you can now enjoy hybrid styles of morality.
Haruki Murakami (Dance Dance Dance)
If you’re assuming that my plans to leave are nothing more than a reaction to Miss Hathaway … I’ve been considering this for a long time. I’m not an idiot. Nor am I inexperienced with women.” “To say the least,” St. Vincent commented dryly. “But in your pursuit of women—or perhaps I should say their pursuit of you—you seem to have regarded them all as interchangeable. Until now. If you are taken with this Hathaway creature, don’t you think it bears investigating?” “God, no. There’s only one thing it could lead to.” “Marriage,” the viscount said rather than asked. “Yes. And that’s impossible.” “Why?” The fact that they were discussing Amelia Hathaway and the subject of marriage was enough to make Cam blanch in discomfort. “I’m not the marrying kind—” St. Vincent snorted. “No man is. Marriage is a female invention.” “—but even if I were so inclined,” Cam continued, “I’m a Roma. I wouldn’t do that to her.” There was no need to elucidate. Decent gadjis didn’t marry Gypsies. His blood was mixed, and even though Amelia herself might harbor no prejudices, the routine discriminations Cam encountered would certainly extend to his wife and children. And if that wasn’t bad enough, his own people would be even more disapproving of the match. Gadje Gadjensa, Rom Romensa … Gadje with Gadje, Roma with Roma. “What if your heritage made no difference to her?” Westcliff asked quietly. “That’s not the point. It’s how others would view her.” Seeing that the older man was about to argue, Cam murmured, “Tell me, would either of you wish your daughter to marry a Gypsy?” In the face of their discomforted silence, he smiled without amusement. After a moment, Westcliff stubbed out his cigar in a deliberate, methodical fashion. “Obviously you’ve made up your mind. Further debate would be pointless.
Lisa Kleypas (Mine Till Midnight (The Hathaways, #1))
EMERGENCY PLAN First we decided where to meet. The fire was coming and I knew what we would need: flashlights, water, condoms, and a shot of our imaginary son. Only, what we used to call our peeping birds startled me into starting days long before the city bus commenced its run. That’s when I knew we hadn’t done enough in case the sky fell while I was driving, and I packed a pair of panties, matches, some aspirin in the trunk. I secreted trail mix, shekels, and seed to plant after the revolution was over and done, I made sure we remembered where we planned to mee, taught us to swim in case we came near water when it decided to flood. But those damned birds with their nesting scattered on the patio were eventually the most reliable alarm, and, only to level the threat, I fashioned a carryall from the pillowcase I no longer slept on. I filled it: tinned meat and crackers, chocolate, a little musk so I can recall how we smelled before this end was begun.
Camille T. Dungy (Smith Blue (Crab Orchard Series in Poetry))
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