Words matter. These are the best Christine and the Queens Quotes, and they’re great for sharing with your friends.
That’s pretty much how I feel on stage, like I can let go of all kinds of baggage, or even disappear and change outfits. I want to remind people that they can grant themselves the license to do the same.
I think, from the beginning, I was healed and inspired by queer culture, and Christine and the Queens, as an idea from the beginning, is queer because it questions the norm.
If I want to say I’m a man for three minutes, then be it: I’m a man for three minutes.
No matter what you eventually become – free, empowered – the lingering feeling of ‘once an outsider, always an outsider’ is very vivid for me.
I love funny women.
I’m kind of an obsessive person, and touring is repetitive in the best way.
There’s a lack of ambition in politics in terms of what we expect from the government, what it means to have a state.
The first album was a coming-of-age album – I don’t like the phrase, but when you listen to it, you can tell I was having a hard time, that I wasn’t socially relating to people.
My words are my sword.
I love the idea of constantly altering yourself.
For me, everything is a performance.
For me, the male gaze is oppressive. And I hope if we are building a female gaze that it’s inclusive, and it’s about pure desire and not how I want people to look in order for them to be desired by me.
The way I dress definitely helps me embody and actually change my way of behaving and feel more confident.
I wanted ‘Comme si’ to immediately indicate that something changed in my life, mainly because I became the hero of my own desires instead of just dreaming about them.
I wish I could change bodies and destinies.
I’ve always been the one who is more enthusiastic about Christmas than my family. I regress to a child state, chanting carols.
The character I’ve created, Christine, is mainly the first attempt for me to escape all the secret injunctions we have as girls all the time. Like, be pretty but be polite. Don’t take too much space. All those things that didn’t mean anything to me. I just decided to turn them around with my character.
I’m kind of obsessed with Bruce Springsteen – the T-shirt and jeans look for me is appealing. Prince was great as well. He designed all of his outfits himself and looked exactly how he wanted to look. He was in complete control of his image.
I use Twitter to be my best self: fun, dateable. I don’t get paranoid with Twitter, only in real life. I write so I feel comfortable, not speaking.
I love sensual women like Beyonce who are very empowering and sexy at the same time, but if it’s not what you want to do then you have to say no.
I always wanted to be Romeo, not Juliet. Romeo is a much cooler way to be – Juliet’s just up in a balcony, waiting.
I love people that are question marks. I love people that don’t have answers and are just trying to cope with it. I love people that just don’t tick boxes. There is a grace in them I can’t really find elsewhere.
Basically, when I like a song, I have to dance.
Gendered performance is just constant theater.
I remember growing up and feeling all the time not pretty enough, too rude, too loud, taking too much space because precisely I wanted to maybe be bossy and loud and unapologetic and not really smooth all the time, and those were not really qualities that were valued for me.
I invented ‘Christine’ as a survival technique to deal with many things. I felt it would save me.
I’m just drawn to hands.
Festivals are happy places, and you don’t really want to enjoy them on your own.
Sometimes, in my adult life, I have memories of when I was young and really scared of being too close to people.
I think ‘Chris’ is way more about that, about living desire as a force of chaos and about reveling in that chaos.
No one can escape politics. We are all in it. Even if we shy away from it, I just decide to embrace it. And I try to be an ally for other fights.
Before I created Christine, I was actually really girly. Maybe I was trying to hide something, but I was trying too hard to be a girl, and I didn’t know what it meant. I was afraid of being myself.
Every masculine hero narrative I could find I wanted to steal for myself and twist to my size.
Christine was me wanting to break free. I was tired of being prissy and shrinking and apologising all of the time, so I created a character that could be daring for me.
The success of the first album was almost an anomaly, and it could remain a fantastic anomaly. It was not crafted for commercial success. I remember meetings with my label saying it had no radio singles. For me, the second album was a gesture of independence.
I’m kind of resistant to being told no, not being wanted. It fills me with energy.
I always knew I wanted to be a woman in men’s clothing because I just feel good like that. I feel like I’m taking a different space: I move differently; I’m more at ease.
Tapping into a more masculine, macho culture, I got in touch with my femininity, but differently. Macho culture is also pride of the body and showing it off – a relationship to theatricality, to construction. It’s about owning your narrative again.
Dancing, for me, is like a second language. It’s the best way for me to get out of my shell and be expressive in a very personal way.
I love when I dive into lyrics that give me human complexity and intricate narrative.
I enjoy this confusion. Heloise? Christine? Chris? Maybe I will be called C at some point.
I’m terrified of dying because of everything being too unfinished. I would be happy being a ghost.
Sometimes when I travel, I like to find things that relate to where I am.
In theater, what I loved were wordless plays and working in silence.