Quotes of All Topics . Occasions . Authors
'Vogue' and 'Vice' may appear to some to see the world through different lenses. But in my view, both are fearless and breathtaking, with unquenchable curiosity and vigor.
I’m very driven by what I do. I am certainly very competitive. I like people who represent the best at what they do. If that turns you into a perfectionist then maybe I am.
I think it's very important for children to understand that women work and that it's fulfilling, and it doesn't mean that they love you any less or care about you any less.
I am very lucky in my team. They sit opposite me, and I get to see them every day sitting there staring at the seating chart, not doing much. It is almost like a chess game.
In the end I do respond to my own instincts. Sometimes they're successful, and obviously sometimes they're not. But you have to, I think, remain true to what you believe in.
I think we're living, in terms of media, in a very democratic age, but I think that we still look at everything through the lens of 'Vogue' and through our own point of view.
Everyone should get sacked at least once. It forces you to look at yourself... It is important to have setbacks, because that is the reality of life. Perfection doesn't exist.
I think I'm decisive, and I like to get things done quickly. So if that comes across as intimidation, I'm sorry to hear it. But it's more in the interest of getting things done.
I'm very driven by what I do. I am certainly very competitive. I like people who represent the best at what they do, and if that turns you into a perfectionist, then maybe I am.
Models today, she explained, don't understand that to be successful you have to have a personality, intelligence, and issues that you support, and Gisele embodies these qualities.
My career got off to a very shaky start when I dropped out of school at the age of 18. Despite my lack of academic credentials, I got a job as a fashion assistant at 'Harper's & Queen.'
I think everyone in the United States has such admiration for the British royal family, and with the Duke and Duchess of Cambridge, there's a whole new interest in the younger generation.
Trump's foundation has done nothing. Its board is packed with relatives, and he's going to use his presidency to sell himself and his brand and profit personally for himself and his family.
I was brought up in a family of journalists, and a mother who was deeply committed to human rights, so I think that the mix of those two huge influences have been very, very important to me.
I think Beyonce is every woman. She's superwoman, she's an extraordinary business woman, she's a force of fashion. She totally understands the way to communicate to millions and millions of fans.
Print publications have to be as luxurious an experience as possible. You have to feel it coming off the page. You have to see photographs and pieces that you couldn't possibly see anywhere else.
It's not so much about powerful women. In some cases, there are stereotypes about women. I often don't hear men talked about in the same way. It's more a sexist stereotype than a powerful stereotype.
I don't think in today's world you can go too far. However you may feel about social media or the Internet or selfies, it's part of how we all live today. 'Vogue' needs to understand and reflect that.
It's possible in today's world to be instantly famous, whether it's through Instagram or whatever platform it may be, but it's a very different matter to be successful financially and in the long-term
By the time I came to the States, I really understood how a magazine works. I came to 'Vogue' as creative director, and three years later I went back to London to be editor in chief of British 'Vogue.'
Of course it would be wonderful for Hillary Clinton to be the first female president, but I think she would be the first to say that she wouldn't want people to vote for her just because she's a woman.
In 1986, I returned to London as editor in chief of 'British Vogue.' Although I still thought of myself as totally English, to my surprise, everyone here thought I was some sort of American control freak.
My first job in the States was as a junior fashion editor at 'Harper's Bazaar,' which I enjoyed, but not for all that long because I was fired by the editor in chief, who told me that I was too 'European.'
My father was a newspaper editor, so I was surrounded by journalists my entire life. I think the fact that he was so well known may be why I chose to go into magazines and move to the States at a young age.
Go get a job. Whether it’s working as a designer or working in a restaurant and then doing your own thing in your own time, it’s a reality of life. In the end it’s going to be helpful to you and so many others.
I don't think I am that hands-on. I'm much more of a believer in finding a great team of people and trusting them to follow their instincts. They work better when they feel they have freedom and they are trusted.
People constantly make the mistake of comparing London with New York, Milan and Paris and that's not what it's about. London has its own fashion identity. You come here to find the next Alexander McQueen or John Galliano.
There are so many causes that you care about, but one can't change or take on the world, so one has to really focus on where you feel you can - to use a very overworked phrase - truly try to do something to make a difference.
Create your own individual style. I'm not interested in the girl who walks into my office in a HEAD-to-TOE LABEL look that's straight off the runway. I'm interested in a Girl who puts herself together in an ORIGINAL INDEPENDENT Way
I can't make anything. I don't know how to make a dress. I couldn't go on a shoot and create an image. I can't write a script. I have so much admiration for people who can do these things, because I would have no idea where to start.
I'm very good at delegating - people work much better when they have a real sense of responsibility. But at the same time, I don't like surprises. I don't pore over every shoot, but I do like to be aware at all times of what's going on.
In today's world you have to interact. You can't be some difficult, shy person who is not able to look somebody in the face; you have to present yourself. You have to know how to talk about your vision, your focus and what you believe in.
I'm always looking for a cover subject that reflects the magazine, an interest in fashion, in culture, in society. We're trying to bring the world into the pages of 'Vogue.' We do that by tapping into the zeitgeists with our cover subjects.
I'd always been extremely fascinated by the French Nuit Blanche, which is a weekend that they have in Paris where they keep all the museums open until dawn. You can go and hang out in Versailles in the middle of the night and watch the sun come up.
It would be ridiculous to ignore the speed and possibilities of the digital landscape - you absolutely need to have fast-moving news online, but if you want to build a large audience over time, you absolutely have to take a risk on the big challenging stuff.
I think possibly what people working for one hate the most is indecision. Even if I'm completely unsure, I'll pretend I know exactly what I'm talking about and make a decision. The most important thing I can do is try and make myself very clearly understood.
In the fact that 'Vogue' is someone that can help guide enormous audiences through this fascinating world, I would like to think we are as influential and actually are now reaching so many more people than we ever dreamt of back in the Fifties or the Sixties.
Previous first ladies seemed to feel the need to wear a sort of uniform, whereas Michelle Obama likes fashion and is very comfortable in fashion. She's happy to mix high and low, and she loves emerging designers. That will do nothing but good for our industry.
Certainly we have made mistakes, but you try and learn from your mistakes. And the most important thing is always to move forward and, I think, empower people to do their best, and to lead. I think people respect that and work better under those circumstances.
I hear the same anxieties over and over again. Everything is too fast; everything is too precarious. We have more access than ever to the people we are trying to reach, thanks to social media and mobile technology, and more information than we know what to do with.
Part of the pleasure of editing 'Vogue,' one that lies in a long tradition of this magazine, is being able to feature those who define the culture at any given moment, who stir things up, whose presence in the world shapes the way it looks and influences the way we see it.
One doesn't want fashion to look ridiculous, silly, or out of step with the times - but you do want designers that make you think, that make you look at fashion differently. That's how fashion changes. If it doesn't change, it's not looking forward. And that's important to me.
It is important always to have really original talent. There are lots of good designers that make attractive clothes and make women look beautiful. But at the same time, one doesn't want to lose the idea that there is someone out there who can change the way you look at fashion.
I've been very lucky to put women that I sincerely admire on the cover of 'Vogue:' the then First Lady and now Secretary of State Hillary Clinton and, more recently, First Lady Michelle Obama. Those were benchmarks for the magazine, and certainly covers that I've been very, very proud of.
I want 'Vogue' to be pacy, sharp, and sexy - I'm not interested in the super-rich or infinitely leisured. I want our readers to be energetic executive women, with money of their own and a wide range of interests. There is a new kind of woman out there. She's interested in business and money.
I don't feel that Chinese designers have reached the level of prominence that European or American designers have, but we've noticed in fashion schools in the U.S. and in England and we've seen how much the makeup of the students in the classes have changed there in the last five to 10 years.
I look for strong people. I don't like people who'll say yes to everything I might bring up. I want people who can argue and disagree and have a point of view that's reflected in the magazine. My dad believed in the cult of personality. He brought great writers and columnists to The Standard.
I look for strong people. I don't like people who'll say yes to everything I might bring up. I want people who can argue and disagree and have a point of view that's reflected in the magazine. My dad believed in the cult of personality. He brought great writers and columnists to 'The Standard.'
Because of reality television and all these celebrities thinking they can be designers, everyone imagines that they can just become a designer, photographer, or model, but that's not the way things work. People have to go to school, learn their craft, and build a brand - that's the right, healthy way to do things.
I saw young women in the street dressing in a way that I thought was influencing the designers. Fashion was being influenced by all sorts of different people, and culture and also across the street. So I saw more as a trickle up, than a trickle down influence. When I came to Vogue, that's what I wanted it to reflect.