Yes, I was on the cover of 'Vogue,' but girls on the cover of 'Vogue' are the most scared of rejection. Models are the most insecure of them all. Actually, actors and actresses are, and then musicians, and then models!
I never was interested in being part of the fashion world - I just wanted to design shoes. I didn't even know 'Vogue' existed when I was growing up. 'Vogue,' what is that?'
There are so many startups out there raising money. I don't think this is a bad thing. It's a good thing. Entrepreneurship is in vogue. Innovators are innovating. Makers are making.
So many women just don't know how great they really are. They come to us all vogue outside and vague on the inside.
'Teen Vogue' fortunately has proved you can have smart, political, and fashionable content delivered in one place, and you don't have to choose.
I am thrilled to become international 'Vogue' editor at Conde Nast International, which has a real commitment to journalistic excellence, and to have the opportunity to write for a wider global audience through the 'Vogue' websites.
Joe Klein is the flower of American political journalism, a sharp raconteur who shows traces of the gonzo style that was in vogue when he was honing his craft at Rolling Stone back in the day.
I'm known for fashion photographs, but fashion photographs were mostly a joke for me. In 'Vogue,' girls were playing at being duchesses, but they were actually from Flatbush, Brooklyn. They would play duchesses, and I would play Cecil Beaton.
I would like just one time to be on the cover of Italian Vogue.
My neighborhood now is all 21-year-old European supermodels. I go to the international newsstand on the corner, and they're all looking for their pictures in 'Italian Vogue.'
All I did my first year at Vogue was Xerox.
The idea was to study fertilization in as many different phyla and organisms as possible, using the simplest possible equipment and a microscope. Biochemical approaches were not much in vogue, and running gels impossible at first.
There was a time when idealistic folksingers such as myself believed that Reality TV was a programming vogue that would peak and recede, leaving only its hardiest show-offs. Instead, it has metastasized like toxic mold, filling every nook and opening new crannies.
My obsession with accumulation, which at times has taken on the whisper of a psychic illness - as anyone who has experienced the ode to the Collyer brothers that is my 'Vogue' office will concur - began in infancy.
The thing is that any sophistication I have, aesthetically, comes from 'Vogue' and 'Harper's Bazaar.' In the '60s, I never missed an issue, even if I had to steal to get them.
As a kid, I collected 'Vogue' every month for three years.
I was a fashion editor for years in London before I came to 'Vogue,' and I spent my life arranging the folds of a ball gown skirt for a picture and pinning fabric and using all those stylist tricks. And you don't have to do that now because they can do it in Photoshop.
People always associated me with 'Vogue,' 'Vogue Living,' or 'Elle Decor.'
Even with the beauty stories we put out, we saw there was an opportunity to address issues of representation, identity, self-expression. We created the community that we wanted to have at 'Teen Vogue.' We were willing to lose some to have more.
Being acknowledged by 'Vogue' and invited to do 'Today I'm Wearing' was a really great moment for me, and the photo diary of my outfits was a really fun thing to do.
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.
To be in 'Vogue' has to mean something. It's an endorsement. It's a validation.
I had this vague notion that one day I might be editor of 'Vogue China.' It was a bizarre ambition, as I didn't speak a word of Chinese. There were flaws in my plan, admittedly.
I grew up in New York, and I've always been surrounded by fashion. My grandmother used to write for 'Vogue' in the '50s, and my mother was a dancer and a model.
On 'America's Next Top Model,' I mentor girls on television. When that TV goes off, I actually mentor other girls in the modeling industry - girls that have not been on 'Top Model,' but who appear in 'Vogue' worldwide.
When I was kid, I remember playing 'Vogue' by Madonna over and over and over again. And ah, you know, something about the beat was really cool, and Madonna, visually, was on TV all the time and I thought she was just so beautiful.
I was getting a lot of editorial, as in lots of pages in 'Vogue,' but it's far more important to get your dresses on the back of a famous person. Charlotte Rampling in Bruce Oldfield. That sells.
I didn't even know 'Vogue' existed when I was growing up.
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.
'Vogue' is a very beautiful magazine, an institution, and I learned so much working there.
When I made 'Polly Maggoo,' it was more or less the end of this collaboration with 'Vogue' because I made a caricature of the editor-in-chief and the fashion people, so they didn't really adore me.
When I left French 'Vogue,' New York welcomed me with a big, big hug.
I said to my mother, 'When you see my name in 'Vogue,' I will have arrived.'
I was doing the 'Vogue' fashion awards when I was 16, live on VH1. I was coming down the steps, and I'm a really hard walker. I hadn't had a mistake yet in my career. Everything had been perfect. So I come down the steps on live TV, and I slip. I didn't fall, but you could see the look on my face. I was mortified. I was devastated.
I first thought about doing a project about Anna Wintour and 'Vogue' when I read an article in 'New York Magazine' about the Metropolitan Museum Costume Institute Ball, the annual fundraising gala that Anna oversees. It created such a fascinating portrait that I couldn't help but be compelled.
Liberman said to me, 'I must cut back on the work you do for Vogue. The editors don't like it. They say the photographs burn on the page . After some years, I began to understand that what they wanted of me was simply a nice, sweet, clean-looking image of a lovely young woman.
