Quotes About Vogue

I have two pairs of Louboutins, in black and nude, which go with absolutely everything. They were very expensive, but I love them and I wear them all the time.

My 'Vogue' is about being inclusive; it's about diversity. Showing different women, different body shapes, different races, class. To be tackling gender.

People hate politicians, it's really in vogue right now to hate politicians, but we need someone to lead us into the new world economy, we actually need to make decisions and we actually need grownups.

'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 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.

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.

We all have our vanities. The retouching magazines like 'Vogue' do is the professional version of the retouching we do when we, for example, apply Instagram filters to the pictures we take and share on our social networks.

'Vogue' is the best of everything that fashion can offer, and I think we point the way. We are, you know, a glamorous girlfriend.

I was Bookings Production Manager at Vogue, a fancy way of saying that I helped produce photo shoots and booked hair, makeup, and modeling talent.

John Parsons, the gay art director at 'Vogue,' really started my career.

My dream jobs would be Italian 'Vogue' and anything with Chanel!

I was asked to be in Vogue but I said no. I didn't want to advertise make-up. I didn't want to be seen as a sex symbol.

I was ten years old when my first 'Vogue' cover sang me its siren call and dashed me against the treacherous rocks of fashion obsession.

All I did my first year at Vogue was Xerox.

At school, a careers adviser asked me what I wanted to be, and I said 'fashion journalist,' so writing for 'Vogue' has provided me with the opportunity to fulfill a dream.

I can't imagine life without Vogue at this point. People say, what's changed? What's different But it's just part of growing up, meeting your soulmate and moving on with life.

I did TV for a bit, and somewhere along the line, I started writing a column for 'The Independent' newspaper in England, and now I write features for 'British Vogue.'

We always had 'Vogue' in our house. But, when I was around 12, my Mom finally took me seriously about modeling and put a stack of magazines in front of me, then told me to study all the poses. The ones I loved the most were in 'Vogue.'

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.

American 'Vogue' and the Versace campaign by Richard Avedon were huge for me. It put me on the map.

You can go up to the editor of 'Vogue,' and she might think I have horrible style, or maybe she thinks I have great style. Who knows? I don't really know too much about it: I just know what I like and what I don't like. I love clothes and making my own clothes and shoes, like I got to do with Adidas.

I started looking at fashion magazines, specifically 'British Vogue.' I was reading a lot about Cecil Beaton. Then I thought maybe I should start collecting.

Vogue has always loved the design and structure of bridges and she loves Albert Bridge, which we live right next to.

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.