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.Collection: Experience
It's very important to me that I look good when I go out publicly. I like looking at my clothes rack in the morning and deciding what to pick out. I enjoy fashion.Collection: Morning
To be famous these days with no grounding and no substance is not especially difficult. I urge you instead to seek to be relevant, to be agile and educated.Collection: Famous
'Vogue' is a fashion magazine, and a fashion magazine is about change.Collection: Change
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.'Collection: Dad
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.Collection: Best
Learning how to be editor-in-chief of 'Vogue' wasn't something that happened overnight.Collection: Learning
The beauty of what Apple does at Apple is that they're not on trend; they are classic.Collection: Beauty
I like having young assistants in my office; they have energy, and I spend time with them to make sure they understand what we're doing. By investing in them, I'm investing in the magazine. All over 'Vogue,' 'Teen Vogue,' and 'Men's Vogue,' there are people who have been through not only my office but also many other offices at 'Vogue.'Collection: Teen
Fashion today is available to everybody in a way that it's never been before: you've got every designer you've ever heard of working for H& or Target. That's fantastic.
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.
It's important for young women and men coming out of the fashion schools to think seriously before starting their own collections.
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.
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.
I think what you have to do in print is to create even more memorable images and more memorable pieces because what one consumes online or in social has a much shorter shelf life, so to speak, so what print has to have is no more weight, but it has to be something that you can't find so easily online. It has to really stand for print.
Designers don't live in a vacuum; they are not blind to what's going on. They, too, will be inspired by what they see, and that will come out in their work.
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.
I'm struck these days by how often people come up to me and ask to take a photograph instead of shaking hands, meeting one's eyes, and having an actual conversation.
There is unfortunately a world that still exists that dismisses fashion as being a little bit frivolous and the people who work in it are not so smart.
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.
Of course there were times, particularly when you travel, when it's very tough to leave the kids, particularly when they were very young. I would try to take them with me when I could just so they could experience and see a little bit of what a work day involved.
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 don't have a high-powered life out of work. I like to go to the country for the weekend with the kids and the dog and play tennis. I am very good at turning off.
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.
I've been thinking a lot about the speed and spectacle in today's fashion industry, because they seem to mirror stresses in other creative fields.
Fashion, which often seems to be on a path to be bigger, more Instagram-ready, can also achieve its best through sincerity.
Traditionally, those that work in fashion have always had the point of view that items made by hand have their own aura and are something special.
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 see a lot of women in these great-looking sneakers, as though they are almost very influenced by sport.
I think of young Chinese women today as being incredibly modern and are taking a lot from Western style and tailoring.
We're all used to hearing the word 'authentic' a little too often these days, but in Senator Gillibrand's case, it's entirely accurate.
The world of entertainment is, like the world of fashion, becoming increasingly populated by those who don't want to do things the same old boring way.
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.
In my own personal career, I have felt almost the most difficult thing to deal with is someone who doesn't tell you what they are thinking.
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.'
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.'
After a series of jobs that I prefer not to recall, I was hired in the early eighties as fashion editor of 'New York' magazine.
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.