I was working in a family business-the fur business - and I hated it. I was reading the New York Times want ads, and I saw a photographer's assistant job in Vogue. Things went from there.
When I did my first story for Italian Vogue for Franca Sozzani, she gave me something like 47 full pages, and I was like, That's all? I didn't know any better.
When I graduated from school, World War II was still going on. At the time, my eldest sister, Nancy, was working in New York City at Lord & Taylor, and she had a great friend named Sally Kirkland who she worked with there and who later went to work as an editor at Vogue. I always told them, "I want to work in fashion like you do," and finally, in the late '40s, I got a job at Lord & Taylor, too.
Progression is important. I'm always going to play music in the general vein of rock'n'roll, but when I started I was very much associated with the West Coast lo-fi thing and I didn't want to get anchored in with anything that was just in vogue for the time being.
I think in my generation, when I came along in the early '60s, the type of music that was in vogue in society in those days had moved on to another kind of music. I was trying to sell antiques in a modern appliance store.
I shot for French and British Vogue. The British Vogue one featured clothes by Chloe and was shot at Highgate and the John Soane Museum. It came out much better in my opinion. I only did one day and was working with my own make-up and hair people and a model who I've known for years.
I know somewhat about Kate [Moss who featured in the Vogue spread]. I always thought that Kate's look had come from my old friend Siobhan Liddell and some of her friends because they dressed like that about ten years ago. Unconsciously, and right after that, that whole look sort of came out.
Cowboy movies aren't supposed to be in vogue. I still like them. You know, I'm still out there pitching the hell out of them.
At the same time as the UK Vogue one, I did a shoot that took about 40 days of friends and people I admired in Paris, for French Vogue. This is how I met Maria Schneider in June and which began our friendship.
This is a choice I made 26 years ago when I joined the magazine. Vogue was in Italian but I wanted to speak to everyone so I thought of creating images that were made to talk.
When I started doing sessions, the guitar was in vogue. I was playing solos every day.
Seriously, if you complain about going to a Paris fashion show, you have officially lost all perspective on life as we know it. And I have little kids who are hard to be away from sometimes when school's going back and there are tons of things that you're missing. But you know, there's that great Billie Jean King expression: "Pressure is a privilege." We can all deal.
They give us access to another world, they give us access to dreams. It's our way of living in a different realm for a short period of time - and how beautiful is that?
Usually, your personality doesn't come out on the cover of Vogue. If the photographer says, "Smile," you smile. You might not be in a good mood that day, but you're smiling anyway.
I remember Grace (Coddington) looking at me and said, 'Can you do something?' and I was like, 'OK, how long do you give me?' and she said 'Half an hour?', I said 'Forty-five minutes?'
For ten years, I wrote regular columns about science for women's magazines, and to my knowledge I'm the only person in the world who can say that. This has no kudos in either the science-writing world or the academic world, but it's one of the most challenging things I've ever done. It's much harder to write about cosmology for a magazine like Vogue than for the New York Times, which I've also written for, because you have to imagine that on the page opposite there'll be an advertisement for eyeliner, or an article about the latest trends in skirt length.
I knew I liked art. I knew I liked photography. I remember seeing photos of Linda Evangelista in Italian Vogue as a teenager, and at the time I didn't know who she was. There were two photos - one shot by Fabrizio Ferri and another one by Steven Meisel. I didn't know who any of those people were. I think it was the first summer I was modeling, I saw these magazines sitting out and looked at them. I remember thinking, These are the kind of images I want to make.
My mom worked at [American] Vogue before I was born. She has always been fashion-minded. I grew up with original Yves Saint Laurent sketches on the wall in our house. A lot of that rubbed off on me.
Human sacrifice is much in vogue right now. The Republican right thinks that people who get on its nerves, especially women, should be sent to the stake. . .
Being a teenage model was lot of fun, like playing dress-up. I'd feel ugly and awkward and chubby, and they'd transform me. Not that that makes everything better. Then my mom shopped the pictures around, I guess, and the agencies started calling. I wound up going with a little agency, Spectrum. It all happened really quickly, I started modeling for magazines like YM and Seventeen, and I did a couple of bigger things like Italian Vogue.
Looking good kept me out of trouble. When I worked for Michael Alig, everybody was overdoing partying. It would take me so long to get ready, because I was never one of those girls that were naturally the cover of Vogue. I had to really work hard to look nice. I would take hours and hours to get ready. If you have high heels on, if you're dressed nice, you really can't be drunk or sloppy because it's dangerous. It's part of being a lady, so it really kept me out of trouble.
Used to have a crush on Dawn from En Vogue. It's not like honey dip would wanna get with me, But just in case I own more condoms than TLC.
I'm out of vogue, I'm out of touch. I fell to fast - I feel too much.
Many photographers feel their client is the subject. My client is a woman in Kansas who reads Vogue. I'm trying to intrigue, stimulate, feed her. My responsibility is to the reader. The severe portrait that is not the greatest joy in the world to the subject may be enormously interesting to the reader.
The vogue of the New Negro . . . had all of the character of a public relations promotion. The Negro had to be "sold" to the public in terms they could understand.
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