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?
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.
I am addicted to 'Vogue' magazines, be they French, British - I adore, adore, adore.
I think it's really cool that there are people like Adele on the cover of 'Vogue' and 'Rolling Stone,' and like I think it's really important that people are talking about your body, because if they don't, then you'll never be able to break that barrier.
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.
The scriptures, for example, discredit an ancient philosophy that has come back into vogue in our day-the philosophy of Korihor that there are no absolute moral standards, that "every man prospers according to his genius, and that every man conquers according to his strength; and whatsoever a man does is no crime" and "that when a man is dead, that is the end thereof".
When I was young, I wanted to be a movie star. But I realized that you have no control being an actor. So I went to architecture school in NYC, because I was crazy about buildings. Then I began to realize that I got more excited about Vogue coming out each month than I was about my projects.
I'm definitely happy with the way my career has gone, the success; but I even feel glad that I've experienced some failure in my life. That gives you perspective and humility about this business; it's good to realize that you're always just one movie away from not being in Vogue anymore.
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.
I think the biggest shift is the way people look at and have access to fashion. It's already old the minute you've seen it, and we've already moved on. Fashion has become very in and out. Back in the days when I started, you would wait for Vogue to come out, and that is where you would see what people wore that month. Now we are looking at what someone is wearing this second.
The great exception to that, of course, is Johnny Depp, who is absolutely the ultimate character actor. Johnny Depp is the future of the character actor and thanks to his success maybe we will see the return of an era when my sort of actor is back in vogue. It's not in vogue for me to be in Hollywood movies as lots of different people.
Audiences trust Westerns when you hit the right tone. I think they're not in vogue, but they will always be in vogue when you hit the right note.
As women, we can't look old. We can't be fat. We're supposed to look like the 14-year-old models in Vogue, who are younger and younger and skinnier and skinnier, and they are air-brushed and contoured and Photoshopped.
I think it's what the times are demanding. If you're talking about the popular artists, they collaborate with a lot of different people and it seems to be in vogue now. It probably is indicative of the times.
The shifts happen on a regular basis, but it's like a cycle. So things come in and out of vogue and then five years later they're back in vogue. Or there seems to be a theory that this is the way the industry will go and everybody goes over that way and then something happens to the country and you're back again at the place you were.
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.
There are people who, like new songs, are in vogue only for a time.
I'm quite connected to Italy because of Italian Vogue shoots and the Pirelli calendar, so I have a love and appreciation for the culture.
After the war in Afghanistan, Anna [Wintour, editor of Vogue], deciding to save the world one hair-roller at a time, thought the best way to help the women in this beleaguered country was to start a small beauty school in Kabul, where aid workers could get their roots done. Vanity Fair, edited by Bush-basher Graydon Carter, cheered her great humanitarian effort.
When we launched our [ Vogue] site around five years ago, I had already started this process on paper. We are now building an enormous portfolio of photos, we've uploaded two million photos and we have three people that review them.
We've created a community and these images [from Vogue] will live on with exhibitions, postcards, projections. We help them gain more exposure. Instagram already works as a selection. It's my curiosity into the world of youth, what they do, what they buy.
You can get tired of anything, everything turns old, but I want to give people the possibility to share a Vogue party. It is up to the brands to participate to make the event interesting. I am satisfied, but it's important never to stop.
I was doing the Black Issue in 2006 and then went to Africa for Uomo Vogue. I've worked with Gucci and Fendi, committed to create jobs. Fifty percent of those ads went to non-government organizations in Africa. [Nelson] Mandela was on the cover, it helped create attention.
The only time I was really surprised was the reaction to the [shoot dedicated to the] BP oil [spill in 2010]. I didn't expect it at all. It was for the August issue, perhaps one of the less relevant months, but there was so much buzz. It was picked up all over the American television, but I defended my position. I don't understand those that say that a magazine such as Vogue should not talk about these things.
People call what we do "stretch music." This is our style, and one of the newer, in vogue ways of playing creative, improvised music. It really grew out of me trying to address something that I saw in my everyday life in my neighborhood - trying to develop that and refine that and excavate exactly what that was in a way that, when I communicated it, it was palpable and easily read. That started really early. Why it started was from something that I was really angry about.
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