A Quote by Anna Wintour
'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.
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Love and fear represent two different lenses through which to view the world. Which I choose to use will determine what I think I see.
On some kind of unspoken, deep, deep level, I think we [with Ryan Murphy] have an aesthetic that we both understand or connect to. It's not that we see the world in the same way because we have very different points of view, but we're both visual stylists.
Politicians try to see the world through other people's lenses and try to bring people together so that we can have a mutual view of the world - and how do we work together, not from the individual views that we all have.
Travel opens different eyes to different things, shows things we've never seen before, shows the world from entirely different angles. That's the power of drawing and the power of travel. They both make the familiar unfamiliar and vice versa. They show what we all have in common and what we may have missed thanks to preconceptions that may have marred our vision.
The view after seventy is breathtaking. What is lacking is someone, anyone, of the older generation to whom you can turn when you want to satisfy your curiosity about some detail of the landscape of the past. There is no longer any older generation. You have become it, while your mind was mostly on other matters
This whole business of all these lenses is ridiculous. You know, it's like you have to capture your picture. You have to create it. You have to see it. You have to seize it and you have to move in to get it, so those lenses are just an escape of some sort or a shield.
Our past is not, as some fear, a series of events carved in stone that we must carry around for the rest of our lives... but a kaleidoscope of experiences that, when viewed through different lenses, can 'color' (change) how we see our present and future.
There are two different ways of looking at the universe; and it's the same universe with two different windows. The science window gives you a view of the world, and the religion window gives you a totally different view. You can't look at both of them at the same time, but they're both true.
The world is getting smaller. And people are bumping up against people from different parts of the world with very different points of view. The challenge of our time is going to be, how do you allow other points of view to exist within what you traditionally see as your world?
The science window gives you a view of the world, and the religion window gives you a totally different view. You can't look at both of them at the same time, but they're both true.
I've wanted to see beyond the Western, mechanical view of the world and see what else might appear when the lens was changed.
I've wanted to see beyond the Western, mechanical view of the world and see what else might appear when the lens was changed
The piercing nail has become a key to unlock the door, that I may see the good will of the Lord. And what can I see as I look through the hole? Both the nail and the wound cry out that God was in Christ reconciling the world to himself... Through these sacred wounds we can see the secret of his heart, the great mystery of love.
The only thing I hope for is that, regardless of what the outward world is for different people, different nations, I hope their internal world is similar. And if I, hopefully, have managed to somehow describe my inner world in this book, all I count on is that it will have some resonance among the American readers, or, at the very least, the American readers will treat this book as a kind of a guidebook for my inner world, strange as it may appear.
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.'
My lip curls in a snide reflex whenever I hear that a new novel is written from the point of view of a child or a monster, a lunatic or an animal. I immediately expect a nasty coyness of tone, cheesy artifice, the world through cardboard 3-D lenses.
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