By the time I came to the States, I really understood how a magazine works. I came to 'Vogue' as creative director, and three years later I went back to London to be editor in chief of British 'Vogue.'
It's not like I ever sat in my room and said I was going to start a media company and become an editor in chief. It was never my dream. It was something that just happened.
On some level, you could say you wouldn't have 'In Style Magazine' at all had Anna Wintour not decided to put celebrities on the cover of 'Vogue' from her earliest years as Editor in Chief.
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.
I knew Anna Wintour was the editor in chief of Vogue,' I just didn't understand what it meant to wait around to meet with Anna Wintour.
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.
I had very much wanted to be the very first black female editor-in-chief of 'Vogue.' Barring that, I wanted to work at 'Entertainment Weekly.'
I cut my hair short and it basically changed everything overnight. I was about 18 when I cut my hair off - the little pixie haircut. Nobody had short hair at the time. Literally overnight everything changed. I worked with Steven Meisel within a month and a half and I booked every show. Then I got a Vogue cover - my first Vogue - and that came out a few months later.
I am thrilled to become international 'Vogue' editor at Conde Nast International, which has a real commitment to journalistic excellence, and to have the opportunity to write for a wider global audience through the 'Vogue' websites.
I am thrilled to become International Vogue Editor at Condé Nast International, which has a real commitment to journalistic excellence, and to have the opportunity to write for a wider global audience through the Vogue websites.
I was the editor of the News of the World; I was the editor of the Sun and chief executive.
Within two months I made the grand slam: covers of 'American Vogue', 'Italian Vogue', 'British Vogue', and 'French Vogue'.
I think one of the best jobs in the universe must be being the editor of 'The New Yorker', but there are a number of magazines that I'd be excited to be the editor of. They would be 'Wired', 'The New Yorker' and probably, 'Vogue'.
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.'
The red library is Sui's tribute to fashion maven Diana Vreeland, who served as editor for Harper's Bazaar (1939-1962) and Vogue (1963-1961). My most precious collection is my bound Vogue magazines, .. and they're kind of like my Bible. I look at them all the time when I'm trying to inspire myself for a collection.
It's so funny, this thing of 'overnight success.' I've been doing this for 20 years, but yes, sure, it happened overnight!