A Quote by Diana Vreeland

I wasn't a fashion editor. I was the one and only fashion editor. — © Diana Vreeland
I wasn't a fashion editor. I was the one and only fashion editor.
I just fell into the job as a fashion editor at a teen magazine. I was there for two years, and I left there as a senior fashion editor at the age of 25.
I grew up around fashion - my mom was an editor for Vogue. Compared to the music industry, though, I'd say [fashion] is a little bit more disorganized. But it's exciting for me because, when you're a performer, there is a fashion element.
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.'
It's incorrect to assume you can be a fashion editor because you blog, if you don't have experience to look at fashion in a professional way.
Which editor? I can't think of one editor I worked with as an editor. The various companies did have editors but we always acted as our own editor, so the question has no answer.
My aspiration was always to be a fashion editor.
I worked in fashion forecasting and I think that helps in being an editor because I love to know what's next, and I like to predict. I like to predict the trends going into the shows and normally I've organized all of our stories before we go. Fashion is my second language.
I probably don't conform to most people's idea of a fashion editor.
You do not need to go to journalism school if you want to work in the fashion industry. I think high schools condition you to think this way: If you want to be a fashion editor, go to fashion school. If you want to be a writer, you should study journalism. I think that the best school in life is experience.
Eisenstein was a good editor. I was trained as a film editor, and I've no doubt that the editor is key to a film.
My aunt was Frances Hodges, who in the Fifties was the editor of 'Seventeen' and later one of the creators of 'Mademoiselle.' She was my Auntie Mame; she loved culture. She was a Quaker, but she became a milliner against all Quaker logic - they feel that fashion and art are vanities - because she loved fashion.
I really only became an editor, or started doing my own editing because I was filming the docs and you simply can't keep an editor on for as long as it takes so.
But for me, being an editor I've been an editor of all kinds of books being an editor of poetry has been the way in which I could give a crucial part of my time to what I love most.
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.
I wrote a query letter to an editor - a friend of a friend. The editor called me an idiot, told me never to contact an editor directly, and then recommended three literary agents he had worked with before. Laurie Fox was one of them, and I've never looked back.
I always warn aspiring reporters to observe three basic rules: 1. Never trust an editor. 2. Never trust an editor. 3. Never trust an editor.
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