A Quote by Emma Weymouth
If I'm in London I might meet with the fashion brands I work with or be at Vogue, where I'm a contributor.
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When 'Teen Vogue' started out, 'Teen Vogue' was an aspirational fashion magazine for fashion lovers. You know, it was the little sister to 'Vogue.' And over the years, we've realized that our mission was really to become more focused on making this an inclusive community that speaks to every kind of young person.
With all the new media outlets out there, with all the noise, a voice of authority and calm like Vogue becomes more important than ever. The more eyes on fashion, the more opinions about fashion, the more exploration of fashion around the world, the better it is for Vogue. Vogue is like Nike or Coca-Cola—this huge global brand. I want to enhance it, I want to protect it, and I want it to be part of the conversation.
I think there's much more fashion competition in the more junior levels of the fashion department. And that's exciting and stimulating to see, because it's 'Vogue;' it's great to see people dressed originally and with great style and panache. It wouldn't be 'Vogue' otherwise.
When I was 14, I entered British Vogue's annual talent contest and got a special mention. I went up to London to meet the editors and wrote about it in my high school magazine.
I never was interested in being part of the fashion world - I just wanted to design shoes. I didn't even know 'Vogue' existed when I was growing up. 'Vogue,' what is that?'
I never was interested in being part of the fashion world - I just wanted to design shoes. I didn't even know Vogue existed when I was growing up. Vogue, what is that?
Within two months I made the grand slam: covers of 'American Vogue', 'Italian Vogue', 'British Vogue', and 'French Vogue'.
I was a fashion editor for years in London before I came to 'Vogue,' and I spent my life arranging the folds of a ball gown skirt for a picture and pinning fabric and using all those stylist tricks. And you don't have to do that now because they can do it in Photoshop.
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.'
Boris isn't known for his fashion credentials, but he knows what it represents - in London it's about creativity. That's why we invest in London Fashion Week each season.
Most brands that are called luxury brands today are not true luxury brands. The globalization of fashion and luxury means you now find the same luxury brands in every city. The stores look the same, the products are the same. It is still a very good quality product but it is now readily available to everyone. It's a kind of mass luxury.
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.
London College of Fashion, University of the Arts London, offers the range of subjects that help young designers to arrange the underpinnings that are necessary to get from zero to 10. The hardest part is the beginning, understanding your passion and making the decision that whatever it takes, that's what you're going to do. London College of Fashion shows them what they must do and helps them to find their goal.
I didn't understand anything about fashion until I moved to Canada when I was 9. That's when I learned English and was exposed to fashion magazines like Harper’s Bazaar and Vogue.
My advice to owners of fashion brands is that you have to give digital a seat at the board table. A lot of brands treat digital strategy as something on the side.
I think London as a city is so diverse and multicultural, anything goes really. The fashion here reflects that - there are so many different styles of dressing throughout the city. In London, you can be very experimental with fashion; it's totally accepted, even if you stand out.
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