A Quote by Jerry Hall
I was successful very quickly. I was on the cover of 'Vogue' before I knew it.
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Patrick Demarchelier was the one who got me my first 'Vogue' cover. It was French 'Vogue' - I think in '87 or '88. I think I was the first black model to be on the cover of French Vogue, which was shocking to me because when I asked them about it, they were like, 'Oh, no. We've never had that before.'
Patrick Demarchelier was the one who got me my first Vogue cover. It was French Vogue - I think in ’87 or ’88. I think I was the first black model to be on the cover of French Vogue, which was shocking to me because when I asked them about it, they were like, "Oh, no. We’ve never had that before."
Yes, I was on the cover of 'Vogue,' but girls on the cover of 'Vogue' are the most scared of rejection. Models are the most insecure of them all. Actually, actors and actresses are, and then musicians, and then models!
One of my favorite poses was when working with Steven Meisel. It was one of my first photo shoots with him, and we were trying to get the cover of Italian 'Vogue.' Then, I literally took my Balenciaga hat, pulled it down, and gave a rolling-eye, 'ugh' face, crossed legs on the floor. And lo and behold, that was the cover of Italian 'Vogue.'
It was all about flying round the world, working hard, being on the cover of Vogue, making money. It wasn't fun. It was exhausting, but I was young and convinced I knew best.
Within two months I made the grand slam: covers of 'American Vogue', 'Italian Vogue', 'British Vogue', and 'French Vogue'.
'Vogue' is a very specific world. You are 'Vogue,' or not 'Vogue.'
It's quite interesting, looking back at the first one [film about Harry Potter], nobody knew whether or not it was going to be successful as a film. The books were of course already very successful, but that's happened before, where the books were successful and the films weren't at all. But it turned out that they were.
I'm always looking for a cover subject that reflects the magazine, an interest in fashion, in culture, in society. We're trying to bring the world into the pages of 'Vogue.' We do that by tapping into the zeitgeists with our cover subjects.
I do read very, very quickly. I do process data very quickly. And so I write very quickly. And it is embarrassing because there is a conception that the things that you do quickly are not done well. I think that's probably one of the reasons I don't like the idea of prolific.
First of all, I've been having a wonderful run of luck with cover albums, songs I didn't write. I had five pop cover albums and two Christmas albums, and they were all very successful.
I don't want to be on the cover of Playboy or Vogue.
I've been very lucky to put women that I sincerely admire on the cover of 'Vogue:' the then First Lady and now Secretary of State Hillary Clinton and, more recently, First Lady Michelle Obama. Those were benchmarks for the magazine, and certainly covers that I've been very, very proud of.
Everybody would like to be on the cover of 'Vogue.'
You're always as good as your last movie and that's the same with politics. If you are successful with a certain policy, then you're hot; if you're successful with the economy, or bringing down the unemployment rate, then you're hot. But if you're not successful, then things go south very quickly.
I would like just one time to be on the cover of Italian Vogue.
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