A Quote by Nan Goldin

I shot for French and British Vogue. The British Vogue one featured clothes by Chloe and was shot at Highgate and the John Soane Museum. It came out much better in my opinion. I only did one day and was working with my own make-up and hair people and a model who I've known for years.
Within two months I made the grand slam: covers of 'American Vogue', 'Italian Vogue', 'British Vogue', and 'French Vogue'.
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.'
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."
If I'm ever working on a set and anyone talks about a master shot, I say there is no master shot. Before I even went to film school, I learned about movies by being in a British feature film, where everything was shot master shot, mid-shot, close-up. But I reject the idea of a master shot. You don't shoot everything mechanically; you find imaginative ways that serve the action.
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.'
At the same time as the UK Vogue one, I did a shoot that took about 40 days of friends and people I admired in Paris, for French Vogue. This is how I met Maria Schneider in June and which began our friendship.
A lot of the time, the British press make me ashamed and embarrassed to be British. They give others the impression that the British are selfish, envious and bitter people, which is simply not true in my opinion. I think that British people in general are really nice and friendly.
Because of the long, long history of British shipping, immigration, trade, empire, missionaries, you can have a better shot at telling a worldwide story in the British Museum's collection than any other. Britain has been more connected with the rest of the world than any other country, for longer.
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.
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.
I am addicted to 'Vogue' magazines, be they French, British - I adore, adore, adore.
I grew up reading 'British Vogue' - I am so honoured and humbled to be taking up the mantle of editor.
I did TV for a bit, and somewhere along the line, I started writing a column for 'The Independent' newspaper in England, and now I write features for 'British Vogue.'
I know Im British. I havent spent much time in the U.K., but my parents are British, my family heritage is British, so if I wasnt British, what would I be? I am British.
Every shot feels like the first shot of the day. If I'm on the range hitting shot after shot, I can hit them just as good as I did when I was 30. But out on the course, your body changes between shots. You get out of the cart, and you've got this 170-yard 5-iron over a bunker, and it goes about 138.
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