A Quote by R. J. Cutler
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.
Related Quotes
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.
For eight months, from January to August of 2007, I filmed with Anna Wintour and her team at 'Vogue' as they created the September 2007 issue of the magazine.
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.'
I first thought about doing a project about Anna Wintour and 'Vogue' when I read an article in 'New York Magazine' about the Metropolitan Museum Costume Institute Ball, the annual fundraising gala that Anna oversees. It created such a fascinating portrait that I couldn't help but be compelled.
After the war in Afghanistan, Anna [Wintour, editor of Vogue], deciding to save the world one hair-roller at a time, thought the best way to help the women in this beleaguered country was to start a small beauty school in Kabul, where aid workers could get their roots done. Vanity Fair, edited by Bush-basher Graydon Carter, cheered her great humanitarian effort.
I was interested in creating things that I could be proud of and so, you know, I was interested in being an editor of a magazine, things that I could be proud of, and so, you know, I was interested in being an editor of a magazine, but in order to be an editor of a magazine I had to become a publisher as well. I had to pay the bills. I had to worry about the printing and the paper manufacturing and the distribution of that magazine.
So rich people could go slumming? Come on, give me a break [it’s a] masturbatory fantasy for Anna Wintour and Vogue. They always go and try to co-opt what they can’t own. They try to co-opt authenticity and turn it into something boring.
When you're editor-in-chief of a big magazine, you cannot be a cover girl for MAC; you cannot be the face of Givenchy - of course you can't; it's doesn't go with the job.
I started getting emails from Anna Wintour inviting me to her dinners. It was just surreal.
The whole process of being one of the 10 finalists for the 'Vogue' Fashion Fund award has to be my biggest achievement to date. Meeting Anna Wintour, Diane von Furstenberg, etc., has been an amazing experience that even now gives me goose bumps when I think about it.
How many people can say they had Anna Wintour on a record? Not even an album, just a mixtape? It's audacious, disrespectful, and I feel like it's a little bit raw, and that's what Dirty Money is.
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.
Learning how to be editor-in-chief of 'Vogue' wasn't something that happened overnight.
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.'
The editor needs to put his own life on hold for the better of the magazine, the crew, and the readers. And to have a bigger vision of the magazine's style and an understanding that every [issue] should be well-balanced and hopefully surprising. To have a pink wall with a door of perception where he can bang his head on.
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