A Quote by Isabella Rossellini

By the time I was successful with covers of 'Vogue' and 'Harper's Bazaar' and 'Vanity Fair' and the Lancome contract, someone asked how old I was. They almost fainted when I said 33.
My introduction to photography and a lot of how I developed aesthetically was through '50s and early-'60s fashion magazines like Harper's Bazaar and Vogue.
I firmly believe that Harper's Bazaar is the star. I am there to make it the best it possibly can be, but there should be no confusion. I want to put Harper's Bazaar front and center.
The red library is Sui's tribute to fashion maven Diana Vreeland, who served as editor for Harper's Bazaar (1939-1962) and Vogue (1963-1961). My most precious collection is my bound Vogue magazines, .. and they're kind of like my Bible. I look at them all the time when I'm trying to inspire myself for a collection.
I couldn't identify with the images in 'Elle' or 'Vogue' or 'Harper's Bazaar.' Nobody in the world we're walking around in actually looks like that.
The thing is that any sophistication I have, aesthetically, comes from 'Vogue' and 'Harper's Bazaar.' In the '60s, I never missed an issue, even if I had to steal to get them.
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.
Within two months I made the grand slam: covers of 'American Vogue', 'Italian Vogue', 'British Vogue', and 'French Vogue'.
I've loved 'Vanity Fair' since I was 16 years old. You know, we're all colonial hangovers in India, steeped in English literature. It is one of these novels that I read under the covers at my convent boarding school in Simla.
I asked my Dad once, "How did you and Mum stay married for 33 years?" He said. "Well, we never wanted to get divorced at the same time.
One day, Sally Kirkland said to Diana Vreeland, who was the fashion editor of Harper's Bazaar at the time, "I have a young woman I want you to meet. She's very young, but I think you should meet her." When Sally Kirkland told me this, I said, "I can't possibly do that! I'm going to throw up! That's the scariest thing I've ever heard! I can't do that, Sally. I'm not ready to do that!" But Sally said, "You let them make that decision." I was absolutely terrified.
I think that magazines like Vanity Fair are still operating under the old rules, and that if you come to work for a magazine like Vanity Fair, even today, you're certainly expected to treat people like Peggy Siegal very deferentially.
My parents put the New Yorker in my crib. I saw Vogue and Vanity Fair around the house before I could read.
They said this is Vanity Fair, and I said, Oh, I already take the magazine. They said Annie Leibovitz wants to take your picture and I thought, How nice!
Someone asked me...how it felt and I was reminded of a story that a fellow townsman of ours used to tell--Abraham Lincoln. They asked him how he felt once after an unsuccessful election. He said he felt like a little boy who had stubbed his toe in the dark. He said that he was too old to cry, but it hurt too much to laugh.
Someone asked me, 'How long do you intend to do 'Deadwood'?' And part of my sociopathology, I say, 'Well, when does my contract run out?' And I realize my contract ran out at the end of four seasons.
I'd known the people at Rolling Stone for a while. I'd gone to them with a piece I'd done on Beirut for Vanity Fair that Vanity Fair didn't want to publish, because they said I was making fun of death... This was Tina Brown.But they paid me for it. So I've got this big chunk of a piece, and Rolling Stone liked it, but they thought it was a little dated. But then they called me back and asked me to do a similar piece about the Turks and Caicos Islands, where the whole government had been arrested for dope smuggling. That was fun.
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