Vogue Cover Quotes

The cry 'Liberty, equality, fraternity or death!' was much in vogue during the Revolution. Liberty ended by covering France with prisons, equality by multiplying titles and decorations, and fraternity by dividing us. Death alone prevailed.

He did look like an ancient Viking. If they'd had a Viking Vogue magazine in their day, he'd have been on the front cover.

Due to Jade's fortresslike manner, which, like any well-built castle, made access challenging, girls found her existence not only threatening but flat-out wrong. Although Bartelby Athletic Center featured the latest advertising campaign of Ms. Sturd's three member Benevolent Body-Image Club (laminated Vogue and Maxim covers above captions, “You Can't Have Thighs Like This and Still Walk" and "All Airbrushing"), Jade would only have to swan by, munching on a Snickers to reveal a disturbing truth: You could have thighs like that and still walk. She emphasized what few wanted to accept, that some people did win Trivial Pursuit: The Deity Looks Edition, and there wasn't a thing you could do about it, except come to terms with the fact that you'd only played Trivial Pursuit: John Doe Genes and come away with three pie pieces.

Excuse me?" he said. "It's wrong to have something to say? I guess we could do the paper on Gandhi's feelings about make-up and fashion, but other than that Vogue cover in that really cute loincloth after he'd had all the diet success, we don't have a lot of material.

Good-girl-gone-queer Lindsay Lohan, divorced single mother Britney Spears, Caitlyn Jenner with her sultry poses, Kim Kardashian having the gall to show up on the cover of Vogue with her black husband: All of them are tied to the tracks and gleefully run over, less for what they've done than for the threat they pose to the idea that female sexuality fits within a familiar and safe pattern. If control over women's bodies were the sole point of the trainwreck, that would be terrifying enough. But it's only the beginning: Shame and fear are used to police pretty much every aspect of being female. After you've told someone what to do with her body, you need to tell her what to do with her mind.

Melania didn’t understand that she had been invited to Anna’s events not because she was a friend, but simply because she had appeared on the February 2005 cover of Vogue.

Why Their Minds Matter” read the cover of Vogue.

Peter is still amazed at the degree to which a certain widening gyre of accolades can change an artist's work, literally change it, not just the new stuff but the old as well, the pieces that have been around for a while, that have seemed "interesting" or "promising" but minor, until (not often, just once in a while) an artist is by some obscure consensus declared to have been neglected, misrepresented, ahead of his time. What's astonishing to Peter is the way the work itself seems to change, more or less in the way of a reasonably pretty girl who is suddenly treated as a beauty. Peculiar, clever Victoria Hwang is going to be in Artforum next month, and probably in the collections of the Whitney and the Guggenheim; Renee Zellweger - moonfaced, squinty-eyed, a character actress if ever there was one - was just on the cover of Vogue, looking ravishing in a silver gown. It is, of course, a trick of perception - the understanding that that funny little artist or that quirky-looking girl must be taken with new seriousness - but Peter suspects there's a deeper change at work. Being the focus of that much attention (and, yes, of that much money) seems to differently excite the molecules of the art or the actress or the politician. It's not just a phenomenon of altered expectations, it's a genuine transubstantiation, brought about by altered expectations. Renée Zellweger becomes a beauty, and would look like a beauty to someone who had never heard of her. Victoria Hwang's videos and sculptures are about, it seems, to become not just intriguing and amusing but significant.

What a shocking bad hat!' was the phrase that was next in vogue. No sooner had it become universal, than thousands of idle but sharp eyes were on the watch for the passenger whose hat shewed any signs, however slight, of ancient service. Immediately the cry arose, and, like the war-whoop of the Indians, was repeated by a hundred discordant throats. He was a wise man who, finding himself under these circumstances 'the observed of all observers,' bore his honours meekly. He who shewed symptoms of ill-feeling at the imputations cast upon his hat, only brought upon himself redoubled notice. The mob soon perceive whether a man is irritable, and, if of their own class, they love to make sport of him. When such a man, and with such a hat, passed in those days through a crowded neighbourhood, he might think himself fortunate if his annoyances were confined to the shouts and cries of the populace. The obnoxious hat was often snatched from his head and thrown into the gutter by some practical joker, and then raised, covered with mud, upon the end of a stick, for the admiration of the spectators, who held their sides with laughter, and exclaimed, in the pauses of their mirth, 'Oh, what a shocking bad hat!' 'What a shocking bad hat!' Many a nervous poor man, whose purse could but ill spare the outlay, doubtless purchased a new hat before the time, in order to avoid exposure in this manner.

In 1972, Sara Kapp had been living for some time at Karmê Chöling without daring to ask to speak to Chögyam Trungpa. But when a New York modeling agency wanted to sign her as a model, she decided to ask his advice. Posing in front of the camera all day did not seem appropriate for someone who was trying to cut through her ego. Chögyam Trungpa asked her why she wanted to become a model. She explained how she had experienced some difficulty in sticking to any one thing after finishing college. So she thought that maybe picking out something for a few years might be beneficial. If that is the reason, he replied, then there’s no problem. He encouraged her to follow her career, and as she continued to hesitate, he told her: “The only obstacle I can see is if you do this work hoping to earn lots of money or to be on the cover of Vogue. That would be sad, because you’d be losing youself in the future. It’s a real shame when people regret not having enough money, or having missed a career opportunity, because they are then fixing themselves in the past. It’s very, very sad.” Then staring into her eyes, he repeated: “It’s very, very, very sad because that way we miss out on the present, and the present is marvelous.” She went on to become one of the best-known runway models of her day. For a period of time, one could find mannequins of Sara Kapp in Saks and other epxensive department stores throughout the United States. Her last major modeling contract was as the first Princes Borghese for Revlon. She now works behind the scenes in the fashion industry in Milan.

Frankie was making me work for my forgiveness. It had taken several days, a thousand phone messages, and a seriously overpriced Vogue Hommes International shoved through his mail slot to get him even to speak to me. He was sitting across the table from me now, arms crossed over his chest (to be fair, he did that a lot when wearing that particular cashmere sweater; it covered the repaired moth hole at the point of the V-neck), glowering a little. I nudged the cannoli another millimeter toward him. It was chocolate chip,his fave. "So I screwed up twice." I was wrapping up my tale of guilt and woe. "Edward I don't mind so much now. We just were too different for it to work out in the end..." I chanced a glance at Frankie's sulky face to see if he found that at all humorous. Apparently not.,. I sighed and went for honesty. "Alex...That one has walloped me." Frankie darted out a finger and scooped a little of the filling from the cannoly. I resisted the urge to fling myself across the table and hug him until he squeaked. "The sharks were good," he acknowledged, and not even too reluctantly. "Insane but good." "Yeah.And Ferdinand. I'll introduce you sometime." Frankie wrinkled his perfect nose. "I'll take my stingray as a shagreen wallet, thank you." I laughed.Not that I appreciated the thought of Ferdinand as an accessory,but I was just so happy to have my Frankie back. He read my mind and waved a cannoli-tipped finger at me. "Ah.You are not forgiven yet, madam." I subsided in my chair. "I'm sorry," I told him quietly. "I'm really really sorry. If I could go back and do any of it differently, the very first thing would be to tell you everything as it was happening." "Hmph." Frankie took a bite of cannoli, delicately wiped his mouth, had a sip of espresso,wiped his mouth. And examined the painted til ceiling.

Emma Watson in white on the cover of Vogue (“The Super Star Issue”),

Fashion models today are so different from the women buying the clothes. That has not always been the case. If you look at issues of ‘Vogue’ or other fashion magazines from the 1950s, you’ll see models in possession of womanly (albeit spectacular) bodies and expressive, mature faces. Star models typically were over thirty, and they had curves. They just looked like extraglamorous versions of the women buying the dresses. It almost seems shocking now, when models are all in their teens and look as though they’re playing dress up. In 2011 there was a cover of French ‘Vogue’ featuring a ten-year-old model. Ten years old! Did she look ten? No, she looked twenty-five! What does that say to young people? I worry about the pressure this puts on teenagers and tweens.

Meredith Etherington-Smith Meredith Etherington-Smith became an editor of Paris Vogue in London and GQ magazine in the United States during the 1970s. During the 1980s, she served as deputy and features editor of Harpers & Queen magazine and has since become a leading art critic. Currently, she is editor in chief of Christie’s magazine. She is also a noted artist biographer; her book on Salvador Dali, The Persistence of Memory, was an international bestseller and was translated into a dozen languages. Her drawing room that morning was much like any comfortable, slightly formal drawing room to be found in country houses throughout England: the paintings, hung on pale yellow walls, were better; the furniture, chintz-covered; the flowers, natural garden bouquets. It was charming. And so was she, as she swooped in from a room beyond. I had never seen pictures of her without any makeup, with just-washed hair and dressed in jeans and a white T-shirt. She looked more vital, more beautiful, than any photograph had ever managed to convey. She was, in a word, staggering; here was the most famous woman in the world up close, relaxed, funny, and warm. The tragic Diana, the royal Diana, the wronged Diana: a clever, interesting person who wasn’t afraid to say she didn’t know how an auction sale worked, and would it be possible to work with me on it? “Of course, ma’am,” I said. “It’s your sale, and if you would like, then we’ll work on it together to make the most money we can for your charities.” “So what do we do next?” she asked me. “First, I think you had better choose the clothes for sale.” The next time I saw her drawing room, Paul Burrell, her butler, had wheeled in rack after rack of jeweled, sequined, embroidered, and lacy dresses, almost all of which I recognized from photographs of the Princess at some state event or gala evening. The visible relics of a royal life that had ended. The Princess, in another pair of immaculately pressed jeans and a stripy shirt, looked so different from these formal meringues that it was almost laughable. I think at that point the germ of an idea entered my mind: that sometime, when I had gotten to know her better and she trusted me, I would like to see photographs of the “new” Princess Diana--a modern woman unencumbered by the protocol of royal dress. Eventually, this idea led to putting together the suite of pictures of this sea-change princess with Mario Testino. I didn’t want her to wear jewels; I wanted virtually no makeup and completely natural hair. “But Meredith, I always have people do my hair and makeup,” she explained. “Yes ma’am, but I think it is time for a change--I want Mario to capture your speed, and electricity, the real you and not the Princess.” She laughed and agreed, but she did turn up at the historic shoot laden with her turquoise leather jewel boxes. We never opened them. Hair and makeup took ten minutes, and she came out of the dressing room looking breathtaking. The pictures are famous now; they caused a sensation at the time. My favorite memory of Princess Diana is when I brought the work prints round to Kensington Palace for her to look at. She was so keen to see them that she raced down the stairs and grabbed them. She went silent for a moment or two as she looked at these vivid, radiant images. Then she turned to me and said, “But these are really me. I’ve been set free and these show it. Don’t you think,” she asked me, “that I look a bit like Marilyn Monroe in some of them?” And laughed.

Piers Morgan Piers Morgan is a British journalist best known for his editorial work for the Daily Mirror from 1995 through 2004. He is also a successful author and television personality whose recent credits include a recurring role as a judge on NBC’s America’s Got Talent. A controversial member of the tabloid press during Diana’s lifetime, Piers Morgan established a uniquely close relationship with the Princess during the 1990s. Lunch with Diana. A big day--a massive, humongous day, in fact. I got there ten minutes early, feeling decidedly nervous. The Kensington Palace front door was opened by her beaming butler. He walked me up the stairs, chatting cheerfully about the weather and my journey, as if a tabloid editor prowling around Diana’s home was a perfectly normal occurrence. He said that the “Boss” was running a bit late, joking that “she’ll be furious you are here first!” and invited me to have a drink. “What does she have?” I asked. “Water, usually,” he replied, “but wouldn’t you rather have a nice glass of wine? She won’t mind in the slightest.” I readily agreed, if only to calm my racing heartbeat. He then left me alone in the suitably regal sitting room. Diana had a perfectly normal piano covered in perfectly normal family snaps. It’s just that this family was the most photographed on the planet. Lots of pictures of her boys, the young heirs, perhaps the men who will kill off, or secure, the very future of the monarchy. To us, they were just soap opera stars, semi-real figments of tabloid headlines and the occasional palace balcony wave. But here they were, her boys, in picture frames, like any other adored sons. Just sitting in her private room was fascinating. Her magazines lay on the table, from Vogue to Hello, as well as her newspapers--the Daily Mail at the top of the pile, obviously, if distressingly. After I had spent ten minutes on my own, she swept in, gushing: “I’m so sorry to have kept you, Piers. I hope Paul has been looking after you all right.” And then came what was surely one of the most needless requests of all time: “Would you mind awfully if William joins us for lunch? He’s on an exeat from Eton, and I just thought that given you are a bit younger than most editors, it might be good for both of you to get to know each other.” “I’m sorry, but that would be terribly inconvenient,” I replied sternly. Diana blushed slightly and started a stuttering “Yes, of course, I’m so sorry…” apology, when I burst out laughing. “Yes, ma’am, I think I can stretch to allowing the future king to join us for lunch.” The absurdity of this conversation held no apparent bounds.

Elsewhere in the world, fashion magazines like Vogue and GQ use models for its covers and only occasionally feature actors.

The first basic income pilot in a developing country was implemented in the small Namibian village of Otjivero-Omitara in 2008–9, covering about 1,000 people.40 The study was carried out by the Namibian Basic Income Grant Coalition, with money raised from foundations and individual donations. Everyone in the village, including children but excluding over-sixties already receiving a social pension, was given a very small basic income of N$100 a month (worth US$12 at the time or about a third of the poverty line), and the outcomes compared with the previous situation. The results included better nutrition, particularly among children, improved health and greater use of the local primary healthcare centre, higher school attendance, increased economic activity and enhanced women’s status.41 The methodology would not have satisfied those favouring randomized control trials that were coming into vogue at the time. No control village was chosen to allow for the effects of external factors, in the country or economy, because those directing the pilot felt it was immoral to impose demands, in the form of lengthy surveys, on people who were being denied the benefit of the basic income grants. However, there were no reported changes in policy or outside interventions during the period covered by the pilot, and confidence in the results is justified both by the observed behaviour, and by recipients’ opinions in successive surveys. School attendance went up sharply, though there was no pressure on parents to send their children to school. The dynamics were revealing. Although the primary school was a state school, parents were required to pay a small fee for each child. Before the pilot, registration and attendance were low, and the school had too little income from fees to pay for basics, which made the school unattractive and lowered teachers’ morale. Once the cash transfers started, parents had enough money to pay school fees, and teachers had money to buy paper, pens, books, posters, paints and brushes, making the school more attractive to parents and children and raising the morale and, probably, the capacity of its teachers. There was also a substantial fall in petty economic crime such as stealing vegetables and killing small livestock for food. This encouraged villagers to plant more vegetables, buy more fertilizer and rear more livestock. These dynamic community-wide economic effects are usually overlooked in conventional evaluations, and would not be spotted if cash was given only to a random selection of individuals or households and evaluated as a randomized control trial. Another outcome, unplanned and unanticipated, was that villagers voluntarily set up a Basic Income Advisory Committee, led by the local primary school teacher and the village nurse, to advise people on how to spend or save their basic income money. The universal basic income thus induced collective action, and there was no doubt that this community activism increased the effectiveness of the basic incomes.

I DO NOT WANT TO BE ON THE COVER OF VOGUE! DON’T YOU UNDERSTAND? I JUST WANT TO PASS THE NINTH GRADE!

No one in his family could remember talking about it. Must have been dreadful, they agreed. And, being Walkers, and Bushes, they didn't bring it up. It was only years later, when he got into politics and had to learn to retail bits of his life, that he ever tried to put words around the war. His first attempts, in the sixties, were mostly about the cahm-rah-deree and the spirit of the American Fighting Man. The Vietnam War was an issue then, and Bush was for it. (Most people in Texas were.) He said he learned "a lot about life" from his years in the Navy—but he never said what the lessons were. Later, when peace was in vogue, Bush said the war had "sobered" him with a grave understanding of the cost of conflict—he'd seen his buddies die. The voters could count on him not to send their sons to war, because he knew what it was. Still later, when he turned Presidential prospect, and every bit of his life had to be melted down to the coin of the realm–character–Bush had to essay more thoughts about the war, what it meant to him, how it shaped his soul. But he made an awful hash of it, trying to be jaunty. He told the story of being shot down. Then he added: "Lemme tell ya, that'll make you start to think about the separation of church and state . Finally, in a much-edited transcript of an interview with a minister whom he hired as liaison to the born-again crowd, Bush worked out a statement on faith and the war: something sound, to cover the bases. It wasn't foxhole Christianity, and he couldn't say he saw Jesus on the water—no, it was quieter than that.... But there, on the Finback, he spent his time standing watch on deck in the wee hours, silent, reflective, under the bright stars... "It was wonderful and energizing, a time to talk to God. "One of the things I realized out there all alone was how much family meant to me. Having faced death and been given another chance to live, I could see just how important those values and principles were that my parents had instilled in me, and of course how much I loved Barbara, the girl I knew I would marry…” That was not quite how he was recalled by the men of the Finback. Oh, they liked him: a real funny guy. And they gave him another nickname, Ellie. That was short for Elephant. What they recollected was Bush in the wardroom, tossing his head and emitting on command the roaring trumpeted squeal of the enraged pachyderm; it was the most uncanny imitation of an elephant. Nor were "sobered" or "reflective" words that leapt to Bar's mind when she remembered George at that time. The image she recalled was from their honeymoon, when she and George strolled the promenades, amid the elderly retirees who wintered at that Sea Island resort. All at once, George would scream "AIR RAID! AIR RAID!" and dive into the shrubs, while Bar stood alone and blushing on the path, prey to the pitying glances of the geezers who clucked about "that poor shell-shocked young man." But there was, once, a time when he talked about the war, at night, at home, to one friend, between campaigns, when he didn't have to cover any bases at all. "You know," he said, "it was the first time in my life I was ever scared. "And then, when they came and pulled me out ..." (Him, Dottie Bush's son, out of a million miles of empty ocean!) "Well." Bush trailed off, pleasantly, just shaking his head.

The air is cool and it's drizzling, but I stay dry, protected by the porch overhang. Movement catches my eye—Akio. He's as handsome as ever. The wind lightly tousles his damp hair. He's wearing some sort of dark coat. All in all, he's fit to be on the cover of Vogue. Whatever. So annoying.

Behaving like a fashion-forward model on a beach may be a novel approach to geopolitics, but I'm not sure if Vogue covers international relations.

Being the muse of two such extraordinarily creative musicians and having beautiful, powerful love songs written about me was enormously flattering but it put the most tremendous pressure on me to be the amazing person they must have thought I was—and secretly I knew I wasn’t. I felt I had to be flawless, serene, someone who understood every situation, who made no demands but was there to fulfill every fantasy; and that’s someone with not much of a voice. It’s not realistic: no one can live up to that kind of perfection. Now I feel I can be myself—but it took me quite a while to discover that and even longer to work out who I was exactly because the “me” in me had been hidden for so long. For most of my life I’d been what others expected me to be—the eight-year-old who could cope with boarding school, the protective, all-knowing older sister whom all her siblings looked up to, the sixties icon, the glamorous model. Do you have any idea what having your face on the front cover of Vogue does for the ego?

His knob could be on the cover of Vogue wearing a beret with a cigarette sticking from the tip and he would probably not even recognize it as he passed by a newsstand.

Newspapers and magazines only, and still reluctantly, cover black death when the buzz borders on frenzy—not because it happened but because it went viral. The media sits and waits for a name to trend that doesn’t belong to a (yet) public figure. Then they make them public. They trot out their Negro writer du jour and the Negro writer produces an aching tribute to being black in America. And another. And another. Et cetera.

Helmut Vetter war der erste Mann, der auf dem Cover der englischen 'Vogue' abgebildet war.