Vogue Fashion Quotes

Create your own style… let it be unique for yourself and yet identifiable for others.

It’s always about timing. If it’s too soon, no one understands. If it’s too late, everyone’s forgotten.

Mary: “Don’t be spiky, when I only want what you want – for you and Tony to walk into the sunset together.” Mabel: “Then why turn up looking like a cross between a Vogue fashion plate and a case of dynamite?” Mary: “Well, I can’t make it too easy for him.

The articles were extremely eye-opening. Not just in Teen Vogue but in Seventeen and CosmoGirl as well. They were all about being yourself, staying natural, loving your body as is, and going green! The messages were the exact opposite of Vik and Viv's. Hmmmmm. Frankie turned to face the full-length mirror that was up against the yellow wardrobe. She opened her robe and examined her body. Fit, muscular, and exquisitely proportioned, she agreed with the magazines. So what if her skin was mint? Or her limbs were attached with seams? According to the magazines, which were - no offense! - way more in touch with the times than her parents were, she was suppose to love her body just the way it was. And she did! Therefor if the normies read magazines (which obviously they did, because they were in them), then they would love her, too. Natural was in. Besides she was Daddy's perfect little girl. And who didn't love perfect?

Here was the real scandal of On Our Backs photography: We were women shooting other women — our names, faces, and bodies on the line — and we all brought our sexual agenda to the lens. Each pictorial was a memoir. That is quite the opposite of a fashion shoot at Vogue or Playboy, where the talent is a prop… When we began our magazine, female fashion and portrait models — all of them — were shot the same way kittens and puppies are photographed for holiday calendars: in fetching poses, with no intentions of their own.

Before it’s in fashion, it’s in Vogue.

The woman was Diana Vreeland, the high priestess of fashion and legendary fashion editor of Harper’s Bazaar and editor-in-chief of Vogue. Dana paused, eyes wide. Well, perhaps she was a bit star-struck after all.

Mental illness is in fashion.

I added pieces the same way I’d constructed my body, from the inside out: boy-cut panties first (lacy), bra (sheer), stockings (thigh high), knee-length leather skirt (black), lime green midriff-baring shirt (polyester). David leaned against the wall and watched this striptease-in-reverse with fabulously expressive eyebrows slowly climbing toward heaven, I finished it off with a pair of strappy lime green three-inch heels, something from the Manolo Blahnik spring collection that I’d seen two months ago in Vogue. He looked me over, blinked behind the glasses, and asked, “You’re done?” I took offense, “Yeah. You with the fashion police?” “I don’t think I’d pass the entrance exam.” The eyebrows didn’t come down. “I never knew you were so…” “Fashionable?” “Not really the word I was thinking.” I struck a pose and looked at him from under my supernaturally lustrous eyelashes. “Come on, you know it’s sexy.” “And that’s sort of my point.

As long as you wear clothes you love, which suit your body and your personality, it won’t matter if you’re wearing a dress that was in vogue five years ago; you’ll still look amazing. Also, somebody has to START new trends, and that somebody could be you.

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.

Vogue takes the creativity of fashion seriously. It takes its readers' love of clothes seriously. A woman who just adores shoes is very easily mocked, but the magazine doesn't do that. They say, 'You know what? You love shoes, we love shoes, and there's nothing wrong with loving shoes. - Robin Givhan

This prolific and inventive photographer (Edward Steichen) must be given credit for virtually inventing modern fashion photography, and as the tohousands of high-quality original prints in the Conde Nast archives prove, only Irving Penn and Richard Avedon have since emerged as serious historical rivals.

As a special branch of general philosophy, pathogenesis had never been explored. In my opinion it had never been approached in a strictly scientific fashion--that is to say, objectively, amorally, intellectually. All those who have written on the subject are filled with prejudice. Before searching out and examining the mechanism of causes of disease, they treat of 'disease as such', condemn it as an exceptional and harmful condition, and start out by detailing the thousand and one ways of combating it, disturbing it, destroying it; they define health, for this purpose, as a 'normal' condition that is absolute and immutable. Diseases ARE. We do not make or unmake them at will. We are not their masters. They make us, they form us. They may even have created us. They belong to this state of activity which we call life. They may be its main activity. They are one of the many manifestations of universal matter. They may be the principal manifestation of that matter which we will never be able to study except through the phenomena of relationships and analogies. Diseases are a transitory, intermediary, future state of health. It may be that they are health itself. Coming to a diagnosis is, in a way, casting a physiological horoscope. What convention calls health is, after all, no more than this or that passing aspect of a morbid condition, frozen into an abstraction, a special case already experienced, recognized, defined, finite, extracted and generalized for everybody's use. Just as a word only finds its way into the Dictionary Of The French Academy when it is well worn stripped of the freshness of its popular origin or of the elegance of its poetic value, often more than fifty years after its creation (the last edition of the learned Dictionary is dated 1878), just as the definition given preserves a word, embalms it in its decrepitude, but in a pose which is noble, hypocritical and arbitrary--a pose it never assumed in the days of its vogue, while it was still topical, living and meaningful--so it is that health, recognized as a public Good, is only the sad mimic of some illness which has grown unfashionable, ridiculous and static, a solemnly doddering phenomenon which manages somehow to stand on its feet between the helping hands of its admirers, smiling at them with its false teeth. A commonplace, a physiological cliche, it is a dead thing. And it may be that health is death itself. Epidemics, and even more diseases of the will or collective neuroses, mark off the different epochs of human evolution, just as tellurian cataclysms mark the history of our planet.

Anna Wintour hadn't been to any of McQueen's shows, and McQueen didn't like it. McQueen said American Vogue could borrow the dress only if they flew it to New York and back, in its own seat, with an escort. It was a fuck-you and they took it, and the dress was shot by Richard Avedon. "Fashion people haven't got any brains," McQueen said.

Racism in the UK takes a different form than it does in the United States, but there is no mistaking its existence and how engrained it is. A major theme of racism in the UK centers on the question of who is authentically “British.” It can come through in subtle acts of bias, micro-aggressions such as the Palace staffer who told the biracial co-author of this book, “I never expected you to speak the way you do,” or the Daily Mail headline, “Memo to Meghan: We Brits Prefer True Royalty to Fashion Royalty.” While their columnist was criticizing Meghan for her Vogue editorials, there was another way to read it, and that was that to be British meant to be born and bred in the UK—and be white.

We need to reclaim the word 'feminism'. We need the word 'feminism' back real bad. When statistics come in saying that only 29% of American women would describe themselves as feminist - and only 42% of British women - I used to think, What do you think feminism IS, ladies? What part of 'liberation for women' is not for you? Is it freedom to vote? The right not to be owned by the man you marry? The campaign for equal pay? 'Vogue' by Madonna? Jeans? Did all that good shit GET ON YOUR NERVES? Or were you just DRUNK AT THE TIME OF THE SURVEY? These days, however, I am much calmer-since I realized that it's technically impossible for a woman to argue against feminism. Without feminism, you wouldn't be allowed to have a debate on a woman's place in society. You'd be too busy giving birth on the kitchen floor-biting down on a wooden spoon so as not to disturb the men's card game-before going back to hoeing the rutabaga field. This is why those female columnists in the Daily Mail-giving daily wail against feminism-amuse me. They paid you 1,600 pounds for that, dear, I think. And I bet it' going into your bank account and not your husband's. The more women argue, loudly, against feminism, the more they both prove it exists and that they enjoy its hard-won privileges. Because for all that people have tried to abuse it and disown it, "feminism" is still the word we need...We need the only word we have ever had to describe "making the world equal for men and women". Women's reluctance to use it sends out a really bad signal. Imagine if, in the 1960's, it had become fashionable for black people to say they "weren't into" civil rights. "No, I'm not into Civil Rights! That Martin Luther King is too shouty. He just needs to chill out, to be honest." But then, I do understand why women started to reject the word feminism. It ended up being invoked in so many baffling inappropriate contexts that you'd presume it was some spectacularly unappealing combination of misandry, misery, and hypocrisy, which stood for ugly clothes, constant anger, and, let's face it, no fucking...Feminism has had exactly the same problem that "political correctness" has had: people keep using the phrase without really knowing what it means.

Word lessons in particular, the wouldst-couldst-shouldst-have-loved kind, were kept up, with much warlike thrashing, until I had committed the whole of the French, Latin, and English grammars to memory, and in connection with reading-lessons we were called on to recite parts of them with the rules over and over again, as if all the regular and irregular incomprehensible verb stuff was poetry. In addition to all this, father made me learn so many Bible verses every day that by the time I was eleven years of age I had about three fourths of the Old Testament and all of the New by heart and by sore flesh. I could recite the New Testament from the beginning of Matthew to the end of Revelation without a single stop. The dangers of cramming and of making scholars study at home instead of letting their little brains rest were never heard of in those days. We carried our school-books home in a strap every night and committed to memory our next day’s lessons before we went to bed, and to do that we had to bend our attention as closely on our tasks as lawyers on great million-dollar cases. I can’t conceive of anything that would now enable me to concentrate my attention more fully than when I was a mere stripling boy, and it was all done by whipping,—thrashing in general. Old-fashioned Scotch teachers spent no time in seeking short roads to knowledge, or in trying any of the new-fangled psychological methods so much in vogue nowadays.

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.

Back in the twentieth century, American girls had used baseball terminology. “First base” referred to embracing and kissing; “second base” referred to groping and fondling and deep, or “French,” kissing, commonly known as “heavy petting”; “third base” referred to fellatio, usually known in polite conversation by the ambiguous term “oral sex”; and “home plate” meant conception-mode intercourse, known familiarly as “going all the way.” In the year 2000, in the era of hooking up, “first base” meant deep kissing (“tonsil hockey”), groping, and fondling; “second base” meant oral sex; “third base” meant going all the way; and “home plate” meant learning each other’s names. Getting to home plate was relatively rare, however. The typical Filofax entry in the year 2000 by a girl who had hooked up the night before would be: “Boy with black Wu-Tang T-shirt and cargo pants: O, A, 6.” Or “Stupid cock diesel”—slang for a boy who was muscular from lifting weights—“who kept saying, ‘This is a cool deal’: TTC, 3.” The letters referred to the sexual acts performed (e.g., TTC for “that thing with the cup”), and the Arabic number indicated the degree of satisfaction on a scale of 1 to 10. In the year 2000, girls used “score” as an active verb indicating sexual conquest, as in: “The whole thing was like very sketchy, but I scored that diesel who said he was gonna go home and caff up [drink coffee in order to stay awake and study] for the psych test.” In the twentieth century, only boys had used “score” in that fashion, as in: “I finally scored with Susan last night.” That girls were using such a locution points up one of the ironies of the relations between the sexes in the year 2000. The continuing vogue of feminism had made sexual life easier, even insouciant, for men. Women had been persuaded that they should be just as active as men when it came to sexual advances. Men were only too happy to accede to the new order, since it absolved them of all sense of responsibility

If philosophy had the power to establish incontrovertible truths, immune to doubt, and if philosophers were as a rule wholly disinterested practitioners of their art, then it might be possible to speak of progress in philosophy. In fact, however, the philosophical tendencies and presuppositions of any age are, to a very great degree, determined by the prevailing cultural mood or by the ideological premises generally approved of my the educated classes. As often as not, the history of philosophy has been a history of prejudices masquerading as principles, and so merely a history of fashion. It is as possible today to be an intellectually scrupulous Platonist as it was more than two thousand years ago; it is simply not in vogue.

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

Tessa Dahl A daughter of famed British novelist Roald Dahl, Tessa Dahl was a good friend of Diana’s and her colleague at several successful charities. A prolific writer and editor, Tessa is a regular contributor to many important British newspapers and magazines, including the Sunday Times, the Daily Mail, the Telegraph, Vogue and the Tatler. The only part that marred the night was, typically, my dad, Roald Dahl, who left at the interval. I was devastated, but that was his modus operandi. I wanted him to see me in the Royal Box. I fear most of the post-party was spent with me on the phone crying to him, after Diana had left and we had done the royal lineup. Gosh, she was always so good at that. Talk about doing her homework. Every single performer, she had time for, even knowing a little bit about each one. We didn’t see each other again until Bruce Oldfield’s ball. Diana had come with Prince Charles and looked really miserable. Beautiful, in a gold crown (with Joan Collins trying to outdo her--good luck, Joan), but still, she had a new aura of hopelessness. Although she did dance with Bruce to KC and the Sunshine Band’s “That’s the Way I Like It.” We stopped to talk. “How’s Daisy?” she asked kindly. She obviously knew that I had been having my baby down the hall in the same hospital and at the same time as she had had Prince Harry. “Actually, it’s a different bovine name. She’s called Clover.” I was touched that she had remembered that we had had our babies around the same time and that my little girl did have a good old-fashioned cow’s name. I asked, “Wasn’t it fun at the Lindo? I do love having babies.” “I’m afraid I find it rather disgusting,” she revealed. This, of course, was the famous time when Prince Charles had been so disparaging about Harry’s being a redhead.

Fashion is merely a product of social demands, even though the individual object which it creates or recreates may represent a more or less individual need. This is clearly proved by the fact that very frequently not the slightest reason can be found for the creations of fashion from the standpoint of an objective, aesthetic, or other expediency. [...] Judging from the ugly and repugnant things that are sometimes in vogue, it would seem as though fashion were desirous of exhibiting its power by getting us to adopt the most atrocious things for its sake alone.

House dresses are still available; I did my research. The only problem procuring them is that you’ll need to order from the kind of website where the pitch for their stylishness can be summed up by the following: “Zip-Front Housecoats for Elderly People - Faded Flowers Pattern.” It’s as if the editor of Vogue penned that evocative line herself.

Some people want to be in vogue even at the cost of being a rogue.

Tolerances of the Human Face in Crash Impacts. Travers took the glass of whisky from Karen Novotny. ‘Who is Koester? - the crash on the motorway was a decoy. Half the time we’re moving about in other people’s games.’ He followed her on to the balcony. The evening traffic turned along the outer circle of the park. The past few days had formed a pleasant no-man’s land, a dead zone on the clock. As she took his arm in a domestic gesture he looked at her for the first time in half an hour. This strange young woman, moving in a complex of undefined roles, the gun moll of intellectual hoodlums with her art critical jargon and bizarre magazine subscriptions. He had met her in the demonstration cinema during the interval, immediately aware that she would form the perfect subject for the re-enactment he had conceived. What were she and her fey crowd doing at a conference on facial surgery? No doubt the lectures were listed in the diary pages of Vogue , with the professors of tropical diseases as popular with their claques as fashionable hairdressers. ‘What about you, Karen? - wouldn’t you like to be in the movies?’ With a stiff forefinger she explored the knuckle of his wrist. ‘We’re all in the movies.

Originality means nothing. It is the power of the artistic vision that counts. As time passes, most things original will not be original. Fashions, styles, forms, flairs, and what’s in vogue, all will pass. The fashion will become out of date, the style will change, the flair will fizzle, and we will wonder why anyone was shocked. What will always matter is the substance of the artwork, not its style.

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My mum always says there is no such thing as a new idea, and if that’s true (which I’m not sure it is), fashion is certainly the best exemplar. Everything comes round and round in terms of style of clothes and photography but, still, in each iteration they do have something different.

Editorial photographs published in magazines and online give information not only about specific garments, but also the mood and style that are currently in vogue.

Cat themed shirts are a timeless fashion statement that will always be in vogue thanks to their versatility and enduring appeal among animal lovers everywhere.

wearing straight clothes but still in costume—as Rodgers summed it up, “His seemingly casual appearance was actually the flowering of his next drag: He was delving into the eighties metrosexual world of high fashion, a precursor to what’s called ‘Executive Realness’ in vogueing competions.

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.

She's contacted Vogue Japan to do a profile on my university entrance journey. It will be like Legally Blonde meets The Princess Diaries, she said. I'm not sure exactly what that means, but I said okay. I am wearing a chic navy suit by Amano. According to this morning's Tokyo Tattler, I am now his patron.

Commercially [America has] had the last word, and over the past 40 years the American market has been the primary powerhouse of the [fashion] industry - giant malls, massive department-store chains, numerous large cities. It’s changing now, though: China and other Far Eastern countries are becoming the leading players. No where is it clearer that we are in the last days of the American Empire than in the fashion industry. Fabrics and designs are being tailored to the requirements of the Eastern market. The big brands are spending fortunes expanding there, and although many Middle Eastern women are hidden behind burqas, their wardrobes contain some of the most ravishing Western fashion.

I feel like the industry hasn’t caught up to the fact that people don’t want to see clothes only in cool fashion pictures but in a context. This attitude is also completely mad when houses lend to street-style girls to be snapped by hordes of Japanese photographers as a way of marketing. Yet they won’t, for instance, want to lend something to be worn by a head of pathology in a hospital. How are we meant to inspire young girls…when worlds they admire, like high fashion, don’t encourage the notion that you can mix being a fashion plate with working in other fields?

In July 1964 an alleged incident involving Paco Rabanne rocked the model community to its foundations. The innovative Spanish-born designer had used black beauties in his Paris show to model his futuristic plastic dresses, a move that enraged the American fashion press. According to Rabanne in Barbara Summers’s book Skin Deep, things got out of hand backstage after the show. ‘I watched them coming,’ he said, ‘the girls from American Vogue and Harper’s Bazaar. “Why did you do that?” they said. “You don’t have the right to do that, to take those kind of girls. Fashion is for us, white people.” They spat in my face. I had to wipe it off.’ Rabanne was subsequently blacklisted by the fashion cartels until black runway models finally became chic in the 1970s.

43. There are also idols formed by the intercourse and association of men with each other, which I call idols of the market place, on account of the commerce and consort of men there. For it is by discourse that men associate; and words are imposed according to the apprehension of the vulgar. And therefore the ill and unfit choice of words wonderfully obstructs the understanding. Nor do the definitions or explanations, with what in some things learned men are accustomed to guard and defend themselves, by any means set the matter right. But words plainly force and overrule the understanding, and throw all into confusion, and lead men away into numberless empty controversies and idle fancies. 44. Lastly, there are idols which have immigrated into men’s minds from the various dogmas of philosophies, and also from wrong laws of demonstration. These I call idols of the theater, because in my judgment all the received systems are but so many stage plays, representing worlds of their own creation after an unreal and scenic fashion. Nor is it only of the systems now in vogue or only of the ancient sects and philosophies that I speak; for many more plays of the same kind may yet be composed and in like artificial manner set forth, seeing that the most widely different errors have causes which are for the most part alike. Neither again do I mean this only of entire systems, but also of many principles and axioms in science which by tradition, credulity, and negligence have come to be received. But of these several kinds of idols I must speak more largely and exactly, that the understanding may be duly cautioned. 45. The human understanding is of its own nature prone to suppose the existence of more order and regularity in the world than it finds. And though there may be things in nature which are singular and unmatched, yet it devises for them parallels and conjugate relatives which do not exist.

Excited at the opportunity to witness a professional fashion shoot, especially one for a major fashion magazine, I replied enthusiastically, "Yes! We'd love to come. Do we get to go on one of the parade boats?" Mario laughed. "Correct! Vogue Italia has commissioned a float especially for this fashion photography session. We have three female models on location and I thought, if Andy is agreeable, he could be an accompanying male model. I

There is a mode of novel-writing which used to be much in vogue, but which has now gone out of fashion. It is, nevertheless, one which is very expressive when in good hands, and which enables the author to tell his story, or some portion of his story, with more natural trust than any other, I mean that of familiar letters. I trust I shall be excused if I attempt it as regards this one chapter; though, it may be, that I shall break down and fall into the commonplace narrative, even before the one chapter be completed.

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.

One of the advantages of being old is that you have experience, so when something new comes up, and you see people getting very excited about it, you happen to be in the position of being able to remember a similar excitement perhaps forty years ago. And so one has seen fashions and vogues and stunts coming one after another in the Church. Each one creates great excitement and enthusiasm and is loudly advertised as the thing that is going to fill the churches, the thing that is going to solve the problem. They have said that about every single one of them. But in a few years they have forgotten all about it, and another stunt comes along, or another new idea; somebody has hit upon the one thing needful or he has a psychological understanding of modern man. Here is the thing, and everybody rushes after it; but soon it wanes and disappears and something else takes its place. This is, surely, a very sad and regrettable state for the Christian Church to be in, that like the world she should exhibit these constant changes of fashion. In that state she lacks the stability and the solidity and the continuing message that has ever been the glory of the Christian Church.

The Enlightenment emphasized ways of learning that weren’t subservient to human power hierarchies. Instead, Enlightenment thinking celebrates evidence-based scientific method and reasoning. The cultures of sciences and engineering used to embrace Enlightenment epistemology, but now they have been overridden by horribly regressive BUMMER epistemology. You probably know the word “meme” as meaning a BUMMER posting that can go viral. But originally, “meme” suggested a philosophy of thought and meaning. The term was coined by the evolutionary biologist Richard Dawkins. Dawkins proposed memes as units of culture that compete and are either passed along or not, according to a pseudo-Darwinian selection process. Thus some fashions, ideas, and habits take hold, while others become extinct. The concept of memes provides a way of framing everything non-nerds do—the whole of humanities, culture, arts, and politics—as similar instances of meme competition, mere subroutines of a higher-level algorithm that nerds can master. When the internet took of, Dawkins’s ideas were in vogue, because they flattered techies. There was a ubiquitous genre of internet appreciation from the very beginning in which someone would point out the viral spread of a meme and admire how cute that was. The genre exists to this day. Memes started out as a way of expressing solidarity with a philosophy I used to call cybernetic totalism that still underlies BUMMER. Memes might seem to amplify what you are saying, but that is always an illusion. You might launch an infectious meme about a political figure, and you might be making a great point, but in the larger picture, you are reinforcing the idea that virality is truth. Your point will be undone by whatever other point is more viral. That is by design. The architects of BUMMER were meme believers.

Although I’m what is called a progressive, it isn’t out of dislike for the past. I don’t reject our yesterdays. I wish that parts of our dead past were more alive. If I’m capable of originality, it’s not because I want to knock down idols or be ahead of the times. If there’s anything rigid about me, it’s a distaste for being in vogue. I would much rather be thought old-fashioned than “with it.” But in general, I still belong to the liberal leftist world as it exists in the West. I vote that way and stand with those people. We may disagree on one issue or another, but that is where I belong.