Vogue Style Quotes

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

The simplistic way of not conforming is to see what is in style in our culture and then do the opposite. If short hair is in vogue, the nonconformist wears long hair. If going to the movies is popular, then Christians avoid movies as “worldly.” The extreme case of this may be seen in groups that refuse to wear buttons or use electricity because such things, too, are worldly. A superficial style of nonconformity is the classical pharisaical trap. The kingdom of God is not about buttons, movies, or dancing. The concern of God is not focused on what we eat or what we drink. The call of nonconformity is a call to a deeper level of righteousness, that goes beyond externals. When piety is defined exclusively in terms of externals, the whole point of the apostle’s teaching has been lost. Somehow we have failed to hear Jesus’ words that it is not what goes into a person’s mouth that deflies a person, but what comes out of that mouth. We still want to make the kingdom a matter of eating and drinking.

The best part of a writer's biography is not the record of his adventures but the story of his style. [Vogue, interview, 1969]

Casiopea, meanwhile, looked at a heavy silver bracelet with black enamel triangles, of the "Aztec" style, which was much in vogue and meant to attract the eye of tourists with its faux pre-Hispanic motifs. It was a new concoction, of the kind that abound in a Mexico happy to invent traditions for mass consumption, eager to forge an identity after the fires of revolution--but it was pretty.

The strongman and the “corporate state”—by another name, fascism—are all the rage. Western-style democracy and the global institutions that created an unprecedented period of peace in Europe are suddenly out of vogue.

Vogue began to focus on the body as much as on the clothes, in part because there was little they could dictate with the anarchic styles...In a stunning move, an entire replacement culture was developed by naming a 'problem' where it had scarcely existed before, centering it on the women's natural state, and elevating it to the existential female dilemma...The number of diet-related articles rose 70 percent from 1968 to 1972...The lucrative 'transfer of guilt' was resurrected just in time.

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.

Provided that a writer of almanacs has already gained enough authority for people to bother to read his books, examining his words for implications and shades of meaning, he can be made to say anything whatever – like Sybils. There are so many ways of taking anything, that it is hard for a clever mind not to find in almost any subject something or other which appears to serve his point, directly or indirectly. [C] That explains why an opaque, ambiguous style has been so long in vogue. All an author needs to do is to attract the concern and attention of posterity. (He may achieve that not so much by merit as by some chance interest in his subject-matter.) Then, whether out of subtlety or stupidity, he can contradict himself or express himself obscurely: no matter! Numerous minds will get out their sieves, sifting and forcing any number of ideas through them, some of them relevant, some off the point, some flat contradictory to his intentions, but all of them doing him honour. He will grow rich out of his students’ resources – like dons being paid their midsummer fees at the Lendit fair.

The word cellulite, for example, first appeared in the April 15, 1968, issue of Vogue magazine, and this invented disease soon had a believer base worldwide: Vogue began to focus on the body as much as on the clothes, in part because there was little they could dictate with the anarchic styles.… In a stunning move, an entire replacement culture was developed by naming a “problem” where it had scarcely existed before, centering it on the women’s natural state, and elevating it to the existential female dilemma… . The number of diet- related articles rose 70 percent from 1968 to 1972.

As associate beauty editor, it was my job to represent the magazine at get-togethers like these: to rub elbows and be pleasant and professional. Seriously, it was the easiest gig in the world! And yet it wasn’t always so easy for me. “I’ll take one of those.” I stopped a dude with a tray of champagne. “Thanks, honey.” “Hi, Cat!” a beauty publicist with a clipboard said. “Thanks so much for coming!” “Good to see you,” I lied. Thunder clapped outside. “The gang’s over there,” she said. The publicist was referring to the usual group of beauty editors—my colleagues. They were from every title you’ve ever heard of: Teen Vogue, Glamour, Elle, Vogue, W, Harper’s Bazaar, InStyle, O, Shape, Self. I attended events alongside them every day, and yet I never felt like I belonged. I’d spent years trying to get into their world: interning, studying mastheads, interviewing all over town. But now that I was one of them, I felt defective—self-conscious and out of place in the dreamy career I’d worked so hard for, and unable to connect with these chic women I’d idolized.

The Italian-owned Benetton label, for example, manufactures its entire clothing line in white. Once the clothes are delivered to distribution centers, Benneton’s analysts assess what color or length is in vogue, at which point workers dye and cut the company’s shirts, jackets, pants and infant apparel to replicate the style and color preferences popular at the time.

Hello, how may I be of assistance?" "Howdy," came the voice from the other end of the intercom. "This is Mrs Digby, your housekeeper, may I please remind you that your parents will be home from Switzerland in two and a quarter hours." "I know, Mrs Digby, you told me that a half hour ago." "Glad you remembered. May I also point out that they may be a little grief-stricken to see the state of your bedroom." "It's my style Mrs Digby - 'layered' - it's very in vogue." "Well may I continue to remind you that some magazine folks are coming to photograph this very house tomorrow and if your mother sees it in its 'layered' state, you will be in what's commonly referred to as 'the dog house'." "OK, OK," sighed Ruby. "I'll take care of it.

Hello, how may I be of assistance?" "Howdy," came the voice from the other end of the intercom. "This is Mrs Digby, your housekeeper, may I please remind you that your parents will be home from Switzerland in two and a quarter hours." "I know, Mrs Digby, you told me that a half hour ago." "Glad you remembered. May I also point out that they may be a little grief-stricken to see the state of your bedroom." "It's my style Mrs Digby - 'layered' - it's very in vogue." "Well may I continue to remind you that some magazine folks are coming to photograph this very house tomorrow and if your mother sees it in its 'layered' state, you will be in what's commonly referred to as 'the dog house'." "OK, OK," sighed Ruby. "I'll take care of it.

1930s Preserving The Arts of Peace The decade before the Second World War started much like the previous one. The stock exchange had crashed, there were 3 million unemployed, a 1931 hunger march was dispersed with baton charges, and the 'Bright Young Things' and their elder bluestocking systers veered towards the Left. 'If you haven't lost money,' advised Vogue, 'pretend you have. Mayfair has gone native; no champagne, and dinner cut to two courses.' Servants were released. One served one's own cocktails or perhaps copied Mademoiselle Chanel and arranged 'buffet-style meals'. 'Guests toss their own salads!' reported Vogue. To flaunt wealth would not do at all - 'one is still grand, but one is poor,' remarked Cecil Beaton.

there are also deeper forces behind our resistance to rethinking. questioning ourselves makes the world more unpredictable, it requires us to admit that the facts may have changed, that what was once right may now be wrong. reconsidering something we believe deeply can threaten our identities, making it feel as if we’re losing a part of ourselves. rethinking isn’t a struggle in every part of our lives, when it comes to our obsessions, we update with fervour, we refresh our wardrobes when they go out of style, and renovate our kitchens when they’re no longer in Vogue. when it comes to our knowledge and opinions though, we tend to stick to our guns. psychologists call this ceasing and freezing. we favour the comfort of conviction over the discomfort of doubt and we let our beliefs brittle long before our bones

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Oval Window, 1953 - 1957 In 1953 came the first major changes in Beetle styling. Rear view was increasingly a problem and so the boys in Wolfsburg cut out the centre post and made the split into an oval. Some callous butchers are known to have manually cut the center post of the split rear window out either to improve rear visibility or to make their cars look newer! This window stayed in vogue until 1958 with the first small square rear window model. Note that the rear bonnet was the same as the Split, except for minor changes such as handle and ‘popes nose’ designs. Taillights are larger and also oval shaped. Outer lens is GLASS, not plastic and has a distinctive honeycomb pattern. These Bugs also came with pop-up (semaphore) indicators in the b-pillars.

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

Setting aside Vogue, she unfolds the newspaper. Gradually, the leisurely Times style, with its air of measured consideration and its undertone of educated irony, begins to calm her, as the voice of an English nanny might quiet a hurt, overwrought child.

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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.

Part of the problem is cognitive laziness. Some psychologists point out that we’re mental misers: we often prefer the ease of hanging on to old views over the difficulty of grappling with new ones. Yet there are also deeper forces behind our resistance to rethinking. Questioning ourselves makes the world more unpredictable. It requires us to admit that the facts may have changed, that what was once right may now be wrong. Reconsidering something we believe deeply can threaten our identities, making it feel as if we’re losing a part of ourselves. Rethinking isn’t a struggle in every part of our lives. When it comes to our possessions, we update with fervor. We refresh our wardrobes when they go out of style and renovate our kitchens when they’re no longer in vogue. When it comes to our knowledge and opinions, though, we tend to stick to our guns. Psychologists call this seizing and freezing. We favor the comfort of conviction over the discomfort of doubt, and we let our beliefs get brittle long before our bones. We laugh at people who still use Windows 95, yet we still cling to opinions that we formed in 1995. We listen to views that make us feel good, instead of ideas that make us think hard.

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?

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.

As Baraka knew, black American life is movement, a living verb: we swing, we get hip, we real cool we. The white American, meanwhile, stands close by and observes—ready to transform life into style and profit, a process Baraka calls “the cultural lag.