Part of the pleasure of editing 'Vogue,' one that lies in a long tradition of this magazine, is being able to feature those who define the culture at any given moment, who stir things up, whose presence in the world shapes the way it looks and influences the way we see it.
I never pay any attention. I'm sure it's not such a good way to be, but I don't really follow market research.
I have such an extraordinary platform where I am able to help people. To me, that's the number one priority.
I don't think in today's world you can go too far. However you may feel about social media or the Internet or selfies, it's part of how we all live today. 'Vogue' needs to understand and reflect that.
I look for strong people. I don't like people who'll say yes to everything I might bring up. I want people who can argue and disagree and have a point of view that's reflected in the magazine. My dad believed in the cult of personality. He brought great writers and columnists to 'The Standard.'
I learned how important it is to lead and be decisive and to, in a way, empower other people to do their best.
My career got off to a very shaky start when I dropped out of school at the age of 18. Despite my lack of academic credentials, I got a job as a fashion assistant at 'Harper's & Queen.'
I think Beyonce is every woman. She's superwoman, she's an extraordinary business woman, she's a force of fashion. She totally understands the way to communicate to millions and millions of fans.
The world of entertainment is, like the world of fashion, becoming increasingly populated by those who don't want to do things the same old boring way.
I'm very good at delegating - people work much better when they have a real sense of responsibility. But at the same time, I don't like surprises. I don't pore over every shoot, but I do like to be aware at all times of what's going on.
'Vogue' has a history of picking up on various TV shows that reflect a moment in popular culture, whether it's putting Lena Dunham on the cover or Sarah Jessica Parker.
I don't feel that Chinese designers have reached the level of prominence that European or American designers have, but we've noticed in fashion schools in the U.S. and in England and we've seen how much the makeup of the students in the classes have changed there in the last five to 10 years.
To be famous these days with no grounding and no substance is not especially difficult. I urge you instead to seek to be relevant, to be agile and educated.
I feel it would be a huge mistake for 'Vogue' always to be completely tasteful, completely perfect. I think it's very important for us to also rock the boat.
We all have a role to play in creating safe environments where everyone can be free to work without fear.
I'm very driven by what I do. I am certainly very competitive. I like people who represent the best at what they do, and if that turns you into a perfectionist, then maybe I am.
I wasn't academically successful. And maybe I've spent a lot of my career trying to make up for that.
I hear the same anxieties over and over again. Everything is too fast; everything is too precarious. We have more access than ever to the people we are trying to reach, thanks to social media and mobile technology, and more information than we know what to do with.
I think what you have to do in print is to create even more memorable images and more memorable pieces because what one consumes online or in social has a much shorter shelf life, so to speak, so what print has to have is no more weight, but it has to be something that you can't find so easily online. It has to really stand for print.