I always wanted to be a designer. I read books on fashion from the age of 12.
It's a new era in fashion - there are no rules. It's all about the individual and personal style, wearing high-end, low-end, classic labels, and up-and-coming designers all together.
'Vogue' has the power to make and break - whether it's fashion trends, designers, models, and yes, even industry practices.
Fashion Week is so important for designers.
I'm not sure what I think about current fashion, though. A few years ago, I would have said it's really, really bad and you hardly ever see anybody looking good. There must be some very good designers in the world.
I talk to fashion designers and say I want some money to save the rainforest, and they say, 'Oh, I agree with you completely Vivienne. Yes, climate change, it's definitely happening,' but they don't feel that they can do anything about it; they don't even think 'Well let's stop it!'
We cannot fashion our children after our desires, we must have them and love them as God has given them to us.
Here Fashion is a despot, and no one dreams of evading its dictates.
I go online at night and I order flowers, rare flowers, and then they come in the mail. That's my fashion detox.
At the end of summer, I go on a detox because I know I need a clear mind for Fashion Week. You need a lot of energy, and the ability to focus, in preparation for this craziness. I go to the gym, too, just to make sure I have the endurance to keep up with everything.
I love fashion and am not scared to deviate from the norm.
With so much to be aware of, awareness bracelets have reverted to signifying nothing more than color itself. Idealism has devolved into fashion.
I'm really lucky to have a lot of friends in fashion. I don't know if that's common, but I just get along with a lot of people. My really close friends are Ireland Baldwin, Kendall Jenner, Lily Aldridge and Devon Windsor.
Fashion needs incredible women, alive, stimulating, with style like Diana Vreeland. She is the most. The way she talks expresses all her values.
I'm fascinated by the way Diane Arbus saw things. She came from this fashion background and then twisted it.
The body moves through space every day, and in architecture in cities that can be orchestrated. Not in a dictatorial fashion, but in a way of creating options, open-ended sort of personal itineraries within a building. And I see that as akin to cinematography or choreography, where episodic movement, episodic moments, occur in dance and film.
Fashion doesn't look good only on models; it can look good on different people of different ages and different body shapes.
In high fashion, we're always accused of doing things that are not very relevant, not the real world. I know that it's important sometimes to do fantasy, but I felt like touching people and going back to different women and men, especially the idea of different ages and body shapes.
I feel very lucky because I get to work in so many different areas of fashion.
I think when I was younger I wasn't really sure if I wanted to act, so I played around with a few different ideas. I wasn't sure whether I might want to write or whether I might want to do something in fashion.
