An Exclusive Q&A with Steven Meisel

TB: If the work changes as a reaction to the world, you yourself seem to have also reacted. People are fascinated by the notion of you as a recluse.
SM: You have to become more and more insular, because it’s crazy out there. I don’t know what other people think of me, and there’s nothing I can do about it. As I said, I’m an extremely sensitive person. I see too much and I feel too much, and it’s hard, that’s all.
Read the rest of the Q&A here: An Exclusive Q&A with Steven Meisel

"Feel that you are the creator of the world, and that you can also destroy it.''

Acknowledge and feel your own power. The world is nothing but your own thought. You can destroy it simply by forgetting about it, as, for example, when you go to sleep. There is no need to destroy the world-why destroy what is not true?-but there is a need to accept your power in relation to it and to understand that you are the one that the world depends on for its existence. So by all means feel that it is yours to destroy and to create. 

Vanessa Paradis

''Nothing is ever for sure, but when something in love doesn't work from the beginning, it's never going to work. Don't push it.''
Vanessa Paradis

Image: Karim Sadli for Vogue France

Joseph Szabo

They are pre–street style, pre-Internet, pre-Coachella; as Grace Coddington says, they’re “a reminder of life before cell phones and selfies and It Bags and all the paraphernalia of concerts today.” There are models for today’s perfect belfie shot, hands crisscrossed in the back pockets of each other’s jeans; there are covetable denim jackets; there is great hair and great leather; there are dirt-spattered dancers in the pit; there is a real and pure unrehearsed, unselfconscious, unhashtagged joy in the photos, an experience lived largely in the moment and captured mostly in memory, and what, really, is cooler and more fashionable than something that elusive and impossible to contain? For the fans that day, Szabo just happened to be there at the right time to witness it all. 
Continue reading: 

Hedi Slimane Photography

Raf Simons

TT- I’ve read that the first fashion show you ever went to was Maison Martin Margiela. You said it was so beautiful that half the audience cried and it had a huge influence on you. Why? 
RS- Because that was the day that I understood that fashion could also be conceptual and intellectual, that it could be linked to a certain kind of social, psychological thing. That Martin Margiela show was in a really trashy area in Paris and it wasn’t in a building, it was in a playground from a black neighborhood. The parents had agreed to do the show for the Margiela company only if their children could come and see it. Everybody was expecting the children to just stay on the side and sit with the audience, but they didn’t. They started to play with the girls and it was a very, very different thing. Before my perception of fashion was a high-staged Americano, you know like sun tans, boys, healthy. Martin was turning it completely around; it was like they came out of a grave or something. They looked really different. I don’t have that background; my parents are very working-class and I come from a village where there is no culture. continue to read... 

Peter Lindbergh

I’m not interested, neither concerned, with the idea of photography being art or not.I feel more and more, that it is about photographing this “magic space”, situated between the photographer and the subject he’s photographing and not about the “architecture” of faces. Peter Lindbergh 

Hedi Slimane

''I have no reference to anything.''
 Hedi Slimane

Bruce Weber

''I think this idea of a photographer as a celebrity embarrass me. I think it's not such a good idea to be so caught up in that fame game kind of thing as a photographer, because what's wonderful is that you can go out in the world and people don't really know you. I just go out in each job and take pictures for myself. I’ll photograph trees or if I meet a really handsome guy or girl I’ll take their picture, even if they’re not part of the set. But I never felt like that word model was so important. It is more just a subject, a person, a friend, a family member.'' Bruce Weber

Image by: Michael Murphy

Pierre Bergé Talks Hedi Slimane and Yves Saint Laurent

SUZY: I want to ask you something. I wrote an article ages ago when I said that Karl played Salieri to the Mozart of Saint Laurent. Do you think that is true?
BERGE: Karl's problem is the following: it's like two starlets in the theatre or cinema, when one becomes Marilyn Monroe and the other is a nobody. I like Karl a lot - I've known him for ever. He is really cultivated and very intelligent.
Karl's big problem is that he has never been successful with his own label. And he has not been able to reach the same level of success as under the name of Chanel. It is sad.
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