Suzy Menkes Quotes

I think there's a sort of agony with all intelligent and very creative designers that it's only fashion, that in the end it's only the decorative arts. I had a feeling towards the end that Saint Laurent and Berge were very keen to attain that immortality that a lot of designers long for. You know, those endless exhibitions.

There are some designers who flash and burn - Courreges is an example of that. But he still marked fashion history. And I don't think that longevity is always a badge of honor. Modern brand management means that we are always celebrating birthdays, when what is exciting about fashion is innovation, not repetition.

The Romanovs are overtaken by the Indian Maharajahs as American heiresses pick over the carcasses of fallen Empire.

I am not really sure that Diana Vreeland did Yves Saint Laurent a favor, as opposed to the world, by putting that exhibition at the Met in 1983. Because I'm sure that Saint Laurent started looking back at his own work. You see that with artists, don't you? Once they get their first retrospective, it's really hard for them to push ahead.

I was trained as journalist never to use the word 'I,' never to put my own opinion there. In fact, if you had a dollar or a euro for every time I use the word 'I,' you would be a poor person. But this is not true in general. I like the idea of being able to stand away and make a judgement.

As a journalist, I cannot help imagining with excitement a new era with a face-off between Hedi Slimane at YSL and Raf Simons at Dior - a magnificent battle of style and wills to echo the Armani/Versace, Gucci/Prada or even Chanel/Schiaparelli face-offs of earlier years. But I remind myself that this is not a game of chess.

I always have separated myself from my critiques of collections. My judgment is not about whether I would wear it - but how the collection stands in the lexicon of an established designer. As I am a maximalist, not a minimalist, I don't wear Armani or Celine - but I so appreciate what they have achieved.

Clothes, as much as music, have an eerie echo of time and place.

With the traditional six-month lead time on the delivery of international show content, designer collections can be outpaced by the so-called fast fashion chains. H&M, Topshop and Zara, or even Target and J. Crew, would have their versions for sale before the designer looks hit the stores.

When I look at my clothes, I think of them as an expression of the joy and fun of fashion - with a bit of English eccentricity thrown in.

I was taken to my first fashion show - Nina Ricci haute couture - in Paris by the White Russian princess, down on her luck, whom I was boarding with in Paris in 1963. I was captivated by the glamour of the gilded salon, the elegant clothes, and the audience of grand ladies.

Clothes are like friends.

Nan Kempner wore one of the first Saint Laurent trouser suits to one of those fancy Madison Avenue restaurants and was denied access. She famously took off her pants and walked in wearing only the jacket. And it was that kind of revolution that was echoed in fashion and in life.

We know that creative people have all sorts of demons.

Who needs to graduate from Central Saint Martins in London or New York's Fashion Institute of Technology when a homemade outfit can go viral on YouTube with millions of hits?

I am not a hoarder, but my wardrobe is the antithesis of fast fashion. I buy clothes - beautiful in looks and make - to last. I originally stored away things like Ossie Clark because I could not bear to part with such treasures.

My style has always been to choose the charming and quirky.

I am thrilled to become international 'Vogue' editor at Conde Nast International, which has a real commitment to journalistic excellence, and to have the opportunity to write for a wider global audience through the 'Vogue' websites.

I am grateful to have spent 25 years at the 'International Herald Tribune' - a newspaper where I had unstinting support in being able to express myself freely and honestly.

Just as in life you always marry the same man, so I think you always buy the same clothes over time.

At the 'Times,' all journalists on every subject followed the same rules and were supposed to meet the same standards, so I never really thought about fashion writing as being in a bubble.

I do believe fashion should work as hard as a woman does.

I find some collections to be more vibrant than others, but the designers who last are those who are able to continue to be creative within the mold they have cast, usually right at the beginning of their careers.

Fledgling designers need investment - but how much easier it is to put them in a dead man or woman's shoes, perhaps also backing the new designer's namesake line, but only as what the French call a 'danseuse,' a plaything.

If fashion is for everyone, is it fashion? The answer goes far beyond the collections and relates to the speed of fast fashion. There is no longer a time gap between when a small segment of fashion-conscious people pick up a trend and when it is all over the sidewalks.

In the mid-1990s, when I stopped having to run from the shows to the film developing lab and first saw digital images, I blessed technology and was convinced that my working life was changing for the better.