Anna Wintour

It would be ridiculous to ignore the speed and possibilities of the digital landscape.

I surround myself with a talented group of people that are opinionated and interesting. I try to remain very open to what others have to say.

I'm always looking for a cover subject that reflects the magazine, an interest in fashion, in culture, in society. We're trying to bring the world into the pages of 'Vogue.' We do that by tapping into the zeitgeists with our cover subjects.

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 love coming in and changing magazines.

I don't really follow market research. In the end, I respond to my own instincts.

The Fashion Fund celebrates the real passion that underlies the fashion business, not the frothy world of glamour and celebrity that so often surrounds it.

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've been very lucky to put women that I sincerely admire on the cover of 'Vogue:' the then First Lady and now Secretary of State Hillary Clinton and, more recently, First Lady Michelle Obama. Those were benchmarks for the magazine, and certainly covers that I've been very, very proud of.

Because of reality television and all these celebrities thinking they can be designers, everyone imagines that they can just become a designer, photographer, or model, but that's not the way things work. People have to go to school, learn their craft, and build a brand - that's the right, healthy way to do things.

It is important always to have really original talent. There are lots of good designers that make attractive clothes and make women look beautiful. But at the same time, one doesn't want to lose the idea that there is someone out there who can change the way you look at fashion.

Fashion today is available to everybody in a way that it's never been before: you've got every designer you've ever heard of working for H& or Target. That's fantastic.

I went to Wimbledon before I could walk. It's just been a lifelong passion.

It's very important to take risks. I think that research is very important, but in the end you have to work from your instinct and feeling and take those risks and be fearless. When I hear a company is being run by a team, my heart sinks, because you need to have that leader with a vision and heart that can move things forward.

It's very important to me that I look good when I go out publicly. I like looking at my clothes rack in the morning and deciding what to pick out. I enjoy fashion.

It's important for young women and men coming out of the fashion schools to think seriously before starting their own collections.

I think we're living, in terms of media, in a very democratic age, but I think that we still look at everything through the lens of 'Vogue' and through our own point of view.

In the fact that 'Vogue' is someone that can help guide enormous audiences through this fascinating world, I would like to think we are as influential and actually are now reaching so many more people than we ever dreamt of back in the Fifties or the Sixties.

I get asked all the time, What do you do differently than 10 years ago, or what will you do differently in the years to come?' In the years to come, I have no idea.

Print publications have to be as luxurious an experience as possible. You have to feel it coming off the page. You have to see photographs and pieces that you couldn't possibly see anywhere else.

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.

There is unfortunately a world that still exists that dismisses fashion as being a little bit frivolous and the people who work in it are not so smart.

We are in a gender-fluid generation.

There are so many causes that you care about, but one can't change or take on the world, so one has to really focus on where you feel you can - to use a very overworked phrase - truly try to do something to make a difference.

Mental health is an area where people are embarrassed. They don't want to talk about it because somehow they feel they're a failure as a parent or, you know, they're embarrassed for their child or they want to protect their child, lots of very good reasons, but mental health, I feel, is something that you have to talk about.

I think it's very important for children to understand that women work and that it's fulfilling, and it doesn't mean that they love you any less or care about you any less.

I can't make anything. I don't know how to make a dress. I couldn't go on a shoot and create an image. I can't write a script. I have so much admiration for people who can do these things, because I would have no idea where to start.

I don't have a high-powered life out of work. I like to go to the country for the weekend with the kids and the dog and play tennis. I am very good at turning off.

We all have a role to play in creating safe environments where everyone can be free to work without fear.

I have such an extraordinary platform where I am able to help people. To me, that's the number one priority.

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.

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.

It would be ridiculous to ignore the speed and possibilities of the digital landscape - you absolutely need to have fast-moving news online, but if you want to build a large audience over time, you absolutely have to take a risk on the big challenging stuff.

It is true that a lot of people are easily distracted online. As a result, too many of us have given up on digital audiences for ambitious work, and this is a mistake.

'Vogue' and 'Vice' may appear to some to see the world through different lenses. But in my view, both are fearless and breathtaking, with unquenchable curiosity and vigor.

I think it would be incredible for this country if we could have our first woman president.

'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 am very lucky in my team. They sit opposite me, and I get to see them every day sitting there staring at the seating chart, not doing much. It is almost like a chess game.

I have learned that documentary makers are incredibly sneaky people.

In 1986, I returned to London as editor in chief of 'British Vogue.' Although I still thought of myself as totally English, to my surprise, everyone here thought I was some sort of American control freak.

After a series of jobs that I prefer not to recall, I was hired in the early eighties as fashion editor of 'New York' magazine.

My first job in the States was as a junior fashion editor at 'Harper's Bazaar,' which I enjoyed, but not for all that long because I was fired by the editor in chief, who told me that I was too 'European.'

I've never worn a hoodie before!

I've been thinking a lot about the speed and spectacle in today's fashion industry, because they seem to mirror stresses in other creative fields.

Fashion, which often seems to be on a path to be bigger, more Instagram-ready, can also achieve its best through sincerity.

Traditionally, those that work in fashion have always had the point of view that items made by hand have their own aura and are something special.

The beauty of what Apple does at Apple is that they're not on trend; they are classic.

It would be a mistake to think something is wonderful just because it looks great.

I think of young Chinese women today as being incredibly modern and are taking a lot from Western style and tailoring.

I was brought up in a family of journalists, and a mother who was deeply committed to human rights, so I think that the mix of those two huge influences have been very, very important to me.