Maye Musk Quotes

I would love to work with Mario Testino. I respect all the work he has done and is doing.

A magazine is not just one person. And a fashion shoot is the same!

If Botticelli were alive today he'd be working for Vogue.

Working with Mario Testino was a joy. He's very young spirited, and it's always lovely and a pleasure to spend time talking to him about all different things.

I have had the privilege of working with the best in the business, from photographers to designers to magazines. There's not much more to ask for but I'm still looking forward to one day working with photographers Mert and Marcus, Tim Walker and Nick Knight.

In my teen years, I was hanging out with adults - Steven Meisel, Francois Nars, Oribe, Paul Cavaco. We had so much fun! We'd go out in New York.

'The September Issue' is really a film about Anna Wintour's relationship with long time 'Vogue' Creative Director Grace Coddington. The two of them have been working together for two decades, and the extraordinary symbiosis between them has left an indelible mark on the fashion industry.

For eight months, from January to August of 2007, I filmed with Anna Wintour and her team at 'Vogue' as they created the September 2007 issue of the magazine.

Fashion had no interest for me. I would take photographs in the studio. I would go back home, and my wife would say, 'What is the fashion like for this season?' And I would say, 'I have no idea.'

I remember Grace (Coddington) looking at me and said, 'Can you do something?' and I was like, 'OK, how long do you give me?' and she said 'Half an hour?', I said 'Forty-five minutes?'

I get to be goofy and quirky and sweet at the same time.

My first really big job was an advertorial for Italian Vogue. I cried on set because I didn't know what to do. That was two weeks after being in Milan for the very first time. I think I had one or two test shoots there.

[There is] a breed of fashion models

I was sitting at home one day and I got a call that Riccardo Tisci was considering me for the face of the Givenchy Spring/Summer 2014 campaign, and I said, "Are you kidding?" and that was the end of the conversation. I'm a really big fan.

If you look at any great fashion photograph out of context, it will tell you just as much about what's going on in the world as a headline in the New York Times.

Can't you . . . I don't know. Find a hobby or something?" "Being charming is my hobby," said Adrian obstinately. "I'm the life of the party— even without drinking. I wasn't meant to be alone.

The fashion community has really embraced me, which has been helpful with getting my music out.

Making a woman laugh. What is that about? And the prettier the woman, the more satisfaction I get. It doesn't make any sense, but I'm being honest.

I am still taking care of the creation of the collection alongside my staff, and my daughter Nathalie Rykiel, is the artistic director of Sonia Rykiel, who takes care of a lot of things. We are very alike and also very close.

Lots of girls will work for five years before Mario Testino will use them, and I was not prepared to slog around doing that.

I was also very lucky to be able to work with talented people while I was learning. I didn't actually go to fashion school. I worked with Riccardo Tisci at Givenchy which was a really pivotal experience for me. He taught me a lot about being faithful to your own voice and to really believe in your own voice and that's made a big difference.

Models-turned-actors are a bit of a cliché... It is a huge cliché but you have to look at the positive aspects. I learned a lot about the world and took a lot of knowledge away from it.

I wouldn't mind collaborating with anybody, but I don't want to design anything, I'm not a fashion designer.

I find fashion magazines so incredibly boring . . . There still is no new photography and no new concerns.

Essentially what you're doing is collaborating with the photographer to create an image that reflects the fashion you're trying to capture and also hold a mirror up to the zeitgeist at the moment.