Lady Amelia Windsor Quotes

I'd want to start being a creative director of a specific line, like Adidas, for example. If they called me up to collaborate on something, I would do it.

Good designers are no longer satisfied in taking the manuscript from someone and making it look nice. One of the things that I've tried to do is move from being a designer to a content provider.

While at Parsons, I interned at Marc Jacobs, which was great. When I graduated, I went to work at J. Crew; that was also really great.

I interned with Marc Jacobs in college, then worked at J. Crew. I learned a lot about how to fit clothes and what kinds of things sell and why.

I just fell into the job as a fashion editor at a teen magazine. I was there for two years, and I left there as a senior fashion editor at the age of 25.

My aspiration was always to be a fashion editor.

At LVMH, we have amazing heritage brands, and we put interesting talents in those brands, sometimes very young, like we did at Givenchy with Riccardo Tisci at the time, or like we just did with J.W. Anderson at Loewe, but also talents that are already further along in their careers, like Raf Simons at Christian Dior or Nicolas at Vuitton.

I am extremely involved in the design process of both my brands, Winter Kate and House of Harlow 1960.

I've had a great experience in the fashion business.

I saw my potential as artistic director, which is very different from designer. Fashion companies might have $200 million to $300 million in annual sales - Hugo Boss has €2.5 billion. I have to create a world that is believable and also relevant in 7,000 sales points around the world.

One thing I can say right off the bat is that creating great editorial is a huge challenge, and you can't help but go through the process and not appreciate how valuable this skill is, and how much I admire the people who do this every day.

I started at Moschino Oct. 31 or Nov. 1, 2013, and now I go back and forth between Milan and Los Angeles, where I live.

When someone calls me a blogger, I think, 'That's one of the things I used to do.' I'm a creative director for my shoe brand; I'm the editor-in-chief of 'The Blonde Salad,' which is a website and not just a blog anymore.

It's very exciting to have this great opportunity to interview designers for PopSugar. This is certainly my first step toward making my debut in the fashion industry.

Don't have just anyone run your social media. I think it's insane when brands or celebrities relegate their social media to an intern or someone who does not know them well.

I am the CMO (Chief Marketing Officer) of Marathon Agency, a new venture with my business partner Steve Carless. It's a management, branding, marketing, and business strategy. I'm in charge of marketing and branding clients like Nick Cannon, Nicki Minaj, and more.

[Nathalie Rykiel] knows by heart the genetic codes of the brand, and she also has a very contemporary and creative opinions about it.

When I do an editorial or when I do a campaign, I bring that lens to every space.

We want to create content that our fans will like but at the same time stretches us creatively, with our own little touch.

I don't do my own Instagram.

We do everything from community management to specific marketing promotions.

I feel like we always kept our core philosophy of making content that we would wanna watch, and there's definitely a different scale we are offering that at today.

My passion is creating and marketing. That's what I'm really, really good at, and that's what I find the most stimulating for my brain to work on, so that's what I really, really want to do as opposed to product creation.

Working at 'Harper's' was an awakening experience for me. I genuinely enjoyed the process of putting together a fashion magazine.

We could be like a lot of consumer brands that start blogs after they start their business. But in our case, I think Glossier is still very much a content company. I think about our products themselves as pieces of content.