I look for strong people. I don't like people who'll say yes to everything I might bring up. I want people who can argue and disagree and have a point of view that's reflected in the magazine. My dad believed in the cult of personality. He brought great writers and columnists to 'The Standard.'
Previous first ladies seemed to feel the need to wear a sort of uniform, whereas Michelle Obama likes fashion and is very comfortable in fashion. She's happy to mix high and low, and she loves emerging designers. That will do nothing but good for our industry.
Certainly we have made mistakes, but you try and learn from your mistakes. And the most important thing is always to move forward and, I think, empower people to do their best, and to lead. I think people respect that and work better under those circumstances.
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.
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.
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.
By the time I came to the States, I really understood how a magazine works. I came to 'Vogue' as creative director, and three years later I went back to London to be editor in chief of British 'Vogue.'
Of course there were times, particularly when you travel, when it's very tough to leave the kids, particularly when they were very young. I would try to take them with me when I could just so they could experience and see a little bit of what a work day involved.
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.
I don't feel that Chinese designers have reached the level of prominence that European or American designers have, but we've noticed in fashion schools in the U.S. and in England and we've seen how much the makeup of the students in the classes have changed there in the last five to 10 years.
I like having young assistants in my office; they have energy, and I spend time with them to make sure they understand what we're doing. By investing in them, I'm investing in the magazine. All over 'Vogue,' 'Teen Vogue,' and 'Men's Vogue,' there are people who have been through not only my office but also many other offices at 'Vogue.'
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.
There's barely a strand of the modern media that the Kardashian-Wests haven't been able to master, and for good reason: Kanye is an amazing performer and cultural provocateur, while Kim, through her strength of character, has created a place for herself in the glare of the world's spotlight, and it takes real guts to do that.
Of course it would be wonderful for Hillary Clinton to be the first female president, but I think she would be the first to say that she wouldn't want people to vote for her just because she's a woman.
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.