I personally do not think that I have ever done, in my working life, anything vulgar. I know I've done provocative things.
Style doesn't have seasons.
It's great advice - to open your eyes, have a little humility, and let go of ego. I think that instills in you a sense of responsibility. I also think you have to feel like you want to enrich your life, and you want to keep your eyes open, and you want to listen and be a good listener.
You cannot squelch what's happening at the moment - you cannot put a lid on it and squash it down.
I love street, adore street. Life is about mixing things and to be divine in the streets. Voila!
I think Alexander McQueen was very, very special. When I went to his first show, I couldn't speak because I was so enthralled. I was saying to myself, "What am I looking at here? What's going on here?" Because, I'm really a loner. I've been a loner for a long time, because I guess I prefer that. For me to get the best out of myself, I have to trust my judgment. And so while watching an Alexander McQueen collection, I would feel isolated. Even though I was surrounded, I would still feel isolated by what I was looking at, if that makes sense.
You can squint and see something else, or something will come forward in the paint. You'll always see something else.
I was surrounded by talented people. I always remember Mrs. Carmel Snow, saying to me, "You know, Polly, if one person thinks they're a big star, then we're all stars. You just go out there and always do your best. And always have time to see any designer - no matter how big or how small, have time to see them. You don't have to just see the big shots. You never know what's coming around the corner and the talent that is going to be important. That is your job."
Happy family gives you a brick-by-brick foundation that you build on for the rest of your life. And then it teaches you so many things that are important in your life, like being a good sport, and not thinking negatively, and always having a good feeling for your fellow man. We went to wonderful schools. We just had a great life and I'm ever grateful for it.
When I graduated from school, World War II was still going on. At the time, my eldest sister, Nancy, was working in New York City at Lord & Taylor, and she had a great friend named Sally Kirkland who she worked with there and who later went to work as an editor at Vogue. I always told them, "I want to work in fashion like you do," and finally, in the late '40s, I got a job at Lord & Taylor, too.
I think movies also played a part in my interest in fashion. I've also always been hooked on the movies. From my early teens on, I always had my favorite movie stars who I admired, like Carole Lombard and Greta Garbo and Marlene Dietrich, and the men in my life who I loved, like Gary Cooper.
That's why you have to keep your mind open - so that you can be given the privilege to have five weeks in Japan and take all of that in. I mean, that's privilege to be able to do that. And you have to give that privilege back - it doesn't belong to you. It belongs to the madding crowd.
I think Diana Vreeland recognized the passion and the energy I had. I stayed at Harper's Bazaar for two years, until I met my first husband and moved on to Philadelphia in 1952. But they were incredible years - wonderful, wonderful years. But, anyway, my career sort of took off from there. I was really blessed.
If you've taken the job to be the stylist for a collection, then I think it's important for you to really listen to the designer and look at the board. Look at the wall, look at what the designer is interested in, and then move on to that. But the designer also must not lose sight of the reason for their point of view. Otherwise it won't come across.
I like people with guts. I want to feel in the clothes what the designer is really feeling when they're alone with themselves and their fabrics and they're drawings, and what happens when they let the creativity that they have been blessed with come forward. That's why they are who they are.
I remember once I didn't like a dress that we had to shoot - I'll never forget this - and so I turned it inside out and put it on the model backward.
They were enormously chic. My father was very chic. My mother was a heavy woman and she wore wonderful, bright colors, and pajamas, but when she was in town or in New York City or in Paris, she would wear navy blue or black. But there was a flamboyance to both of them.
You have to want to dare being a model. You have to dare or you don't go that step further. You have to be willing to stretch - and to not only be willing to stretch, but to want to stretch.
One day, Sally Kirkland said to Diana Vreeland, who was the fashion editor of Harper's Bazaar at the time, "I have a young woman I want you to meet. She's very young, but I think you should meet her." When Sally Kirkland told me this, I said, "I can't possibly do that! I'm going to throw up! That's the scariest thing I've ever heard! I can't do that, Sally. I'm not ready to do that!" But Sally said, "You let them make that decision." I was absolutely terrified.
I cannot imagine what an influence a five-week trip to the Orient had on me. I mean, the culture, the absorption of the Japanese way of life, the Japanese way of thinking, the discipline. The entire thing was an extraordinary experience. So these were more than memorable things to me.
I wear all my T-shirts from Helmut Lang with the holes in the elbows, which people always speak of. When my husband gets a hole in his sweater, at his elbow, he says, "It's very Helmut Lang!"
I loved the masculine style of dressing of Katharine Hepburn, who came from the same town that I came from. I was fascinated by the way she wore trousers. So I think the romanticism of the movies also influenced my life and my interest in fashion greatly.
Helmut Lang is an amazing man - always striving, always moving forward.
I think there a lot of great photographers working right now in the 2010. At the same time I do occasionally feel a great disappointment in some of the things that I see from certain people. But it is today.
I do think there is a lack of modernity at the moment - and I don't even like that word, modernity, anymore. There aren't enough designers today anyway - there are more stylists.
