This is a choice I made 26 years ago when I joined the magazine. Vogue was in Italian but I wanted to speak to everyone so I thought of creating images that were made to talk.

I think that I'm still very enthusiastic about every single thing that I do. I'm still very passionate. I never feel tired because I feel so involved and so com- mitted, so I enjoy it. And you know what? I have a lot of irony. I love the humor, and when I really, really want to just say, "You know what? I can't stand all this," I find an ironical way. I say, "You know, maybe you presume to be more intelligent than you are." So I respond in a more humoristic way.

In New York there are between four and six big designers, and the shows last one week. There is something wrong here. It's our fault. We can't stand up for it. They take our ads, don't they? Why don't they want to stay longer in Milan? Why do we have to comply? We have the most beautiful brands, they are Italians.

Think of Instagram. Journalism will continue to exist, but communication is now visual.

We've created a community and these images [from Vogue] will live on with exhibitions, postcards, projections. We help them gain more exposure. Instagram already works as a selection. It's my curiosity into the world of youth, what they do, what they buy.

I need to protect myself from everybody. I see so many people all day, all demanding their own jobs, their own opportunities, so in a way, I make a distinction. I'm very difficult about opening myself up with people at first . . . It just takes time.

I thought Italian Vogue had always been considered the most experimental, avant-garde magazine. If I was going to use the same kind of language and the same kind of photos or images on the web site, it would be a disaster because Vogue has its own world, and it could be a little bit cold, you know? We don't give what you call a service.