I say let Matteo Renzi work. He took over a country that was in disarray, not florid. And not the other way around.

I was doing the Black Issue in 2006 and then went to Africa for Uomo Vogue. I've worked with Gucci and Fendi, committed to create jobs. Fifty percent of those ads went to non-government organizations in Africa. [Nelson] Mandela was on the cover, it helped create attention.

Fashion is a mirror of the era in which we live. Why should the magazine be disconnected from reality? It's not like in the past.

I think I just do what I feel is good to do. Everybody can give me their suggestions, but at the end, the final risk is mine because it's my name on the magazine. So I only do what I really feel. Everybody tries to influence you, of course: "Oh, this is the right moment to do this" and "This is the right photographer to choose," and "This is the right model to have . . ." I listen, but I must go my own way. When you take risks, it means that you know every month people are there to judge you.

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 never program anything, I decide at the last minute.

The light of the screen annoys me.