That bothers me when I see that fashion editors are consultants for brands. It tells me that the designer has lost sight of what he or she really wants to do, and that he or she is listening to the strength of a very strong stylist and being a little watered down - and by watered down, I mean, the strength of the designer's vision. I'm not saying it's easy.

Steven Meisel is completely consumed with what interests him. He does what he wants to do, and when something doesn't interest him, he's not afraid to say so. I think that's why you don't see his work all over the place as often as you might like to. Today he only photographs what he wants to photograph, what turns him on. He has an extraordinary eye, and his sophistication is limitless. This is a man who doesn't miss a beat.

Style doesn't have seasons.

There are certain people who hang onto nostalgia and I wish they wouldn't. I wish the young beautiful actresses and other people - I wish they would not hark back to clothes that look more like they've dressed in their mother's clothes.

I was fascinated looking at John Galliano's couture. They're just extraordinary extravaganzas and I love it. I love looking at it because it's like going to a museum.

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."

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.