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 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.

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.

Style doesn't have seasons.

I love street, adore street. Life is about mixing things and to be divine in the streets. Voila!

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 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.