Photographed by Annie Leibovitz, Vogue, December 19951/13Isaac Mizrahi in Vogue
“The great thing about that picture is not just the supermodels; not just the launch of my secondary line; not just my hair, which, when I arrived that day, was just awful and was luckily put right by Orlando; but my mother is in the photo wearing my collectsion suit and these awesome Azzedine Alaïa sunglasses I bought her.”
Photographed by Peter Lindbergh, Vogue, September 19892/13Isaac Mizrahi in Vogue
“This picture I love not only for its graphic beauty but also because it captures the style of one of my best friends at the time (who might even have styled that picture), Elizabeth Saltzman. I see it as a full representation of a moment for me as a designer that was inspired by Elizabeth.”
Photographed by Arthur Elgort, Vogue, September 19903/13Isaac Mizrahi in Vogue
“For all the times I dressed her in lavish gowns and furs, the great thing about Christy is that she is the embodiment of modernity. Anything you put on her is instantly seen as wearable. She has a physical vitality, a realness. On top of being the prettiest woman who ever lived.”
Photographed by Arthur Elgort, Vogue, November 19904/13Isaac Mizrahi in Vogue
“That was one of my favorite textiles of all time. It was Gandini. It felt very lightweight but also very rich—not an easy feat.”
Photographed by Arthur Elgort, Vogue, August 19915/13Isaac Mizrahi in Vogue
“That was the beginning of a defining silhouette. The beginning of my life as a tailor.”
Photographed by Arthur Elgort, Vogue, September 19916/13Isaac Mizrahi in Vogue
“That short tulle dress accessorized with the tartan shawl is one of my favorite images of all time. Linda gives everything wit and humor, not least here. The hilarious Lucille Ball red hair reference in that collectsion was intended as a wet dream about Scotland.”
Photographed by Peter Lindbergh , Vogue, September 19917/13Isaac Mizrahi in Vogue
“I was not mad at this picture for the Chanel accessories. As a designer, one is supposed to be offended when other accessories are used, but I really like the attitude of the picture. Also Naomi, the prettiest thing alive, makes the picture so soft.”
Photographed by Arthur Elgort, Vogue, September 19938/13Isaac Mizrahi in Vogue
“Those textiles that season were all specially made for me by different mills based on my obsession with Renaissance textiles (it was a sort of homage to Mariano Fortuny also).”
Photographed by Arthur Elgort, Vogue, January 19949/13Isaac Mizrahi in Vogue
“I meant those as evening pants. They’re made in some ridiculously luxurious silk knit, and I showed them as the dressiest track pants in the world.”
Photographed by Arthur Elgort, Vogue, November 199510/13Isaac Mizrahi in Vogue
“One of my favorite things ever. It was very early for that. Maybe too early. But I’m so proud of that collectsion. I made all kinds of things out of puffer. There were puffer sweaters, puffer gowns, and I was criticized for it. So I was thrilled when Vogue shot it.”
Photographed by Steven Meisel, Vogue, February 200511/13Isaac Mizrahi in Vogue
“That was a very gratifying moment for me to have my vision realized in a Vogue editorial. A $12,000 I.M. couture skirt with a Target trenchcoat and shirt.”
Photographed by Kevin Sturman, Vogue, July 200612/13Isaac Mizrahi in Vogue
“I felt that collectsion was a breakthrough for me, because I gave everything, everything, everything up except for color that season. There was no other subject for me.”
Photographed by Jonathan Becker, Vogue, September 200313/13Isaac Mizrahi in Vogue
Isaac Mizrahi
