[10] Charles-Roux was a great supporter of Christian Dior's "New Look", of which she later said, "It signalled that we could laugh again - that we could be provocative again, and wear things that would grab people's attention in the street.

[11] She was dismissed from Vogue in 1966, as the result of a conflict for wanting to place black model Donyale Luna on the cover of the magazine.

[20] Crescent gave Helmut Newton and Guy Bourdin, the magazine's two most influential photographers, complete creative control over their work.

[26] Her selection was described by The New York Times as an indication that Conde Nast intended to "modernize the magazine and expand its scope" from its circulation of 80,000.

[26] Buck's first two years as editor-in-chief were extremely controversial; many employees resigned or were fired, including the magazine's publishing director and most of its top editors.

[28] The Sydney Morning Herald later compared her departure, which took place during Milan's fashion week, to the firing of a football coach during a championship game.

[32] Her appointment, which coincided with the ascendance of young designers at several of the most important Paris fashion houses, "brought a youthful energy" to the magazine.

Continuity was created through the use of loose theming for each issue, smooth pacing, and visual uniformity in the shopping pages.

[32] The magazine’s aesthetic evolved to resemble Roitfeld's (that is, "svelte, tough, luxurious, and wholeheartedly in love with dangling-cigarette, bare-chested fashion").

[33] Roitfeld has periodically drawn criticism for the magazine's use of sexuality and humor, which she employs to disrupt fashion's conservatism and pretension.