I have an instinct for finding the odd location, the dismissed face, the eerie atmosphere, the oppressed mood.
A lot of times there were big mistakes, but I would show the art director and he’d say, “Yeah, let’s go with it.” There would be a strange cropping or one girl in focus and three out or a blur. But I would end up liking the mistakes and incorporating them into my work. And I became known for it.
I don’t consider [my] photographs fashion photographs. The photographs were for fashion, but at the same time they had an ulterior motive, something more to do with the world in general.
I destroy the image after I’ve made it, obliterate it a little so you never have it completely there.
It’s seeing all those people who you’ve seen for years, who’ve spent fifty years of their lives just looking at clothes. I mean, I’ve got nothing against them. It’s not really a feminist point; it’s just that I don’t want to be there.