As the older ones, to understand that it is a different time, and young people look at fashion in a different way . . . It's just different. If we harp on about it, they'll feel like we're just old fuddy-duddies, so I just kind of get on with it. I still feel I've got things to say.

With Steven Meisel, I'd looked at his work from afar and always loved it, and when I started to work with him, I was blown away. He taught me so much about looking at women and looking at images.

Beautiful things are different.

I used to get defensive and react. Like you, I get pushed and pulled [backstage].... Sometimes people are rude to me, and I feel like, 'You know, guys, I'm just here trying to do my job....' And the reality is, everyone else is just trying to do their job...and sometimes they get on a power trip [and] you feel disrespected. But that's their problem. It's not my problem.

Even though the industry is very big and there's lots of money, when it gets down to it, whether it's a photographer or a designer, as well as a stylist or makeup artist, you're really only working with maybe four or five people on a project. It's all quite small and intimate.

The Brits always favor the underdog. There's an eccentricity to us, and I think you can see that through the fash- ion and the music and the way people look.

I haven't got a good reputation with pain.