Some people have told me they remember the film that one of my images is derived from, but in fact I had no film in mind at all.

In horror stories or in fairy tales, the fascination with the morbid is also, at least for me, a way to prepare for the unthinkable… That’s why it’s very important for me to show the artificiality of it all, because the real horrors of the world are unmatchable, and they’re too profound. It’s much easier to absorb – to be entertained by it, but also to let it affect you psychologically – if it’s done in a fake, humorous, artificial way.

The models have always been the least interesting thing about fashion.

Early in my career, a critic said that I needed to "explain" the irony in my work, suggesting that I needed to add text next to the images to help people understand what I was trying to say. At first I was dismayed that I wasn't making work with a clear enough message. That's when I realized that that was the exact opposite of what I wanted to do - that I wasn't responsible for a misinterpretation of my work, that there should be some ambiguity to it. They either got it, or they didn't.

When I do work, I get so much done in such a concentrated time that once I’m through a series, I’m so drained I don’t want to get near the camera.

The work is what it is and hopefully it's seen as feminist work, or feminist-advised work, but I'm not going to go around espousing theoretical bullshit about feminist stuff.

Being able to make a living doing something one truly loves to do - is my definition of success.