When I began in the late '90s, I felt quite lonely. We were coming out of the grunge era; it was the time of Corinne Day, The Face, the height of the YBAs, where models had to be "real," on real locations with no lighting. I rebelled against the grungeys - I didn't find the faux naturalism to be representative!

I'll always remember Jean Paul Gaultier, who did a project based on Madonnas, remarking on the images, "Yours are much better." Gaultier is really smart, so it's good getting a compliment from him!

I think the power of image is in mystery - I endlessly create mysteries, by way of this dystopian message, to initiate intrigue.

When I look at the women, it's from a male gaze of being fascinated, because beyond my mother, I've been around notorious women all of my life, and then, secondly, when I look at women and try and create fictional stories around them.

I suppose I like to set myself projects that are tight, focused, and then challenge myself with how broad I can go within that limited aspect. I think to Helmut Newton and film director, Federico Fellini - the added level of eroticism, the arousing message - and how it was possible for them to keep their signatures over so many years.

It's amazing how if you turn up at a studio without an idea, a picture will take itself from momentum, and you quickly can lose control.

I look at my women with a Shakespearean element too - the variant of emotions they are capable of - it's not all completely dour, there is a bit of humor in there too! I actually think the whole Shakespearean world is wrapped up in every human being, from beauty to destruction and everything in between.