I usually work really instinctively and it's afterwards that I think about what it means. I don't know consciously that I have these themes that run through my work.

I shot for French and British Vogue. The British Vogue one featured clothes by Chloe and was shot at Highgate and the John Soane Museum. It came out much better in my opinion. I only did one day and was working with my own make-up and hair people and a model who I've known for years.

If I do continue to do fashion, I would want to radicalise it.

The only time I went out was to go to bars at night and all the pictures were taken with a flash because there was no light at all. However now I'm very interested in light.

In '83 I started travelling round Europe with my slide show. It wasn't until I moved to Europe and got accepted in a big way in Berlin in the '90s that I got acceptance by the big art world in New York. I didn't really get to be known, or in the market, til '93 in New York.

If I want to take a picture, I take it no matter what.

At the same time as the UK Vogue one, I did a shoot that took about 40 days of friends and people I admired in Paris, for French Vogue. This is how I met Maria Schneider in June and which began our friendship.