My feeling is that for years now it has taken a much too big part in how women are being visually defined today. Heartless retouching should not be the chosen tool to represent women in the beginning of this century.

I didn't take inspiration from other photographers, which in a way helped to find my own images.

The woman is always more important than the clothes.

In the beginning of my twenties, I started transcendental meditation. For years, I did nothing else. Every holiday, I went to courses. Meditation is a real simple instrument. You don't need a long beard or a sari. It's meant to bring you to yourself. It's as easy as that.

Inspired by words you have to create images to tell the story, while it's much more difficult to find your own images with a film for inspiration, because someone has already done it for you.

I started photography more or less by accident when I was already 27. I was taken on as an assistant by a photographer who was a friend of a friend and I very quickly understood the potential of expression in photography.

In 1990 I did a story with Helena Christensen about a woman who lives in a trailer in the middle of the desert and finds a little crushed UFO with a martian who has survived the crash. She takes him home, and they fall in love. Later he has to meet with his fellow martians who have arrived to rescue him. It's a sad ending. This was my first truly narrative story and apparently the first narrative story in fashion photography.