I do think there is a lack of modernity at the moment - and I don't even like that word, modernity, anymore. There aren't enough designers today anyway - there are more stylists.

There are some very creative people out there who are like Steven Meisel, and that is why their work is so extraordinary.

One day, Sally Kirkland said to Diana Vreeland, who was the fashion editor of Harper's Bazaar at the time, "I have a young woman I want you to meet. She's very young, but I think you should meet her." When Sally Kirkland told me this, I said, "I can't possibly do that! I'm going to throw up! That's the scariest thing I've ever heard! I can't do that, Sally. I'm not ready to do that!" But Sally said, "You let them make that decision." I was absolutely terrified.

That bothers me when I see that fashion editors are consultants for brands. It tells me that the designer has lost sight of what he or she really wants to do, and that he or she is listening to the strength of a very strong stylist and being a little watered down - and by watered down, I mean, the strength of the designer's vision. I'm not saying it's easy.

If you've taken the job to be the stylist for a collection, then I think it's important for you to really listen to the designer and look at the board. Look at the wall, look at what the designer is interested in, and then move on to that. But the designer also must not lose sight of the reason for their point of view. Otherwise it won't come across.

I thought Fred Astaire was the most chic man. I loved the way he dressed. Never mind his dancing, which was beyond - he was just so elegant and had this freedom of body.

You have to want to dare being a model. You have to dare or you don't go that step further. You have to be willing to stretch - and to not only be willing to stretch, but to want to stretch.