You can squint and see something else, or something will come forward in the paint. You'll always see something else.

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 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.

I remember once I didn't like a dress that we had to shoot - I'll never forget this - and so I turned it inside out and put it on the model backward.

I cannot imagine what an influence a five-week trip to the Orient had on me. I mean, the culture, the absorption of the Japanese way of life, the Japanese way of thinking, the discipline. The entire thing was an extraordinary experience. So these were more than memorable things to me.

I was fascinated looking at John Galliano's couture. They're just extraordinary extravaganzas and I love it. I love looking at it because it's like going to a museum.

I think movies also played a part in my interest in fashion. I've also always been hooked on the movies. From my early teens on, I always had my favorite movie stars who I admired, like Carole Lombard and Greta Garbo and Marlene Dietrich, and the men in my life who I loved, like Gary Cooper.