I love to collaborate with artists, like Guy Bourdin and Steven Klein, who don't have any boundaries.
I'm always looking to the lightweight superproduct that you apply and almost don't see. That's the ultimate, at least for me.
I like beauty to be a bit edgy, not typical. For me, the only rule is looking good.
My mother never wore much make-up, and she was a kind of natural beauty; she knew just how to enhance what she had.
I was spoiled growing up in the 1970s because magazines were publishing the photographs of Helmut Newton and Guy Bourdin without compromise. You really felt that sense of freedom through their images.
Transparency is more sexy than a full, pancake finish.
Sometimes people are very not sure of themselves, so you really have to give them that confidence. Even models - they need to warm up sometimes on photo shoots.
I would find myself in these photo shoots with models and makeup, and I got swept up in it all.
When you photograph someone, you have to make them feel good, and you know that they want to look good. It's the same relationship that you have when you apply makeup on somebody. We're almost like shrinks.
I'm not so interested in perfect, plastic beauty, and I think it translates in the girls I've shot over the years for Nars, from Guinevere to Iris to Mariacarla. I love those girls. I love the more interesting faces, with maybe a strange nose, not just the Texan blonde. By picking those girls, I think it's changed what I've seen in other campaigns.
In America, when I first came here, they were used to wearing more make-up - thicker foundation, more Max Factor, that sort of thing. But you have to know who you are and what you look like: if you know yourself a little bit, you don't need to follow trends.
True icons are larger than life, unforgettable with an elegance that's mesmerizingly timeless.
It's not that I'm easily shocked. It takes a lot to shock me. And wildness I like. But vulgarity shocks me.
