Which is your favourite Marc Jacobs collection, and why?
Spring Summer 2003 because it defines the Marc Jacobs moment precisely.
Marc Jacobs: Unseen is one in a series of books that record the preparations backstage at fashion shows, along with Alexander McQueen: Unseen and John Galliano: Unseen. How is shooting backstage for a Marc Jacobs show different from shooting McQueen and Galliano?
Shooting Marc Jacobs in New York was either boiling hot in September, or freezing cold with blizzards in February. Immediately that changes the mood if you compare it to the usually drizzly late night London for early McQueen shows, and the hectic full on fashion schedule of Paris, for Galliano.
London with McQueen was always impossible to get into, difficult to stay and edgy because of the unbelievable clothing that the girls changed into. McQueen was never just about the clothing – it was about the hair, make-up, Philip Treacy Headpieces, Shaun Leane Jewellery. As a photographer, you couldn’t afford to miss a beat because there was a potential photograph in every single square metre of backstage.
John Galliano shows were much the same. This was fashion theatre at its most extravagant and beautiful.
With Marc Jacobs, the shows are ready-to-go and more about being in control, cool and relaxed, in an everyday way. There is no intimidation – it’s young, directional, inclusive and fresh.
With this in mind, where do you see backstage photography heading?
To survive, it needs more intrigue, less quantity and more quality. When I shot for American Vogue, I was lucky if I had 50 photographs a season make the magazine edit or stories. 99% of my work was never published, not because it wasn’t fantastic, it was, but because there was a strict code on magazine space and editors only wanted to fill their pages with the very best. I think this says it all.