People comment, and that's where we are now. It's the way the world is.
Everyone has an opinion and I think we're at a time which is very heated all over the world, so of course people will speak out. And they have every right to.
I have a total complex [because of my curls], though, because I got teased a lot as a kid.
I haven't got a good reputation with pain.
I think to many people, textured curls still signify 'difference.' And kids like to pick on what's different.
I must say, Gisele's [Bundhen] got some of the best hair I've ever touched.
I didn't know I wanted to be a hairdresser. I was always interested in fashion and imagery in a very naive way, but it was always an attraction, like glitter balls. This was in the late '70s, early '80s, so it wasn't like today, where you kind of know all about the industry. Fashion was a very insider industry then - it was very closed. So I didn't really know what I wanted to do.
You may say, 'That's naïve of you,' and maybe it is, but in my mind, I'm celebrating every kind of woman. That's what a creative person does.
Every culture to me - be it Asian, African, be it whatever - is a source of reference. I don't think I'm 'stealing' it or anything.
I celebrate every culture. I love the mix of cultures and I'm never going to change that because that's inspiring to me.
I didn't do great in school. I didn't have many options. I mean, I'd like to have gone to art college, but I didn't have the grades. I didn't have any qualifications. But I had some friends who were hairdressers, so I just thought, Well, I'll have a go at it.
When you look back at your career, there are moments that are levels that you hit and you bounce off them.
I'm very lucky that I've worked mainly with two amazing photographers in David Sims and Steven Meisel.
With Steven Meisel, I'd looked at his work from afar and always loved it, and when I started to work with him, I was blown away. He taught me so much about looking at women and looking at images.
When you work with great people, you learn - about film, about clothing, about life, about sex.
Even though the industry is very big and there's lots of money, when it gets down to it, whether it's a photographer or a designer, as well as a stylist or makeup artist, you're really only working with maybe four or five people on a project. It's all quite small and intimate.
Fashion now is just so confusing. It doesn't feel as easy. Fashion seems to be in a much more eclectic place.
As the older ones, to understand that it is a different time, and young people look at fashion in a different way . . . It's just different. If we harp on about it, they'll feel like we're just old fuddy-duddies, so I just kind of get on with it. I still feel I've got things to say.
I used to have more meltdowns backstage than I do [now].... It's not that it was ever cool, but right now, it just seems very uncool to have a meltdown. I'm not saying I'll never have one! But I've learnt to stop it just before it happens.
I took Instagram off my phone! I took it off because I found I was looking at it too much.
Fashion was a very insider industry then - it was very closed. So I didn't really know what I wanted to do.