I was just 19 when [the British Vogue shoot] took place. Very shortly afterwards, I received a call from Karl Lagerfeld asking me to meet him at Chanel’s headquarters on the Rue Cambon. That’s when my career at Chanel began.
I couldn’t wait to wear the looks. I remember the Chanel Haute Couture designed by Karl had an incredible gold-embellished blouse with the most intricate detailing and matching gemstone drop earrings. Meanwhile, the Valentino was a floor-length, strapless gown in lavender duchesse satin with a beautiful corset embellished with lace roses and a matching choker. And then there was the Dior: a navy silk shirt covered with white polka dots that had the most fabulous silk-chiffon ruffles around the neckline.
Herb was one of a handful of photographers who just never got it wrong. He had a rare eye for beauty. He and I worked together many times over the course of my career. I recall a shoot in California for GQ in 1990 where quite a lot of the photographs were taken in the ocean opposite Herb’s Malibu home. The pictures look so beautiful and tranquil, but it was actually freezing! I also remember going out that evening and suddenly realising I was dancing next to Prince…
I arrived on set that day on the back of my boyfriend’s motorcycle. Herb came over to say hello, then said, “Stop! Let’s get her dressed and recreate this moment.” So, I wore Lacroix couture to perch on the backseat – a black, silk embroidered jacket with a large bow worn over black lace cycling shorts and accessorised with an amazing, bubblegum-pink, gem-encrusted shoulder bag.
All day long, paparazzi followed us around – with passersby stopping to watch us. None of us really noticed, except Herb, who loved the whole scene [and incorporated it into some of the photographs]. Fortunately, when I’m on shoots, the rest of the world just disappears…