2010, from Autobiography, in my iPad application Horvatland
As time went on, I began to find other ways for my fashion photos to take on the character of decisive moments, which still seemed to me to be essential. When I was asked to do my first series for Vogue UK, I was given to understand that the London weather was too uncertain to bank on an outdoor shoot. So I came to terms with the idea of working in a studio, but under the condition of being provided with props and extras, and with the hope that these would produce unexpected interactions, rather like the random events in the street. Vogue wasn’t short on money, but its studios had never seen such a number of odds and ends, babes-in-arms, carthorses, musical instruments, stuffed animals and retired colonels. I justified the expense by pointing out that the days lost to rain would have ended up costing more. And anyhow Tony Armstrong Jones, who was one of the Vogue photographers, had just married Princess Margaret and been created a lord. Since this elevation, his colleagues had become as extravagant as minor royals and the management no longer dared standing in their way.
