american vogue is very different from the rest of vogue. "stifled in those years." what did you mean by that? because i'd come from the world of i—d where i could be as creative as i wanted, and before i got to american vogue, i'd been at italian vogue, where we'd create different 30—page stories based around plastic surgery, based around, you know, black models, and then i went to american vogue where there were specific models you had to use and it was quite a strict framework, which i was not used to. but i'm really glad i went through that, because that really sort of enabled me to understand the business side of fashion, that fashion wasn't just about fantasy, but it was a business. you say in your book you became known as the guy who shoots black girls. yes, i've always been about different women of all shapes and sizes and race and religion and age. i've always been like that. so when i got to american vogue, i guess it was very — they had their, you know, like i said, they had their box, but i think i was also brought in to break th