ese
days.
So, So,
I started
working
with
them,
and and
it kind
of flourished.
And
then
from
all all
s these
days.
I started
working
with
them,
it kind
of flourished.
And
then
from
per’s Bazaar
to be
a fashion
director,
and and
of course
it was
very
hard
at that
time
to be
a a
Harper’s
Bazaar
to be
a fashion
director,
of course
it was
very
hard
at that
time
to be
an
of ethnic
background
to have
that that
role role
in one
of the
most
prestigious
magazines.
So So
man
of ethnic
background
to have
in one
of the
most
prestigious
magazines.
and and
my my
mother
was was
still still
alive
then
and and
she she
was was
very
pleased
with
what
was was
happening
se,
mother
alive
then
very
pleased
with
what
happening
to the
collections
and and
realize
that that
there
were
only
two two
brown
faces
in the
front
seats;
d o go
to the
collections
realize
there
were
only
brown
faces
in the
front
seats;
ley. I mean,
you you
know,
at that
time.
But But
I never
thought
about
it because
I wasn’t
born
Talley.
I mean,
know,
at that
time.
I never
thought
about
it because
I wasn’t
born
p t up
in Trinidad
where
there’s
not not
a lot
of that
sort sort
of problem,
because
of course
everybody
in Trinidad
where
there’s
a lot
of that
of problem,
because
of course
everybody
things,
and and
of course
in London
I never
had had
that.
In London,
they
just just
looked
h different
3 different
things,
of course
in London
I never
that.
In London,
they
looked
wasn’t
put put
into into
a category.
So, So,
it all
kind
of happened
at Bazaar.
Bazaar,
which
is owned
. I wasn’t
a category.
it all
kind
of happened
at Bazaar.
Bazaar,
which
is owned
owned
by by
Condé
Nast,
they
are are
almost
like like
on on
enemy
camps.
You You
know
what
I mean?
is owned
Condé
Nast,
they
almost
enemy
camps.
know
what
I mean?
ve
with
one one
another.
So So
if you
work
with
for for
one,
you you
can’t
work
with
the the
other.
They
itive
with
another.
if you
work
with
one,
can’t
work
with
other.
They
he
advertising,
models,
photographers,
and and
there’s
all all
of that.
Anyway,
I managed
to do
r the
advertising,
models,
photographers,
there’s
of that.
Anyway,
I managed
to do
o d find
different
angles
to not
copy
Vogue,
and and
to bring
something
else else
to the
magazine.
to find
different
angles
to not
copy
Vogue,
to bring
something
to the
magazine.
a Picasso,
Paoblo
Picasso’s
daughter…I
became
friendly
with
her…to
model
for for
me me
in in
oma
Picasso,
Paoblo
Picasso’s
daughter…I
became
friendly
with
her…to
model
hind
a Picasso
painting.
I tried
to find
what
I could
do do
that that
was was
different
from
Vogue,
behind
a Picasso
painting.
I tried
to find
what
I could
different
from
Vogue,
erent energy
to it.
of the
best best
photographer’s,
and and
the the
best best
of everyone
worked
for for
different
energy
to All
it. All
of the
photographer’s,
of everyone
worked
y way
to make
a difference.
I had
to find
new new
photographers,
and and
it was
a challenge,
but but
it it
to make
a difference.
I had
to find
photographers,
it was
a challenge,
it made
me me
think
about
what
I could
do do
to be
different.
We’re
all all
looking
at the
same
use
it made
think
about
what
I could
to be
different.
We’re
looking
at the
same
what
can can
I do I do
to make
this this
dress
look
different.
So So
that that
was was
kind
of wonderful.
However,
but
what
to make
dress
look
different.
kind
of wonderful.
However,
at I was
what
I was
r,
zaar,
And
then
from
all all
of of
that,
I was
offered
a job
at at
Harper’s
And
then
from
that,
I was
offered
a job
Harper’s
Bazaar
to to
be be
a fashion
director,
and
of of
course
it was
very
Bazaar
a fashion
director,
and
course
it was
very
hard
at at
that
time
to to
be be
a man,
and
not not
just
a man,
but but
a a
hard
that
time
a man,
and
just
a man,
man
of of
ethnic
background
to to
have
that
role
in in
one
of of
the the
man
ethnic
background
have
that
role
one
most
prestigious
magazines.
most
prestigious
magazines.