Tell us about the paper dolls. Peter shot the model cut-outs in London but you chose the poses?
I sent him poses from my Sixties and Seventies fashion magazines. I wanted him to follow the poses and put the models in underwear, kind of like photographs I’ve already done. Then he found a doll maker to make [the spring collection] in miniature for me to shoot.
What about the hair?
I didn’t want every hairdo to be the same, so I started cutting hairdos out of magazines. I used a Bergdorf catalog, a J. Crew catalog and a Playboy from the Seventies that had Nancy Sinatra on the cover.
Did you see the references to your own work?
Subliminally, I started to get the message that there was something going on. Peter didn’t tell me. A friend of mine noticed that the swans [on one dress] were from my photographs. Peter also suggested using a real bottle of nail polish in one scene and I had used a real, full-scale lipstick [in “Pushing Lipstick (Red Lipstick Vertical), 1979”], so I think he took that from what I’d done.
What do you think of Peter’s collection itself?
I really loved it—it’s kind of what I wore when I was younger. I love the stuff with checks and my daughter loves the swan dress.
Aside from your collaboration with Thakoon Panichgul last September, have you been a muse to any other designers?
That’s a tricky question. I’ve seen my work used. I think that the commercial world swallows up artists and ideas really quickly. It’s just part of the way things work. I used to get upset but now I laugh when I open something and either I’ve been the influence or one of my friends have.
If someone approached you to make these into real dolls for sale, would you?
I have to say, as I get older, instead of shutting down, as I suspected I would, I keep opening up. I would be open to anything. I mean, after all, I made a dollhouse [with Bozart Toys]. I never thought I would do that.
Portrait: Kathryn Allen Hurni