How do you think that an editorial shoot differs from working with a celebrity?
With an editorial shoot, it's very fast in the sense that you get the look and you send it right back. You need a lot of stuff, and you have to really hit a lot of marks. Advertisers [have] a story to tell. It's quite specific. My job ended when FedEx cuts off. In New York, it was nine o'clock, so I knew I was working until nine or 10 o'clock. Nowadays, assistants don't really feel that way. They're a little bit more empowered, and I love that for them, maybe.
You get the stuff, you shoot it, and you send it right back. It's a little bit more transactional. With a press tour for a celebrity, we have to really factor in the client, the story that we want to tell with this movie that they're promoting. We hang on to stuff for a really long time, so the designers know that.