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And then something very important happened. There used to be an art director of Bazaar, his name was Alexey Brodovitch, very famous; he completely changed the job of art direction for magazines. He had such important influence on the business. He was retied, no longer working, but all photographers of that moment like Avedon and Hiro they went to a kind of class (set by Brodovitch). It was happening in Avedon’s studio, they would come and do assignments every week for about two months, so they did beautiful pictures. Avedon wanted to repeat this experience again, with a new art director of Harper’s Bazaar, Marvin Israel. Marvel Israel was a boyfriend of Diane Arbus, who was a great, fantastic photographer, but not a fashion photographer. She is huge, her works are in museums, everywhere.

Anyway, I did this class and I was selected as one of twenty participants, they chose who they thought were the best of those who applied. I was very fortunate. For me it was very important and Marvin was my mentor. We immediately got it on together and we were very close. So I went to Max’s Kansas City almost every night with Marvin and Diane.

That’s how I was built up. Then I went to France and started working in Paris. I did a little bit of assisting. I was aiming to work not less than at Vogue. I was very careful not to work for certain magazines because you get labeled. So, they gave me little jobs (in Vogue) and finally I had two double pages and I was so proud, but it was not really an editorial, it was semi-editorial. But it was paid editorial. So I wrote letters, some taped, some by hand, with different writings and I sent them from all my friends to Vogue saying “Oh, finally a good photographer!”, – and it worked! They gave me more work and that’s how I started to work for the French Vogue. After that I started working for the British Vogue. British Vogue at that time was the best Vogue for sure. Grace Coddington was the editor (early 1970s). I even worked for Anna Wintour, but not in Vogue. She was around seventeen and she was an assistant-editor at Harper’s and Queen in London. She was exactly the same, the same hair cut. The difference was that she had a huge breast and she was very nice then. But later on when I went back to America and worked with her in New York for New York Magazine, we had a fight. She was very nasty. We were working out in Long Island and it was freezinly cold and the models were trembling, so I said: “We gotta stop and gotta have something hot.” And she was like: “No, no, we have to work!”. I have never worked with her again after that. Few years later she was groomed by Alex Liberman who was the head of Vogue US at that time. Before taking on American Vogue she went back to London for about a year. And she said: “There are two photographers I don’t want in British Vogue, Alex Chatelain and Paolo Roversi”. Why? There are things I heard, but I’m not sure if I should believe them, its not very nice. But probably my style of pictures was very smily an happy and at that moment it was the beginning of heroin chic. That was one of the most comfortable reason.