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A Tommy picture and title a Phil picture are different. Has maintaining your own aesthetics become more difficult now that the photographers outside shows has gone from maybe 15 to maybe 150? Oh: I don’t really know why. It makes it look more fun. So I don’t really mind when there are other people in the shot. That said, they’re not always pretty, beautiful pictures, so it’s a trade off, I guess. Ton: —point. At one point I started crying. It was the end of the season in 2012. I was just like, this is too much for me. I went to someone’s hotel and collapsed like, “I just can’t take this anymore.” It can be hard to stay motivated to do this because you’re getting older and it’s

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title I don’t know. Oh: Granted the other nine months of the year we have plenty of free time! [Laughs.] But those three months of Fashion Week are really fucking hard. We are shooting all day, no time for meals, and then have to edit photos all night. You get like three, four hours of sleep. Four weeks straight at a time. Ton: That’s the thing about the schedule for the whole month: It seems like it’s so much fun, but gradually, you know, just repeating it over and over again, moving over to Europe, switching to different time zones without even a day off. It’s a lot to take on mentally and physically—even when we were in our 20s and early 30s. Phil is often texting about photos at 2 a.m., 3 a.m. during Fashion Week. Do you have to be as crazy as we are to keep doing it? And then the last seven years have been harder because it’s much more stressful now that we’re older—and as much as Phil doesn’t mind the crowds, having that many people in the space and seeing that many faces does drain you. It’s hours of non-stop social interaction. The deadlines are much harsher, too. Phil can’t wait till the next day to edit and send his images.

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