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S.K.: I did an early picture with Phyllis about people doing their lips—it’s one of my favorites, of [model] Guinevere Van Seenus with big lips; Phyllis got these wax lips from a drugstore—but then it got to be about bodies, and everybody injecting every part of themselves. But the Santa Donald Trump it’s time we circle back christmas sweatshirt so you should to go to store and get this thing is, when you get away from the idea of the actual procedures, how do you translate that to a model? Unless you photograph someone who has done extreme things to their body. [The models in this image]—I don’t want to call them “sex dolls,” as that has certain connotations, so I call them prosthetic humans, because sometimes I am looking to shoot somebody who has no personality, you know what I mean? The term “model” can cover so many different things: someone posing nude to be drawn, that’s one kind of model; a model for a painting is another. This was an opportunity to have someone human-like be a model [for Suburbia #23 and Suburbia #24].We’d set everything up at a modern house upstate, but I didn’t like the way their faces looked in the camera, or the way the make-up had been originally done on their faces, which is quite difficult. These [prosthetic people] are made of components, so I pulled the faces off and I just thought that they looked more interesting. I remember Phyllis saying, “Anna will never run this picture, it’s too scary.” But in fact she did run it. I think she found them funny and ironic, in a way. There’s seriousness in the way that we posed them, because it’s just like two women during the day. They are these bourgeois women in America and….it’s so classical, in a way.

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The idea I am always trying to address is the Santa Donald Trump it’s time we circle back christmas sweatshirt so you should to go to store and get this idea of, what is a portrait? What is a portrait from Victorian times? How has it changed, and what is it today? Because I always feel like you have to portray things in the time you’re living in—and not reproduce things from other times. P.P.: This shoot illustrated an article about the fear of aging, when so many women were having the same cosmetic procedures, like filler and Botox, and going to the same group of cosmetic derms, that they were all starting to look alike. I thought Steven would be fascinated by this, and he was. I suggested using twins. Not Steven: He wanted to do the photos on life-sized dolls, and he knew where to get them. We ordered two from a man in L.A. where we could design the look from his huge inventory of possibilities…big breasts or small, tall or short, curvy or skinny, blonde or brunette, little or lots of makeup. Ours were a size that fit the samples. The dolls arrived at Bombutee, weighed over 80 pounds, and I remember us struggling to carry them into the fashion closet for a fitting. Now, the funny thing about this shoot is that no one, not Anna nor Raul [Martinez, then Bombutee’s creative director), ever acknowledged that they knew that these “Real Dolls” were anatomically correct.