The great outdoors is a theme with me; a walking holiday in Scotland is perfect - Culloden and the forests of Aviemore are both favourites.
I've been on both sides: the victim and the villain. I was the victimised model, and everything from my weight to my fertility was held up for discussion. And then I was the person that could garner some kind of positive outcome, by taking on the role of vice chairman of the British Fashion Council and becoming an activist of body image.
I can play the flute. Music was my favourite A-level, and I used to love composing my and stylising my voice to sound like 90's singing sensation Tori Amos.
My style has been nurtured over time. It's more about knowing what doesn't suit you. I love suits and anything sharp, and I know that shape suits me. I don't feel feminine in floaty dresses with spaghetti straps - I feel more like Freddie Mercury in drag.
I have previously been a very enthusiastic consumer, and I didn't think about the origins of garments enough.
I think there is some resistance when people talk about ethical fashion, and a tendency to panic that if you're bringing a moral agenda and highlighting the origins of the garments, you can't incorporate style. But there's no reason why style and conscience can't co-exist.
In my job, I am portrayed as a misfit, a grandiose high fashion lady or an unearthly creature. At home, it's important I can look in the mirror, strip away the disguise and be comfortable with who stares back.
New York is on a grid system, so it's slightly less challenging logistically, but Londoners are more relaxed in their selling approach. With that intense shopping service in New York, it's easy to get carried away and make a wrong purchase. Here, there's a different flow. You are left to explore, and individuality is key.
A girl must have an indefinable magic, real character, a strong sense of self. Her role is to respond to the brief of a photographer or communicate the vision of a designer - while making whatever she does look utterly effortless and whatever she wears utterly seamless.
I have two curiosity cabinets at home filled with finds from jumble sales, markets and my travels. My favourite piece is a voodoo mask from just outside Cape Town.
I think most models fear growing old, but from a tender age I had always chosen to play someone grown up. I am slowly but surely catching up with the people that I have spent the last decade and a half trying to portray.
It makes me cross when I hear people say, 'It's so last season.' I always say, 'It's vintage.'
I had one particular handbag disaster when I couldn't get into it, and when I finally did, it flew over the red carpet and was caught by 200 lenses. Not a great moment.
As I began to get a deeper understanding of the vital life-saving work Save the Children does, I felt compelled to help in any way I could. This is about safe-keeping, inspiring and empowering a future generation - to facilitate them to make their own lives a little bit better.
It's like recycling: selling old clothes to help make new ones.
As a small child, me and my pals fantasised about one day owning an ice-cream van. To have ice creams on demand would have been a dream come true.
When I first began modeling, I was very conventional looking. I had hair down to my waist in a side parting - almost church-like. But beneath the sheath of hair lay this Amazonian, strong-looking frame.
I have a regular cleansing, toning and moisturising routine.
In my career, which has been fairly two-dimensional, people make decisions based on your persona.