London: A new exhibition pays homage to ‘The Face,’ showcasing over 200 photographs that reflect two decades of British fashion and its profound cultural impact. Featuring iconic images and anecdotes from contributing photographers, the event highlights the magazine’s audacity and legacy from 1980 to 2004.
The exhibition celebrating the influence and legacy of “The Face,” a seminal British style magazine, has opened, showcasing more than 200 photographs by 80 photographers and encapsulating two dynamic decades of British fashion. This retrospective is both a tribute to the publication’s audacity and a vivid exploration of its impact on the cultural landscape from its launch in 1980 until its closure in 2004.
One of the most compelling features of the exhibition is its focus on a particularly striking images such as the iconic 1998 cover featuring designer Alexander McQueen, noted for his spectral appearance with “blanched white skin and blood-red eyes.” Photographed by Nick Knight, the haunting image reflects McQueen’s ambition to convey the fiery rage of Joan of Arc being burned at the stake.
During its original run, “The Face” established a reputation for blending fashion with avant-garde themes, infusing each issue with a provocative edge. This is reflected in the exhibition’s array of photographic styles that includes influences ranging from New Romantics to Gothic Romantics, as well as grunge aesthetics and elements of medieval fantasy.
In exploring the magazine’s extensive history, the exhibition features insightful anecdotes from many of the contributing photographers, often shedding light on the context of the times. For instance, Normski, a well-known broadcaster, is captured in a candid photograph by Jake Chessum, who recalls, “He talks fast and continuously at the top of his voice. So I got in close and had him let rip.” This sense of immediacy and vibrancy resonates throughout the exhibition.
Additionally, the broader socio-economic backdrop of the 1990s is highlighted, with commentary about the youth opportunity programme initiated by Margaret Thatcher, referencing how many early contributors to “The Face” benefited from state support as they embarked on their creative careers. Glen Luchford recalls this moment, noting, “Everyone I knew who was working at the Face in the beginning was on that scheme,” providing a glimpse into the magazine’s relationship with the changing socio-political climate of the time.
The photographs featured demonstrate the eclectic spirit of the 1990s, encompassing a range of cultural phenomena from rave culture to Britpop and neoliberalism. Among the less conventional visuals is a striking fashion photograph by Norbert Schoerner, where model Rufus Jordan, adorned in sharp attire, is playfully juxtaposed with a Tesco bag over his head. Stylist Greg Fay mentions, “The styling was our commentary on British society,” signalling “The Face’s” tendency to challenge norms in both fashion and social commentary.
A pivotal aspect of “The Face’s” legacy is its genuine impact on fashion photography itself. The magazine played a key role in shifting the industry away from traditional location shoots towards studio-based photography, enabling photographers and stylists to cultivate expressive worlds and innovative imagery. This collaboration model is exemplified in the dynamic partnerships like that of Judy Blame and Jean-Baptiste Mondino, Melanie Ward and Corinne Day, and Isabella Blow and Sean Ellis.
As the exhibition unfolds, it is also imbued with a sense of nostalgia that sometimes borders on self-indulgent reflection, especially in the contemporary portions that discuss the magazine’s relaunch in 2019. Nevertheless, the ambience created by the exhibition, further enhanced by a soundtrack featuring iconic tracks from Neneh Cherry, Elastica, and Daft Punk, holds an infectious energy. The success and reach of “The Face” have elevated it to mythological status within the fashion world prior to its cessation of publication in 2004, coinciding with the rise of the internet and the shifting cultural dynamics that followed.
Source: Noah Wire Services
