First Look: Document Journal

October 1st, 2015 |Posted by steven.yatsko

In the latest volume of Document Journal, stylist Olivier Rizzo delivers his magic touch, guest editing the magazine into a full on fashion folio with some of photography’s brightest stars and a who’s who cast of intriguing lens-worthy faces. The twelve, Rizzo-styled covers give a swatch sized glimpse into the accompanying editorials by Jamie HawkesworthCraig McDean, Wolfgang TillmansHarley WeirAlasdair McLellan and a whopping 7 by Willy Vanderperre. Editors Nick Vogelson & James Valeri‘s issue preface introduces Rizzo’s significance by saying, “His ingrained devotion to beauty— unconventional, sometimes ugly, and at times simple—led us to him, and him to us, as Document’s guest editor for this issue.” Inside, the exhaustive Vanderperre stories put on display his singularly cool perspective, while other majorly aesthetic imaginings, like Gareth McConnell‘s low-fi, hyper pop pictures or McDean’s fine-tuned shots of Lexi Boling, give another take on what’s current. Take an exclusive first look into the encompassing Olivier Rizzo edited issue with all 12 covers.

Images courtesy of Document Journal















By Harley Weir (Art Partner) / Hair by Guido Palau (Art + Commerce)



Eliina, Miikael, Erik at M Models by Jamie Hawkesworth / Stylist Olivier Rizzo / Hair Anthony Turner (Art Partner) / Makeup Peter Philips (Art + Commerce)



Harleth Kuusik by Alasdair McLellan (Art Partner) / Stylist Olivier Rizzo / Hair Anthony Turner (Art Partner) / Makeup Lynsey Alexander (Streeters London) / Manicurist Lyndsay McIntosh (Premier Hair and Make-Up) / Casting Madeleine Østlie



Lexi Boling by Craig McDean (Art + Commerce) / Stylist Olivier Rizzo / Hair Jimmy Paul / Makeup Hannah Murray (Art + Commerce) / Manicurist Elle




Liam Gardner, Hayett McCarthy and Poppy Okotcha by Gareth McConnell / Stylist James Valeri (Home Agency) / Hair Chi Wong / Makeup Kirstin Piggott (New York: Julian Watson Agency NY, London: Julian Watson Agency London) & Pep Gay (London: Streeters London, New York: Streeters New York)



Rianne van Rompaey  by Willy Vanderperre (Art + Commerce) / Stylist Olivier Rizzo / Hair Anthony Turner (Art Partner) / Makeup Peter Philips (Art + Commerce) / Casting Director Ashley Brokaw



Julia Nobis  by Willy Vanderperre (Art + Commerce) / Stylist Olivier Rizzo / Hair Anthony Turner (Art Partner) / Makeup Peter Philips (Art + Commerce) / Casting Director Ashley Brokaw



Greta Varlese  by Willy Vanderperre (Art + Commerce) / Stylist Olivier Rizzo / Hair Anthony Turner (Art Partner) / Makeup Peter Philips (Art + Commerce) / Casting Director Ashley Brokaw



Finnlay Davis & Alice Metza by Willy Vanderperre (Art + Commerce) / Stylist Olivier Rizzo / Hair Anthony Turner (Art Partner) / Makeup Peter Philips (Art + Commerce) / Casting Director Ashley Brokaw



Posted in: General news

A New Hope

April 1st, 2015 |Posted by steven.yatsko


As Man About Town, the bi-annual men’s fashion and lifestyle publication, releases its Spring/Summer 2015 issue tomorrow entitled A NEW HOPE, one gets the feeling this new generation is predestined to set the stage for a social renaissance. On the multiple covers shot by Alasdair McLellan a prepossessing Bjorn stands semi-gawk semi-sophisticate with styling by Olivier Rizzo that is democratic in its androgyny. For the issue, the exclusive previews of AW 15 Gucci, J.W. Anderson, Raf Simons, and Prada match MAT’s pitch perfect breed of meta-decadal fingerprinting.

We spoke to Ben Reardon, the editor-in-chief of Man About Town, recently to get personal insight and some cultural forecasting. After a stint at British GQ Style and i-D before that, he’s found familiar terra firma at Man –the independent magazine world being a language more native to him.  Ben understands that the the editor’s compass is always shifting following cultural zeitgeists. 

Photos courtesy of Man About Town

S: We met while you were at British GQ Style, and before then it was I-D. Now you’re the editor-in-chief of Man About Town. What attracted you there?

B: The idea of a return to independent publishing and the freedom that entails was really appealing. I learnt so much at i-D, it wasn’t just a job, and it was more like family at a pivotal time in my life. I still think of Terry and Tricia Jones, the founders of i-D, as my second parents. After seven years it was time for a new challenge and I had always wanted to experience work within the incredible world of Condé Nast. The thought of bridging the gap between the mainstream and counter-culture always appeals to me. I was very proud of the work we achieved there: commissioning Inez and Vinoodh to shoot James Franco as Adam Ant, Juergen Teller to go to Noma, the best restaurant in the world, Alasdair McLellan to shoot One Direction’s first ever editorial, Harmony Korine to shoot his first ever fashion story, pairing Gus Van Sant with the genius stylist Panos Yiapanis and Terry Richardson shooting the guys from Game of Thrones, Breaking Bad and Sons of Anarchy to celebrate a golden age of TV. My final cover was Pharrell just on the stratospheric upturn of his career, wearing Jake and Dinos Chapman for Kim Jones at Louis Vuitton with cover graphics by Fergadelic–the designer who I currently work with at Man About Town. These were all big moments and felt genuinely exciting to broker under the GQ banner.

But I have an independent aesthetic at heart and a deep-rooted love of the young and the new, all of which can be fully realised at Man About Town. The only constraints here are what I can make happen. From issue 1, it was about turning a good, functioning magazine into something relevant and vital. Brooklyn Beckham’s first ever, editorial story was a punt I wanted to take for my first cover. I loved the idea of the words ‘Man’ and ‘Boy’ written closely together on the cover, extending the remit of how menswear was delivered editorially. The punt paid off–those images went global, featured across the global news media, on talk shows and breakfast TV. They set a news agenda for a week, something you can’t often do at a fashion magazine. It was just a boy in a school uniform, but it delivered a very explicit fashion message that was British, simple, elegant and in tune with its times. Sometimes the pressure is daunting, but I purposefully wanted to open a door into a new vocabulary in menswear.


S: Can you describe to me any cultural drifts, things more substantial than a trend, that may be informing some of what you put into the magazine in terms of content and talent?

B: I attend the fashion shows each season in London, Florence, Milan then finishing in Paris. These are when buyers, editors, stylists and journalists see the clothes and concepts we will be working with the following season, which we then have to digest, process and translate to the reader. The way that I work is very instinctive. I rely on my cultural awareness and set a theme accordingly. The team then tries to understand my random thought process and hopefully incorporates fashion into something wider and more meaningful than a selection of garments. A lot of care and thought goes into everything from the graphics to the titles, the teams paired and the journalism. I believe the written word, paired with a great photograph, inspired styling and a brilliant title graphic can be explosive. I believe in printed matter and always will. It’s still the best way of organizing thought when executed correctly.

S: Do you have any process for cultivating your intuitions in this scope – or gathering inspiration?

B: When I was growing up the Internet wasn’t around. It was a time before everything was readily available. So you had to rely on libraries to read books, charity shops for clothes and markets for records and fanzines. The first fashion magazine that I actually bought was Kurt Cobain on the cover of The Face. I was going on holiday with my mum and dad and it was in the airport. I was 14, at the awkward age when you hate everything. I was in a hot country and stayed in the shadows, reading that magazine from cover to cover time and time again. Seeing fashion photography for the first time blew my mind. You pick at the seams of culture now and things fall apart. The only thing we have left in an age of shared information and aesthetic overload is the intimate specifics of someone’s taste. I try to hang a lot of those thoughts together in magazines because that feels like their magic to me.


S: Reading and looking at your work, I get a feeling that your intentions are to produce work that feels more regional and colloquial. That there’s value in that context. Have you ever thought about this?   

B: The previous issue of MAT was specifically themed around the idea Is Britain Still Great? It was put together at a shifting, scary, weird time politically in Britain and we wanted to address it. We spent the summer travelling around the UK, finding beauty and interest in small local stories and tackling politics along the way. There was a genuine feeling back in the office when we assembled the stories that we’d achieved something more thoughtful than just another magazine about menswear. To care and to give something depth resonates more, hopefully. We chose Jack O’Connell as the cover star as for me he represents a particular British localism, albeit one that is translating to a world stage. He’s the handsome wag who lives down the street that just happens to be super-talented. He’s won a Bafta and bagged a Prada campaign whilst the magazine is still on the shelves. Again, we felt like he said something more than just being a nice face in nice clothes.

S: Where did you grow up and what were you interested in as a boy? 

B: I grew up in Newport, South Wales. When I was growing up everyone was in a band. NME labelled Newport the new Seattle. Donna from Elastica went to my school. Everyone drank at the local club called, The Legendary TJs, where Kurt Cobain proposed to Courtney Love and the Manic Street Preachers hung out. TJ’s was pivotal to me in every way. Dressing up and getting the bus into town was an event there. My sister loved The Smiths and Morrissey, so Morrissey has always been a constant throughout my life. We listened to Hatful of Hollow in my dad’s car, cut out posters from magazines to paper her walls with and I wore her boy-sucking-a-lollipop Smiths tee for my non-uniform day in Junior School. When I was aged 14, Morrissey played support to David Bowie in Cardiff, I was so excited I puked all over myself. So, Morrissey. It has always been Morrissey. And it will always be Morrissey. Who else is there?

S: Have you ever had any odd jobs?

B: The jobs I did like stacking shelves and working in an off-license were to supplement me doing work placement at magazines whilst studying at Art College. I met Rachel Newsome, who was then Editor at Dazed and Confused, and worked there for a year, editing the Eye Spy pages at the front of the book, previously edited by Nicola Formichetti. Katy England and Alister Mackie would visit the office and it would be a sensation seeing in person people who I had studied the work of for so long. A job at i-D was advertised in the Guardian. I applied, was interviewed by Terry Jones, got the job and later became editor.

S: Are there any personal obsessions that you inject into your work? I know you’re wild about at least a few things.

B: Morrissey and David Lynch are the two constants. They’re there in pretty much everything I do, explicitly or implicitly. They informed my taste at a crucial age. You can never run away from that.

S: I think you’re really great at pairing talent, sometimes finding obscure fixings. What’s your objective when building the team for a project?

B: It has to be more than just a model, a photograph and some clothes. It goes back to people caring. I value knowledge and intuition. The people I collaborate with are experts in their fields. You can’t force someone to take a picture otherwise it becomes so bland and catalogue. I think when worlds collide and things clash, then you get brilliant results. The high and the low is always a tense, interesting mix.

S: Who would be your dream team?

B: I’m lucky to say that I only work with people I love and admire. Having said that, I would love to meet and work with Bruce Weber one day. The world he creates with his pictures is one I would love to inhabit.

S: Are there any models you would use over and over again?


B: I love Lara Stone. Her face and attitude evokes European cinema and she always creates an interesting character. She can turn from submissive to aggressive, from sex to restrained in the curl of a lip or furrow of her brow. And she is, when all’s said and done, a breathtaking beauty.

S: Especially for this previous issue of Man About Town, you worked closely with Alasdair McLellan. What are your favorite elements of his work in-and-out of the fashion medium?

B: It’s very personal with Alasdair, we trust each other. It’s a pleasure to work with him. It’s not just taking a fashion image; it’s about finding talent, an oddness, a narrative and a story. We share very similar references and Alasdair knows pop culture like nobody I have ever met. He has an encyclopedic knowledge of obscure facts and figures related to the charts, 60s kitchen sink dramas, Morrissey lyrics, scenes in Star Wars and he uses this to create characters in a world that is just his. And he makes it all seem so effortless. His pictures look like beautiful stills from the most amazing film you have never seen. It’s always very British, sometimes dour and with a touch of sadness, but always with great elegance and sophistication. His expert hand is like no other and I am beyond proud to call him my friend.

S: Has the British aesthetic resurged in prevalence?

B: There’s a new wave of super exciting image makers coming through in London, as an editor, it’s an exciting time with a host of new photographers and stylists to collaborate with. They all share some esoteric similarities, making work that is very personal, arty, weird, wrong, sexual, staged, sincere and very British. I guess it’s the first time since Alasdair that we’re watching a new wave coming through which is always inspiring to see.

S: How has the landscape of the fashion industry, men’s in particular, changed over the last decade?

B: There’s a lot more of it and it’s gotten much busier, with London Collections Men’s added to the schedule and now New York Men’s fashion week being spoken of. The process of editing so much visual information down to a coherent thought has become even more of the most beautiful headache.

S: What’s your favorite film?

B: Star Wars. Always.

1 MATSS15_ALASDAIR M_OLIVIER R_Fruit Machine spread 1
All 4 covers, Bjorn by Alasdair McLellan (Art Partner) /  Styling by Olivier Rizzo

2 MATSS15_ALASDAIR M_OLIVIER R_Fruit Machine spread 2

3 MATSS15_ALASDAIR M_OLIVIER R_Fruit Machine spread 3
Shane and Hamish Frew by Alasdair McLellan (Art Partner) /  Styling by Olivier Rizzo / Hair by Matt Mulhall (Streeters London) / Makeup by Ninni Nummela (Streeters London)

Photography by Mike O’Meally

8 MATSS15_ALASDAIR M_Final Fantasy

Michael by Alasdair McLellan (Art Partner) / Hair by Malcolm Edwards (Art Partner) / Makeup by Lynsey Alexander (Streeters London)


Harry by Letty Schmiterlow / Styling by Danny Reed

Finnlay Davis by Jamie Hawkesworth / Styling by Jonathan Anderson / Hair and grooming by Gary Gill

Hugo, Jules and Marko at Rebel by Gosha Rubchinskiy / Styling by Lotta Volkova Adam (New York: ArtList NY, Paris: ArtList Paris) / Hair and grooming by Gary Gill


Jeremie Renier by Willy Vanderperre (Art + Commerce) / Hair by Anthony Turner (Art Partner) /  Grooming by Lynsey Alexander (Streeters London)

Posted in: General news

Land of the Rising Sun

March 31st, 2015 |Posted by steven.yatsko

The third issue of the relaunched and wanderlust-provoking Holiday Magazine honors the Land of the Rising Sun. The “Japan Issue” nuances a journey through culture and characters profiling a carefully selected troupe of seminal Japanese characters. On the cover, captured by Josh Olins, is famous Kabuki actor Ebizo Ichikawa XI. Olins also contributes a photo essay starring Edie Campbell touring Japan. Tidy, reflective interviews are aplenty with the likes of Jean Paul Goude, Yohji Yamamoto, Serge Lutens and Kenzo Takada. Inez van Lamsweerde and Vinoodh Matadin photographs Natalie Westling and Karlie Kloss decorated in face paint for a vibrant beauty story. Setsuko Klossowska Rola photographed by Jamie Hawkesworth and writer Eric Réinhardt providing a seventy-seven Japan-pondering passages both make for novel features. The well-ordered travel and style review contemplates time and place as a thorough memoir would. That thoughtfulness is the heart of Holiday, available at Colette April 3rd.

Photos courtesy of Holiday Magazine



Keisuke by Andreas Laszlo Konrath


Photo by Philippe Lacombe






Setsuko Klossowska Rola by Jamie Hawkesworth




Holiday375_JapanIssue-(dragged)-3-2 Holiday375_JapanIssue-(dragged)-3-3


Natalie Westling by Inez van Lamsweerde and Vinoodh Matadin


Photo by Philippe Lacombe


Hayao Miyazaki


Photo by Josh Olins (Camilla Lowther Management)





Posted in: General news

Seeing Double

November 17th, 2014 |Posted by


Caroline Trentini by Roe Ethridge / styled by

A quote from William Wordsworth is emblazoned across the cover of Double Magazine‘s 28th edition and it serves as a fitting thematic intro to an issue filled with engaging content from some of photography & fashion’s rising stars. Jamie Hawkesworth, Roe Ethridge, Heji Shin and Harley Weir contribute new editorials, while superstar stylists Marie Chaix (Art Partner) and Camille Bidault Waddington (Management + Artists) put their skills to good use mixing pieces from CélineLanvin and Vionnet‘s archives throughout the varied features. The issue’s mix of fresh talent like Hood by Air‘s Shayne Oliver and Sacai‘s Chitose Abe and established legends like Georgina Grenville makes for a compelling and insightful read.

For even more Double visit Le Magazine Double


Ph. Zoe Ghertner (Los Angeles: Total Management, Paris: Total Management, New York: Total Management) / Styled by Marie Chaix (Art Partner) / Model Emily-Jane Rosen


Ph. Zoe Ghertner (Los Angeles: Total Management, Paris: Total Management, New York: Total Management) / Styled by Marie Chaix (Art Partner)



Ph. Heji Shin / Styled by Camille Bidault Waddington (Management + Artists)




Ph.  Jamie Hawkesworth / Styled by Marie Chaix / Models Anya LyagoshinaValery Kaufman

Posted in: General news

Campaign Season!

November 14th, 2014 |Posted by

Miu Miu
Ph. Jamie Hawkesworth

Jamie Hawkesworth breathes new life into Miu Miu‘s seasonal campaign with his colorful shots of Natalie Westling juxtaposed against natural shots of abstract landscapes and faded barns. Hawkesworth’s use of color creates parallels between studio shots of Miuccia Prada’s sixties influenced collection of paisleys and mod shapes with the rustic imagery of his outdoor work – together it makes for one of the season’s most striking ads.




Ph. Steven Meisel


In an enigmatic garden, Prada presents its Fall/ Winter 2015 resort advertising campaign. New faces Adrienne Jüliger, Ine Neefs and Moya Palk pose for photographer Steven Meisel in this interesting composition. The 70s influenced resort wares with their top stitching, boxy skirts and belted dresses show of the casual & feminine side of the Prada look. Meisel’s series of monochrome portraits gives the collection a majestic feeling, even in the shots that call to mind Village of the Damned.




Ph. Mert Alas and Marcus Piggott (Art Partner)

The Gucci Cruise 2015 campaign is all about sensual elegance and new faces Julia Bergshoeff, Alisa Ahmann, Aneta Pajak, Ben Allen,Mihai Bran, and Julia Banas, are captured by photographers Mert Alas and Marcus Piggott in sleek style. The Frida Gianini designed luxe bags and floaty dresses are the focal point as models pose in wicker chairs against a plain backdrop.




Ph. Tyrone Lebon

Philo muse Daria Werbowy displays her make-up free beauty in the Celine FW resort 2015 advertising campaign, captured by photographer, Tyrone Lebon. Lebon brings a fresh perspective to the ads after seasons of Juergen Teller and Daria sports the new season’s garments with the same casual ease we’ve come to know and love.

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campagne 1056x792 px.indd

campagne 1056x792 px.indd

Bottega Veneta
Ph. Ryan McGinley

The dreamlike Bottega Veneta resort 2015 advertising campaign was set in the New York Botanical Gardens. Photographer Ryan McGinley creates a slightly surreal feeling while capturing Tilda Lindstam and Janis Ancens against a backdrop of cherry blossoms and lush greenery.



Posted in: General news

Mix + Match

April 1st, 2014 |Posted by Matthew

In fashion, a little daring goes a long way. Such is the case in this artful shoot from Jamie Hawkesworth, who brings his trademark eye for stark yet striking imagery to the pages of W’s April 2014 issue. Featuring Marine Deleeuw, Ashleigh Good, Harleth Kuusik, and Linn Arvidsson, Hawkesworth’s latest demonstrates the undeniable cool of fashion-forward contrasts. Combining Phoebe Philo’s Céline brushstrokes and Raf Simons’ “Trans Dior” prints with pieces by Gucci, Max Mara, and Vera Wang, Marie-Amélie Sauvé’s dynamic styling speaks for itself.

See the full story on W




Posted in: General news

Campaigns Continued!

January 17th, 2014 |Posted by Janelle


Jamie Hawkesworth shoots a stark black and white campaign that highlights the youthful cast and the sculptural details of Anderson’s appealing spring collection. The clothes are in the forefront where they belong and the unique details seem even more impressive here than they did on the runway.




Peter Lindbergh and Mariacarla Boscono reunite for Alberta Ferretti’s elegant spring images. Lindbergh’s masterful use of light brings the collection to life, highlighting the rich color and exquisite embroidery. Mariacarla provides a regal presence, particularly in that stellar shot with the emerald green gown.




You’ll be hard presssed to find a more lush campaign this season than Hermes. The luxury house heads to the rainforest with a greenery filled and almost otherworldly series of images from Hans Silvester, a photographer known for his impressive fine art shots of natural settings and exotic locations. Diana Moldovan, Estee Rammant, Yumi Lambert and Sean O’Pry feature in Silvester’s captivating images.




A great collection deserves a great campaign and Raf Simons’ expansive spring collection gets the royal treatment by Willy Vanderperre (Art Partner). A multi-generational cast of top models featuring Stella Tennant, Edie Campbell, Julia Nobis and Elise Crombez poses in Vanderperre’s contrasting series of photos – black and white portraits on one side and candy colored full body shots on the other – the better to show off those exquisite Dior pieces and this phenomenal lineup of women.



Posted in: General news

J.W.’s 1st

June 28th, 2013 |Posted by Janelle

The allure of the unexpected has always been a part of JW Anderson‘s aesthetic and for the line’s first campaign Anderson goes for imagery with an off-kilter appeal. Shot by Jamie Hawkesworth and styled by Benjamin Bruno, art direction by Christopher Simmonds and creative direction by Jefferson Hack‘s MAD London the campaign focuses on contrasting shots of a high ponytail sporting blonde and a male model carrying the ultimate statement accessory – a severed car door. The clash of visual cues and the simple, refined photography make for a ad that feels as fresh as Anderson’s fall collection.

Hair: Mark Hampton | Make-up: Ciara O’Shea | Set Design: David White | Models: Lucan, and Oliver O’Brien



Posted in: General news