The sartorial architecture of Jeanie Annan-Lewin’s body of work has earned her quite a name in the industry. As the former Creative Director and Fashion Director at The Perfect Magazine, she’s conceptualized imagery and styled stars like Naomi Campbell, Taylor Russell, and Pamela Anderson, lending her skills to cultivate timeless fashion narratives through collaboration with photographers Campbell Addy, Sølve Sundsbø, and Zhong Lin. Now holding the title of Contribution Fashion Editor at British Vogue, she continues to work on shaping the fashion editorial world alongside Chioma Nnadi’s leadership. It’s a path that practically seems predestined, considering her early days working with the legendary Isabella Blow at Tatler Magazine. At the time, Blow (credited for discovering Alexander McQueen) thought Lewin was a little too smart for fashion, but once the internship was over, called up publications singing her praises and stating that Lewin saw fashion from a 360° perspective. Now, aside from her work at British Vogue, Lewin works as both a stylist and brand consultant with a clientele spanning from Harper’s Bazaar, Interview, i-D, and Self Service to London’s rising fashion players, Chet Lo and Tolu Coker. Models.com contributor Nia Shumake caught up with Lewin to discuss her love of storytelling, mediums of inspiration, and creative process.
Colin Jones, Diane Chiu, Rejoice Chuol, and Sara Caballero by Campbell Addy for Vogue España | Image courtesy of Intrepid London
What are your earliest memories of art and fashion?
I’ve always been fascinated by clothes and images. My mother said I used to be very particular about outfits, and everything had to match, or I’d cry. When it came to images, I gravitated to the most colourful, visually packed books and spent many a summer at the National Gallery of Art. Fashion has been my safe space for a long, long time.
How does your background in art history inform your work? Where did you study?
I didn’t really know how relevant art history was until I was asked to do research for an editorial I was assisting on. Having a deep understanding of imagery helps you tell stories more easily. I did my A-level in art history and then went to Newcastle University to study. I wanted to be an art curator, but then I realized everyone who did that role came from quite a bit of wealth, so I decided against it.
How has your experience working with Isabella Blow shaped your approach to the industry?
Working with Isabella Blow [at Tatler] was transformative in many ways. It was the first time I was told I was good at something. I remember her saying I was a little too smart to work in fashion. I tend to overthink, which sometimes stunts the creative process. She also wrote me a lovely reference saying that I understood fashion in a way she hadn’t seen before. Everyone was so warm and encouraging there, and I left feeling very confident in my abilities.
The Perfect Magazine was launched in March 2021 amidst the global pandemic when many claimed that print media was dead–what convinced you to join the team in launching?
I think at the time, I was keen to just create and have interesting conversations. Lots of eyes were suddenly focused on me, and I thought embarking on that journey was the best thing for me and my career. I wanted to tell different stories with people who didn’t fit the narrow standards fashion tends to have.
When approaching a mega styling project like the latest rollout with Perfect, what is the first part of your process?
I think this issue was about looking at the cultural landscape and thinking about who’s a modern version of a pin-up. We wanted people who were interesting in looks and personality and had something to say. Those are always the best people to shoot, and we had a lot of fun doing it.
How does your love of storytelling contribute to your styling and creative direction?
I’m passionate about world-building and love immersing myself fully in the process. When I’m given a model or a talent to work with, I focus on how we want the audience to perceive them, considering the larger world we’re creating and how best to amplify their role within it. I’ve always been fascinated by fonts, images, movies, and clothing, so I try to weave the story into every detail, from layout to design, making sure it all contributes to the narrative.
Adhel Bol and Ingrid Fernandes by Sølve Sundsbø for Allure Magazine | Image courtesy of Intrepid London
Who are your favorite collaborators?
Gosh, there’s so many. Zhong Lin, I had practically stalked her online before I met her. I find her work so powerful, and she’s really inspiring to be around. We have the same taste in reference images, so it’s always really exciting to collaborate. Sølve is not only one of the nicest people I’ve ever had the pleasure of working with, but he’s so calm and really takes the time to make everyone feel confident and comfortable, which is how you get the best pictures, I think. I love the way Campbell’s mind works. He’s such an excellent storyteller. He creates these one-of-a-kind moments in images, and if I’m honest, I’m just happy to be there.
You’ve worked with Tolu Coker and a shortlist of London’s new-gen. How is that distinct from your styling for publications? Are there any up-and-coming brands that stand out to you?
Working closely with designers is something I’m really passionate about. It’s super rewarding to help someone’s vision come to life. Tolu and I met on a panel one Saturday in South London. I was absolutely floored by her intellect and passion for her craft. I love working with her and am always amazed by how much we can get done each season with so few resources. She really is a star in the making! I also work with Chet Lo, who’s incredibly intuitive, and he’s pushed so many boundaries in knitwear. He’s an absolute joy to be around and my goal is to see these designers grow bigger and better and get the recognition they deserve. My other standouts are Karoline Vitto, Feben, Sinéad O’Dwyer & Laura Andraschko.
You’ve mentioned being into documentary photographers- what about their photography style makes them a distinct source of inspiration for you?
I think their ability to capture real, raw moments in time offers a powerful and often intimate glimpse into people’s lives, struggles, and triumphs. I’ve always found that they have a unique talent for telling compelling stories through images, often shedding light on social, cultural, and political issues that might go unnoticed. When mixed with high-fashion, their images always feel eerie and otherworldly and I really gravitate towards that.
What’s inspiring you at the moment?
Considering the shaky political climate we’re in, I’m trying to gravitate to things that spark joy and complete authenticity. I’ve been reading again, visiting exhibitions, journaling, and spending time with my family, friends, and community. I’ve just been trying to get into a better headspace.
In The Guardian and Elle UK, you’ve mentioned that you rarely see people who look like you on runways and behind the scenes. Have any industry professionals helped you navigate this experience?
Hmm not really, but to be honest, I think a lot of this industry is based on smoke and mirrors. Every time I try and assimilate, it never seems to work in my favor. So, the new plan is to be myself and keep trying to make work I’m interested in. Hopefully, people will resonate with that.
