othereditorialarchive

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EDITORIAL ARCHIVE- TO CELEBRATE THE START OF MILAN FASHION WEEK THIS ONE’S FROM  ITALIAN VOGUE ,AUGUST 1998

This was my first ever shoot with the amazing photographer Paulo Roversi. 

Alice Gentilucci the fashion editor gave me my first break working for Italian Vogue in 1994 and I have worked with her on various occasions since over the years for the magazine and on shows. 

This particular shoot I went to Paris to do and it was shot in Paulo’s own studio that he has. I remember walking into the hair and make-up room and seeing all these big polaroids covering one wall consisting of the teams of hair, make-up and styling people he’d worked with, everyone of them I completely admired so I felt very privileged and honoured that I was now there working with the man himself too.

At this particular time there was a huge influx of Russian models breaking through on the fashion scene. This happens a lot in fashion, I’ve seen Brazilian, Belgian and British Invasions at various times throughout my career.

Anyway, these were all the latest new Russian girls at the time.  The ones I remember who went on to do really well were Colette Pechekhonova ( the girl with the braid), Natalia Semanova ( the girl with the hat on and Alexandra (Sasha) Egorova ( although it could be Lida her identical win sister). Sasha (or Lida) is the one with the red hair and scarf on the back of her head. The fourth and fifth models I cannot remember their names at present. If I remember at a later date I will insert their names 

CREDITS - ITALIAN VOGUE AUGUST 1998 ISSUE.

Shot by Paolo Roversi 

Models - Colette Pechekhonova, Sasha ( or Lida) Egorova, Natalia Semanova and two unknowns.

Fashion editor Alice Gentilucci. 

Make up by Frank B.

Hair by Me

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NEW EDITORIAL.

Here’s this month’s i-D cover story that I worked on, and a taster of some of the pictures shot by the talented Angelo Pennetta with model of the moment Cara Delevingne. (now known as the Carantula!!- sorry, i couldn’t resist that little play on words)

Styled by accomplished stylist Cathy Kasterine, make up by the fabulous Sally Branka and nails by the ever talented Brummy manicurist Jenny Longworth!

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EDITORIAL ARCHIVE- KAREN ELSON SHOT BY TIM WALKER FOR BRITISH VOGUE

This is a shoot I worked on for British Vogue ( April 2008 Issue) with Karen Elson, shot by the brilliant Tim Walker, styled by the fashion guru Kate Phelan. This is one of the very few occasions I worked with Tim. Collaborating  with him is a very special experience! His work is like no other and the best way I can describe it is to make a comparison to Tim Burton the film director. Mr Walker creates a fantasy world, taken from ideas he finds in books, films etc.

This particular shoot  was based on a Scandinavian children’s book about a puppet doll who is helped by a toy soldier. The sets were designed by the amazing and incredibly talented Shona Heath, who I remember on the first morning I arrived at the house where the shoot took place, was beavering away on all these amazing over-sized props and sets in order to make Karen and the male model seem small in comparison.  Two of the sets/props that have always stuck in my head the most were the giant train set and the huge jack-in-the-box. Shona’s attention to detail was immense and it completely blew me away.  Karen’s doll like features also work so well for a Tim Walker shoot which is why he has ended up shooting her so much over his and her careers.

Besides just loving these pictures I also wanted to run them on the blog now because it leads me into talking about an upcoming exhibition Tim has at Somerset House in London, beginning the 18th of this month until January 17th 2013 which consists of 175 of his most inspirational pictures to date,  of which i will be sure to attend at some point.

Earlier this week, Tim’s new book ‘Story Teller’ was released to accompany this exhibition, and if you can’t make it down to Somerset house to get yourself a copy (you really should by the way) you can buy it online here…….Thames & Hudson. or on Amazon

Any old how, I hope you enjoy these pics as I loved working on them .Enjoy the exhibition if you can get there and enjoy the book if you purchase it. I would recommend to do it all if possible!!!

To see more of Tim Walker’s work click here timwalkerphotography.com

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EDITORIAL ARCHIVE: TO CELEBRATE THE START OF FASHION WEEK IN NEW YORK, today’s editorial archive is a shoot I did for American Vogue shot by US photographer Carter Smith back in 1998

The whole shoot was inspired by a 1948 Andrew Wyeth painting called Christina’s World. 

Christina’s World is probably one of the best known American paintings of the 20th Century and currently hangs at the MOMA museum in New York. It depicts a woman lying in a tawny field, looking up at a grey house, barn and outbuildings. 

American painter Wyeth, was inspired to create the painting after seeing from the window of his Summer house in Maine, a woman he knew called Christina Olson, who suffered from Polio, crawling across a field. From 1940 to 1968, Christina and her brother were the subjects of his paintings, although Wyeth’s younger wife posed as the torso for Christina’s World.

The house in the painting is called Olson House, and is situated in Cushing, Maine, USA, and is open to the public as a National Historic Landmark. It has been restored to match its appearance in the painting.

We went to Maine to shoot this story with the beautiful American model Angela Lindvall. Angela was 19 at the time and had risen to the top of modelling to become the modern day wholesome all American girl. She went on to become one of the biggest models of the 2000’s and starred in some films too.  She still models today, although she has two children who keep her rather busy so she picks her modelling assignments carefully these days, whilst continuing her charity work for Hijau and TV presenting.  

The shoot had Autumn/Winter clothing and even though the Andrew Wyeth painting was the initial inspiration, these pictures actually show off the beautiful countryside and calm spirit of Maine, New England, plus the pureness of Angela’s beauty. 

I strangely felt like I was in the English countryside when we went to shoot these pictures, so it was little like a home from home experience whilst living in New York. 

I hope you enjoy the images!!

CREDITS: American Vogue - October 1998 Issue

Photographer - Carter Smith  

Model -  Angela Lindvall 

Make Up - Virgina Young.

Fashion Editor - Paul Cavaco.

Hair - Me 

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This is my first ever editorial photo shoot, it was shot by Corinne Day for The Face magazine in 1994. The images in this shoot, especially the mohawk with the pink ends launched my career in the fashion industry. 

From this I was then booked for my first shoot with Italian Vogue, and was asked to replica the image with the pink ends.

We did one picture of the model lying on a sofa. When Corinne asked her to move her leg she didn’t respond. We thought she’d fainted, but it turned out she’d fallen asleep. Needless to say, her modelling career was a little short lived. 

On putting this post together, I’ve just realised I was dip dying 18 years ago! 

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EDITORIAL ARCHIVE- FRENCH VOGUE MAY 2001 ISSUE. 

To celebrate the start of Paris Fashion Week S/S14, Im running this shoot I worked on for French Vogue back in 2001. I can’t believe these photographs were taken 12 years ago!! 

This trip to Jamaica was the 2nd of two shoots we shot whilst spending a week on the caribbean island. The first shoot we did was with Carmen Cass. I have posted that shoot already ( go to #editorialarchive ). This particular shoot stars the lovely belgian model Delphine Balfort. Delphine was a favourite model of Corinne’s. She liked her tomboy looks with her whiter than white blonde hair. Delphine also has a boy shaped body that Corinne always loved.  we shot her on many occasions. 

This shoot was all about the black bikini and Corinne wanted to put Delphine into typical Jamaican looking surroundings. 

These pictures were all about Delphine hanging out as if she was a local. I hope you enjoy the beauty and the simplicity of them! 

CREDITS- FRENCH VOGUE MAY 2001 ISSUE. 

Photographed by Corinne Day

 Styling by Anastasia Barbieri

Make up by Mary Jane Frost .

Model:  Delphine Bafort.

Hair by me .  

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MY EDITORIAL ARCHIVE

Today’s editorial archive is from the May 1998 Issue of W Magazine. 

As I was looking for another shoot to post from my archive I came across this and remembered how much I loved it. I have to say it’s been the bane of my life posting this because it was very hard to find all the pics. I had some of them but not others and I also didn’t have a back issue, so I had to search online and eventually found one, on good old E-bay.  

This gorgeous shoot stars the beautiful, vivacious French model (now actress) Audrey Marnay. To say Audrey was the Kate Moss of France may seem like a put down but its not meant to sound like that. She appeared on the modelling scene in 1995 and everybody said she looked like Kate. She kind of did, but to be honest there was something very French about Audrey’s face that made her unique. She had the wide apart eyes and high cheekbones of Kate and height wise they were about the same, but her little petite mouth made her look more French. This comparison only did Audrey favours as her career blossomed, eventually leading to her and Kate actually appearing together in Calvin Klein ads in 1998, looking like sisters.

This particular shoot here was created in Jamaica, and I believe the idea had come from the 1984 film Splash starring Daryl Hannah.

Audrey was the perfect girl for this. Never afraid to try things out, she was the pure adventure girl and i must admit I’m not surprised she has become an actress. She’s totally charismatic and as a model would take on any role you asked her to. I worked with her on numerous occasions and loved her “go for it” spirit. I distinctly remember her trying to swim in the sea with the mermaid tail attached as she was convinced she could help Carter get an underwater shot of her in the water swimming. Unfortunately the tail was to heavy to swim in but she sure as hell tried.

I also had become obsessed at the time with beads in hair, having found a funny hair picture in a dodgy British hair magazine that I weirdly liked. I didn’t want to just do the obvious wet hair thing for this shoot, so i persuaded Carter and Joe ( the Photographer and Fashion editor ) to let me put beads in Audrey’s hair.

It worked and its the only time I’ve ever used them for a shoot as it seemed the only time it was appropriate.

Note To Self and Others: “If you have an idea for a picture, try to find a place to do it at least once- it may work”  

CREDITS

Photographer: Carter Smith

W Fashion Editor: Joe Zee

Model: Audrey Marnay

Makeup: Virginia Young

W Issue:  May 1998

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EDITORIAL ARCHIVE

Essex born Alex Cayley,  photographer for this shoot, I first met when he was Corinne Day’s assistant. He was in fact the first photographer’s assistant I met on a shoot. When he left working for Corinne he moved to New York to assist Albert Watson. Alex eventually went out on his own a few years later and I was living in New York around the same time After bumping into him on the street we decided to start working together. We shot many things including Dutch Magazine, which was a great youth culture magazine run at the time by Matthias Vriens. This is one of my favourite shoots I worked on with Alex for Dutch starring the fantastic Canadian born model and actress Shalom Harlow.

I worked with Shalom on numerous occasions too and she was one of those models who was always willing to do what it would take to get a great image. A true professional through and through who did exactly that in this shoot. We shot late and long hours to get these pictures but it was worth it. I have fond memories of this shoot and still shoot with Alex occassionally when he’s not busy being a father of 2 children. 

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Today is another Editorial Archive day!

Todays editorial archive is a shoot I worked on for Dutch magazine. 

Dutch magazine was a homegrown magazine from the Netherlands that was originally written in its native tongue, when in 1992, a then unknown creative, Mathias Vriens started working for the magazine and eventually became  its creative director and editor in chief. Mathias went on to become Creative Director at Gucci and eventually a successful fashion photographer.  The magazine became an international style bible published in English and was supported by fashion’s major advertisers. Tom Ford was quoted as saying Dutch was his favorite magazine of the nineties, and style guru Diane Pernet wrote, “back in the nineties, Dutch was a publication that influenced the way we looked at magazines for the next few decades.“ Dutch was always done with a sense of humour and elegance which was one of the reasons forits success, including the famous naked issue where the only visible fashion was the written brand credits. 

This shoot featured today is one of many I worked on for Dutch, this particular one was shot by British born Essex boy Alex Cayley, in the earlier stages of his career. Alex had assisted Corinne Day in London ( which is when I first met him) then he moved to New York to assist the legendary Scottish, art, fashion and celebrity photographer Albert Watson.

When Cayley eventually went alone into the world of fashion he quickly made a unique mark with his technical but stark photography, but still managed to maintain a British edge to his work by converting to his British photography grunge roots,  with the poses he would get the girls to do. Dutch magazine championed Alex’s work and he shot regularly for them which I was lucky enough to work on most of them with him collaborating with the great American stylist Joanne Blades.

This particular story we shot in the suburbs of New Jersey, just across the Hudson river, an unlikely destination for a fashion shoot, with the former Gucci model Carolyn Park-Chapman.

Carolyn made her name as a brand new British model, cast by Mario Testino in 1996 to co-star in the Gucci Spring/Summer ‘96 ads with 2 other unknown British female models. Carolyn’s career rocketed straight after that break, but in 1999 she was unfortunately filmed by hidden cameras and ended up featuring in a BBC TV documentary series broadcast in the November of that year called "MacIntyre Uncovered”, made by the investigative reporter/journalist Donal MacIntyre. The particular episode was about the supposed corrupt Elite Model Management owner Gerald Marie. Carolyn was caught on camera being involved with recreational drugs in various scenarios and this brought an abrupt end to her rise in the fashion world.

This shoot for Dutch was one of Carolyn’s first shoots back on her return to the fashion industry,  approximately a year later after she took a hiatus following the documentary. I’d worked with her on numerous occasions and it was great to do a shoot with her again as  she was always a fun, energetic girl to be around and work with.  Alex took the decision to shoot her even though he had the choice of many girls, because he felt she was right for the story. We all wanted to try to help show what a great model she was and she worked really hard on the two days of shooting especially as it was pretty cold outside. Coincidentally these pictures feel like they’re about a girl going through a struggle in life!  Carolyn’s career never reached the same heights again, but none the less she was still a great girl who just ended up in an unfortunate situation. 

The result was these amazing pictures…… I hope you enjoy seeing them again!!  I love them !!!

MY EDITORIAL ARCHIVE - KATE MOSS BY JUERGEN TELLER FOR DAZED AND CONFUSED, NOVEMBER 1997

TODAY FROM MY EDITORIAL ARCHIVE WE’RE GOING ALL THE WAY BACK TO 1997.

On a brisk early Autumn morning, stylist and Fashion Director of Dazed, Katie Grand, uber make-up artist Lisa Butler and myself headed over to West London, to what was then Juergen Teller’s studio, for a shoot for Dazed and Confused Magazine 

And so we sat waiting for the legendary Kate Moss to arrive……….

Keep reading

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EDITORIAL ARCHIVE- BRITISH VOGUE OCTOBER 2006 

To mark the start of London Fashion Week today, Editorial Archive features one of my many favourite shoots I worked on for British Vogue. 

I went on an amazing trip with the great photographer Norbert Schoerner and the absolutely delightful model Guinevere Van Seenus,  Vogue’s contributing Fashion Editor Charlotte Stockdale and New York based Japanese make-up artist Rie Omoto.Guinevere was in the middle of one of her comeback moments in her career.(she has the ability to keep retracting from modelling for a couple of years and then make a comeback, as so many people adore her unique look) 

We all flew to Tokyo and then drove for approx 4 hours somewhere more remote where we eventually stayed at 2 amazing Ryokans (旅館)., the traditional Japanese Inns that originated in the Edo period (1603-1868), accommodating and serving travellers along Japanese highways. They feature tatami-matted rooms, sliding doors, communal baths with fresh hot water springs ( that amazingly leave your skin feeling like a baby’s bottom )  and other public areas where visitors wear yukata during their stay ( this is a casual summer kimono, translated as ‘bath(ing) clothes’ although not restricted to be worn just for bathing).    

Evening dining consists of 18 course meals serving traditional Japanese cuisine known as Kaiseki, where you sit and eat on the floor around low tables, drinking sake.  

As the creamy skinned, tart, bow-shaped mouth beauty that Guinevere is, she was the perfect choice for this Japanese shoot. We didn’t plan to make her look Japanese in anyway, instead the idea was about making her look like a western girl who lived in Japan and had become influenced by the culture that she chose to create and look like her own western version of a modern japanese woman.

Guinevere, the make-up artist Rie Omoto and myself chose to share a room together as each one was so huge we wanted to share the experience together of staying in this wonderful place, rather than having our own rooms. Sleeping is a low mattress on the floor but the experience is phenomenal. 

So on the first shoot day, I went about drastically extending Guinevere’s bobbed length hair and also gave her a fringe ( bangs) , with the use of  human hair extensions. As Guinevere was colouring her hair at the time, she had a slight root regrowth, I wanted it to look like her hair rather than her looking like she was wearing her wig so it seemed more realistic to add extensions and keep the re-growth apparent. 

We shot in and around the ryokans and it was an amazing experience to be out of Tokyo and the big city and experience real Japan. The memories of this week long trip have stayed with me ever since and at some point I plan to go back and re-live the experience all over again.

I would highly recommend it !!!  

CREDITS - BRITISH VOGUE OCTOBER ISSUE 2006

Photography: Norbert Schoerner

Make Up: Rie Omoto

Fashion Editor: Charlotte Stockdale

Model :Guinevere Van Seenus 

Hair: Me 

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Hi Everyone, 

So it’s Glastonbury Festival this weekend after a 1 year gap, and my editorial archive today is a shoot I did at said festival in 2005, starring Gemma Ward photographed by Corinne Day, for British Vogue’s October issue in 2005.

WHAT A TRIP IT WAS…….

We were all very excited about going to Galstonbury, for many of us it was the first time there. Gemma came with her sister Sophie and we all drove down there on the Fri afternoon. 

The plan was to shoot Gemma in various areas amongst the festival and to shoot some of the bands too. We had a big location bus to work from. The Vogue editor Kate Phelan had shot there before and had warned us it was going to be hard work. How right she was!! First and foremost, on the first night, the heavens absolutely opened up and the whole place was flooded. Luckily i was in a 70’s style caravan so didn’t get wet, but Corinne and her husband woke up in a pool of water in their yert as did some of the other team. When we all woke in the morning it was mayhem.

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Knee deep in water and mud, cold from the damp, but the show must go on as they say. We trudged around this little festival town in wellingtons and waterproof gear, getting verbally abused when carrying around the suitcases with Vogue stickers on,  falling over in the mud and getting stuck.
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We attempted one day to drive all the crew in a people carrier to one part of the festival to do a shot and as we started to drive in the one direction, so did a 100,000 odd crowd choose to rush in the opposite direction to see a band who were playing on the main stage. It was a scary claustrophobic moment in our lives as what seemed like millions of people were surrounding the van we were all crammed into, plus when we finally got to the spot Corinne wanted to shoot, we then had a small group of feminist activists hurling verbal abuse at Gemma and the rest of the team for just shooting in Glastonbury! 

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The festival’s newspaper, The Glastonbury Daily thanked God for the hideous weather on its front page headline for day 2, calling it Brown Friday because of all the mud, and then the weather slowly started to improve and by the last of our 4 days even though we were all quite exhausted by that point, it allowed us to get a lot of the shots done that were missed because of the weather conditions.  Despite all those incidents, the shoot looked amazing. 

I’ve always loved musical festivals, ( Reading Festival being one of my preferred favourites in the past ) but this was an experience like no other. Needless to say it was the last major festival I’ve been to, and the last Glastonbury, British Vogue have been to for a fashion shoot.

I look back on this shoot with fond, fond memories now,  but at the time it was pretty stressful.  The joys of Fashion!!!

British Vogue

Model: Gemma Ward

Photographer: Corinne Day

Vogue Fashion Editor: Kate Phelan

Make-Up: Lisa Butler

Hair: Me 

 

EDITORIAL ARCHIVE - CORINNE DAY, i-D MAGAZINE OCTOBER 2001

CORINNE DAY - i-D THE POPULAR ISSUE OCTOBER 2001.

Back in the Summer of 2001, Corinne organised a shoot for iD Magazine with stylist Jane Howe.

Their obsession with music festivals ie: Glastonbury, Reading etc was the focus of the shoot and so we all set off to the Essential Weekender Festival that had moved its location from Brighton to Hackney Marshes in London that year.  

Keep reading

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NEW EDITORIAL

Here’s more new editorial by the lovely, talented, London and New York based Aussie Photographer Emma Summerton. This shoot is for Grey Magazine, with make-up by the marvellous Matthias Van Hoof and the models are the gorgeous Lena Hardt and Maria Bradley.

Grey magazine is about photography and It comes out twice a year Although it’s a magazine, it comes as a hardcover book. It consists of different categories inside like Designer, Editorial, Abstract and Interior Design. It’s filled with beautiful photographs from the start to the finish.  The editor-in-chief Valentina Ilardi Martin said the following quote in the first issue. 

“Grey is the result of research and conviction, not strength or false provocation. " 

Enjoy these beautiful pictures!!!

All products used: Bumble and Bumble

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EDITORIAL ARCHIVE.

What can I say in regards to this editorial?? Another one of my first shoots to be published that was shot by the legendary Corinne Day. 

This shoot is grunge personified for me. The lovely young lady in this shoot is the softly spoken Tania Court who Corinne discovered working in a bakers in Battersea, London, and the rather handsome young chap is George Clements, another of Corinne’s discoveries whilst she was on a day trip to Tooting Beck Lido with friend Sarah Murray. 

Tania had an amazing career when she first started modelling, soon to be strutting down the runway for John Galliano like a girl on a mission. She was about to become another superstar model off the back of the grunge era but unfortunately for Tania, the Heroine Chic backlash story broke in the US, supported by the US president at the time, Bill Clinton, following the sad, untimely death of young photographer David Sorrenti. Because Corinne was labelled as one of the photographers pioneering the heroin chic look,  another shot of Tania not shown here, looking like she’d had a heavy night out was misused within a lot of these newspaper articles. 

Tania couldn’t have been further away from being a drug addict in real life, she was merely genetically thin. Corinne taught Tania to accept her body shape and hold her head up high, but she got tarred with the wrong brush and so she shied away from the modelling world to eventually retire, prematurely. 

George however went on to become a huge male model, shooting with Steven Meisel, appearing in Calvin Klein Ads and being shot by every huge photographer in fashion. Not bad for a guy who was pursuing a career as a chef originally. George was an unlikely character for modelling though, he soon saw it as a way to make money but I don’t think he ever really understood at the time why all the fuss was being made about him.  George was the male grunge model of the moment! Corinne photographed George on numerous occasions and images of him appear in her latest book as does Tania.  

Edette the stylist went on to become a huge textile designer in the US and still lives there now with a line of children’s clothing to her name. 

i-D Magazine shot by Corinne Day in February 1994.

Models Tania Court & George Clements.

Styling by Edette Meyers.

Make Up by Virginia Young.

Hair by moi.  ( They forgot to put my credit on there as I was so new-oh well !! ) 

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EDITORIAL ARCHIVE BRITISH VOGUE, CORINNE DAY JULY 2003.

Back in 2003 ( I can’t believe its 10 years ago) British Vogue sent photographer Corinne Day and Fashion Editor Kate Phelan off on a gorgeous trip to Jamaica, with Danish model of the moment  Louise Pederson, Make-up artist Lisa Butler, and little old me for hair. 

We were very lucky to have stayed at the famous resort on the island called Goldeneye. Goldeneye was the name given to the estate by James Bond writer, Ian Fleming. He purchased the land in Oracabessa in the early 1950’s next to the Golden Clouds estate and built a house on the land overlooking the private beach. He named his house, Fleming Villa. This house is where he wrote most of the original James Bond books. Fleming died in 1964 and in 1976 reggae singer Bob Marley bought the house and the land it was built on. A year later Marley sold the property to Chris Blackwell, founder of Island Records and eventually in 1994 the Bond film Goldeneye was made with Pierce Brosnan as James Bond. 

The property is still owned by Chris Blackwell’s company and is available to hire for holidays, with various villas and cottages available for guests. Dining in the restaurant at night is a true experience where ladies must dress up and all the men must wear a suit/dinner jacket at the table. If you don’t have one they will provide one for you from their spare jacket cupboard. You can wear the jacket with shorts and a t-shirt, but you must keep the jacket on at all times throughout the dinner. ( it’s a tad colonial in its approach but weirdly kind of fun) 

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 FLEMING VILLA.

And so we set about creating these beautiful images whilst staying at this amazing place, when it was slightly out of season so there were not many people around. Corinne was inspired by the surroundings as she always had a love for the beach and Jamaica itself. I did many shoots there with her over my years of working with her, and I always thought that the picture of Louise with the snorkel on in this shoot, bore a slight resemblance to Ursula Andress coming out of the water in the Bond film, Dr No, which incidentally was one of two Bond films shot near the estate itself. 

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GOLDENEYE, LOW CAY BEACH.

I hope you enjoy these pics as much as i did going to Jamaica and staying at Golden Eye plus tasting their amazing Zinfandel Rose that’s one of their speciality wines. 

CREDITS

Corinne Day - British Vogue - July 2003

Model: Louise Pederson

Fashion Editor: Kate Phelan

Make up: Lisa Butler

Hair: Me 

Visit the Goldeneye private resort website….HERE

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EDITORIAL ARCHIVE

Sean Ellis is one of my favourite fashion photographers EVER!!  

His dark, sinister, sexualised, technical imagery became his trademark and he fast became one of the biggest British fashion photographers of the 90’s. I had the pleasure of working with Sean on numerous occasions and became good mates with him. Working with Sean was not only fun but amazingly creative too.  

The images shown here are from a shoot we worked on for The Face magazine. Sean had the idea to shoot a Sun newspaper Page 3 Glamour Model, but in a much more creative, innovative and slightly less overtly sexy way that would give glamour modelling a different lease of life. These images are the result of that idea, and they went on to become part of an amazing exhibtion. They were lauded by the press and I only ever feel honoured and privileged to have been able to have worked on them.

Fortunately for Sean, but unfortunately for me ( he doesn’t really take fashion pictures anymore), he’s now an Oscar nominated film director ( His brilliant short film Cashback was nominated for an Oscar in 2006). Sean now lives in the South of France and is a fully fledged film director who's film Voyage d'affaires (The Business Trip) was also been nominated for a BAFTA in 2008.  He recently finished working on his next feature film,  Metro Manila. 

Sean has released 2 books of his photography :

“365, A Year in Fashion” is a book published in 2000 which gives us a photographic behind the scenes insight into Sean’s life every day throughout 1999. Click here to see the book http://www.sean-ellis.com/

“Kubrick The Dog”,  Sean’s late dog Kubrick became a regular guest on his shoots, Following his sad death to cancer in 2009, he features in his own book, photographed with models celebrities etc that Sean published in 2010. 

Sean is represented by RSA as a Director and by Kayte Ellis at The Office for photography/film