Overview

Celebrating the incredible legacy of an influential British style magazine through a quarter century of its most iconic portraits Groundbreaking British youth culture and style magazine The Face established the careers of generations of photographers, journalists, designers and models. Founded in 1980 in London by English journalist Nick Logan, it is known for its distinctive, radical and of-the-minute design and its unflinching attitude. The magazine originally focused on music but branched into fashion and culture more widely, as well as encompassing political and social commentary. Initially running from 1980 to 2004, its strong inclusive stance, bold design and experimental approaches to photography still feel fresh and relevant today. In 2019, the magazine was relaunched for a new generation, while staying true to Logan's original vision. This volume celebrates the ongoing legacy of The Face in British art, design and culture through some of the most iconic portraits from the magazine's first 25 years. It showcases striking portraits taken by the likes of Miles Aldridge, Elaine Constantine, Corinne Day, David LaChapelle and Juergen Teller. The photographs feature such iconic figures as Kate Moss, Annie Lennox, Kurt Cobain, Iggy Pop, Snoop Dogg, David Bowie, Ewan McGregor, Madness, The Clash and Kylie Minogue. The book also includes selected covers and spreads from the original print magazine, complemented by words from key contributors to the original magazine. Published to accompany the eponymous exhibition at the National Portrait Gallery in London, this volume is a critical tool in understanding the astounding influence of The Face on style photography as well as the magazine's enduring impact on visual culture in Britain and beyond.

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9781855145894

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Reviews

Some publications make their own lore, and 'The Face' is definitely one of them.--Sarah Moroz ""British Journal of Photography"" [The] magazine sorted itself out and assembled a graphic identity through tireless experimenting and tweaking with fonts, layouts, symbols, and logos that looked backward to Bauhaus and forward to the cybernetic future. The photography took full advantage of this improv mix with its own bucking bronco energy and insouciance.--James Walcott ""Air Mail"" Powerfully nostalgic.--Mark O'Flaherty ""The Financial Times"" Many of the photographs in the show will never have been seen outside of the pages of 'The Face': seeing them as standalone pieces is a revival and a treat.--Martha Alexander ""AnOther Magazine""

[The] magazine sorted itself out and assembled a graphic identity through tireless experimenting and tweaking with fonts, layouts, symbols, and logos that looked backward to Bauhaus and forward to the cybernetic future. The photography took full advantage of this improv mix with its own bucking bronco energy and insouciance.--James Walcott ""Air Mail"" Powerfully nostalgic.--Mark O'Flaherty ""The Financial Times"" Many of the photographs in the show will never have been seen outside of the pages of 'The Face': seeing them as standalone pieces is a revival and a treat.--Martha Alexander ""AnOther Magazine""

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