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July 24, 2014

Katie Grand x Tim Walker

The Fashion Wizards Conjure Up a Bohemian Fairytale for LOVE Magazine

Master storyteller Tim Walker and LOVE Editor-in-Chief Katie Grand reunite for Wizard, a hyper-dreamy shoot taken from the title's latest issue. Set on shooting his “favorite Brit girls,” Walker whisked homegrown talents including Kate Moss and Edie Campbell to Eglingham Hall, the fantastical 17th-century residence in Northumberland, England, that has defined much of his career. “Tim wanted to shoot a mystical fairy tale, and I never usually like wizards and all that hippy shit, but I loved the challenge of pulling in more magical clothing––especially from the great William Vintage,” says Grand, who unearthed the two-tone Halston dress as seen on Jean Campbell. New to the LOVE fold, Matilda Lowther and Jake Love also joined the cast, but it was the decade-plus teaming of Walker and Ms Moss that ultimately defined the made-in-Britain atmosphere on set. “They were sat in the forest having a cup of tea and a chat, and we were all like, ‘Tim, the light's going, Tim the light's going,’ but they were much more bothered about the tea,” adds Grand. Fresh from a road-trip across Utah and Arizona after closing issue 12, the super-stylist sat down with NOWNESS to talk Snow White, wishes and to-do lists.

When did you first meet Tim? 
Katie Grand:
We first worked together on Dazed & Confused about a million years ago. I think the story was called Poor Cow, and Grace Cobb styled it. I had been at college with Grace and she introduced us. They shot a cow on the M40, I think.

If you could describe shooting with him in emojis, what would they be? 
I don’t have emojis on my computer, but if I did there would be hearts and wizard hats, and perhaps the camels––they always make me smile, especially to accompany a picture when someone is showing a lot of cleavage.

Who else’s vintage collection do you admire? 
Stephen Philip at Rellik; he's always such a joy. Others’ I've admired are Azzedine Alaïa's, Miuccia Prada’s and Manuela Pavesi’s.

What do you most identify with in fairytales?
I like how sinister they are with such a dark overtone. Something bad always happens and someone always has a good cackle about it. Jean Campbell would be Goldilocks and Matilda’s got beautiful white skin, so she’d be Snow White.

What's on your to-do list?
KG: Answer these questions; get back to Irene at Marc Jacobs about the SS15 shoe fitting; get back to Condé Nast about our advertising sites for the new issue; look at the new Italian Vogue; send Hannah McGibbon a note to thank her for sending her excellent magazine; pick up a new cape from Prada. I think that's it today––not particularly stressful. 

Finally, one wish?
My rabbit Clara to come back (she died this week).

LOVE 12 Autumn/Winter 2014 is out Monday 28 July. 

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Double Bill: Léa Seydoux

Glen Luchford Captures A New York Moment with the Rag & Bone Stars in Today’s Two Films

Glen Luchford's short films for NY fashion house rag & bone are as beautiful and elegant as they are real. Starring actors Palme d'Or winner Léa Seydoux and Michael Pitt, and set to a yearning Sparklehorse soundtrack, Luchford’s signature is a combination of dramatic understatement and modern nostalgia for the craft of shooting on film. “Having the confidence to let the shoot flow is a great feeling, because anything can happen,” explains Luchford, whose only direction for Seydoux and Pitt was to do “whatever came naturally. My aesthetic is planned and controlled reportage—which is obviously a contradiction. On the day, you have to just let go and see what happens. Sparks fly and unexplained ideas pop up.” Luchford started his career at as a fashion photographer on the style magazine The Face, going on to shoot iconic campaigns as well as directing the award-winning feature film, Here to Where. Rather than pose in the rag & bone collection, it seems Seydoux and Pitt were encouraged to live in it.

What are your earliest memories of film and photography?
Glen Luchford:
I saw Snow White in the cinema when I was three years old, and something in the imagery stuck. I only remember a few scenes but they stayed clearly imprinted. Then The Wizard Of Oz at five, which blew me away. The fact that video didn’t exist then, and their unavailability, made them even more exotic and exciting.

What appeals to you about fashion?
Fashion has an ADD quality to it: it can't focus on anything for too long and has to keep shifting its gaze, like an irritable kid. I loved playing musical chairs as a child. Part of me feels like I’m still playing.

How has your filmmaking evolved since Here to Where?
: I’m not as good. Youth gives you something extra.

What are you most proud of?
Walking into The Face magazine's office and saying, “Give me a job, I can do that.”

What inspires you today?
Instagram, Intelligentsia Coffee and the word ‘Yes.’

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Irving Penn: On Assignment

Matthew Donaldson Curates a Personal Selection from the Influential Late Photographer’s New York Retrospective

Photographer and filmmaker Matthew Donaldson selects a series of Irving Penn’s most dynamic shots. Donaldson is known for a bold approach to image making, as was Penn, whose 60-year editorial and commercial career saw his work regularly grace the pages of Vogue, Look and The New Yorker before he died in 2009. Below, Donaldson recalls the time that he unexpectedly met his hero in 1985.

I was a young man in Paris working for a photographer. My boss called one lunchtime and told me to meet him at the Hôtel de Crillon on our way to a location. I pulled on a jacket, jumped onto my motorcycle and headed for the Place de la Concorde. As I walked into the marble entrance I spotted my boss walking into the salon. We headed towards a table at the back of the room where a small, well-dressed man sat with a china teapot, a cup and saucer. He rose and greeted my photographer, turned to me and introduced himself as Irving Penn.

Thanks for telling me boss.

Thirty minutes later I was more in love with a man than I thought possible. His charm, poise and honesty surpassed my dreams of meeting him. He said little but told me everything. He was a humble man who existed in a world where humility was an unusual trait.  

Penn was that rare bird, a photographer who truly inhabited both the art and commerce of photography with equal measure. From his extraordinary exhibition Street Materials at MoMA in 1977, Penn was officially an artist; his pictures being shown within the bracket of 20th century art. This was a landmark for an ostensibly commercial photographer.  He was the dude—long live the dude.

Irving Penn On Assignment runs through October 26 across both Pace Gallery and Pace/MacGill Gallery, New York City.

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