British photographer Rankin is no stranger to controversy or to breaking boundaries. In his latest book, Unfashionable, he showcases fashion from a different perspective—that of an outsider. The image maker talks to Vogue India on breaking stereotypes, blurring boundaries and creating stunning imagery.
What inspires your creative approach to photography?
For me, people are my biggest inspiration. I’m really inquisitive about them; everyone has their own personality and quirks and I love to explore that. Every shoot is a question and answer session with models, hairstylists and other creatives. I love to work in a way which feels collaborative and I’m always the most inspired when everyone from the model to the set designer is behind the concept 100 per cent. You can feel the energy on set.
Tell us about Unfashionable. How did the idea come about? What is the message you are trying to convey with this book?
I was thinking about the concept for a couple of years before Unfashionable finally took shape. At its heart is my realisation that [it] is was thirty years since I took my first “fashion” photograph, but the fashion world hasn’t always been my happy place. I get described as a celebrity or portrait photographer a lot, and so this book is really a celebration of fashion, but from my slightly outsider perspective. I may work in fashion but have always been un-fashionable.
Your muses are so varied—they belong to different age groups and ethnicities. How do you go about choosing them? Tell us about your favourite ones from this book.
I love to shoot a subject with a strong sense of who they are. It isn’t about them looking a certain way or dressing a certain way; for me it’s always about the spark of the person behind it. Across the shoots in this book I have worked with agencies, street cast, shot friends, colleagues and pretty much anyone who’d volunteer to be in front of my camera. This means I’ve been lucky enough to work with models from all walks of life, and my role as the photographer is to make a connection with every one of them. This is why my favourite subject is always the one I’m shooting.
How many images have you included in the book and how long did it take for you to compile it? Is there a specific one you think has the most amazing story behind it?
There are over 300 images in Unfashionable and it took over two years to compile, as it isn’t just the images that have been printed before. This was a big archival project as we found behind-the-scenes images, contact sheets and polaroids from shoots going all the way back to the late 1980s. Out of the 75 shoots it covers, I’m not sure I can pick just the one amazing story. From trudging around South London in the cold with a model in a bikini and trainers, to shooting with Kate Moss in Brazil, every image means something different to me—a particular relationship with the subject or a particular moment on set.
Our anniversary issue this month celebrates the blurring of lines between gender, geography and disciplines like fashion, music, art and beauty. From your entire body of work, which is that one image that in your opinion blurs all boundaries?
I’ve always felt boundaries are there to be pushed and blurred. One of my first shoots was with a life model called Dot, she was in her 70s and I was in my early twenties. She challenged social norms every day with her vibrancy and willingness to show her body as an older woman. I loved shooting her, she was playing sexy one minute then being funny the next, and when I showed the shoot at my college end of year show they were immediately seen as controversial. People loved them or hated them. My humour and willingness to shock and critique social norms through my images started there.
What does ‘blurring the lines’ mean to you?
Not just going with the popular consensus; not just agreeing with how things are; and not accepting when someone says to you “this is how is should be”. Whether you’re talking about societal expectations or describing a fashion shoot, there are no binary oppositions, and mixing it up is how everyone grows, learns and is happy.
You’re credited as the photographer who defies stereotypes and creates stunning imagery across genres. How do you define your style?
I’ve always said I don’t have a particular style. I’m not locked into a specific type of lighting and I don’t shoot the same way all the time. I guess my style come more from the honesty of the images; my photos will always be bold, some may say brash, and often humorous, but they will always be honest to the subject and that’s really what defines me.
What’s been your favourite project and favourite face to work on till date?
I’d have to say that my favourite projects aren’t individual shoots, more the magazines I’ve started and the relationships I’ve formed. I think those first few issues of Dazed are some of the best things I’ve ever worked on, and I’m really proud of what we keep achieving. In terms of models though? Well, that’s an easy one. I met my wife Tuuli on set and she has been top of my list of models to photograph ever since.
Today, when everything is becoming more digital media-centric, what according to you is the future of print photography?
Everything is on phones now. Online magazines and social media are really where most photography is being published. But that’s not to say print is necessarily dead. You just need to be more inventive with it; limited editions, high quality printing and niche ideas still have an audience [with those] who want to have that physical object.
Have you ever been to India? If you had to create an image inspired by India, what would it look like?
Yes, I went to Kerala for the first time this year. It was amazing. For me, colour would be the inspiration I took away from India; it was magical.
What does blurring the line between fashion, beauty and photography mean to you?
When I started out, the phrases “fashion photography” and “beauty photography” where heavy with preconceived notions, although I’ve never seen them as necessarily separate entities. I work with makeup artists and hairstylists who push boundaries and artistry just like top designers do with clothes. An image with an amazing dress but dull glam is just so uninspiring, and some of my most recognisable images sit between creative beauty and traditional fashion.
Tell us about your titles, Hunger and Dazed & Confused?
I started Dazed with Jefferson Hack when we were both at college. It was a mixture of rebellion, cockiness and a sense of humour that united us and formed the magazine. I think we were lucky, being in the right place at the right time with the right attitude. It was the advent of desktop publishing and I had decided to focus on designing and taking photographs for print. In all honesty, I didn’t think it would last more than a few issues and here we are all this time later!
I started Hunger in 2011, after a hiatus from running magazines. It’s a biannual fashion, culture and lifestyle publication with an emphasis on online content through its website Hunger TV. When I started Hunger, it was clear the publishing landscape was changing; so built into its heart from day one was unique interviews, fashion films, previews and music videos online.
What is next for you?
It’s a really exciting time right now. I’ve been shooting more video work than ever and I’ve had the time to really experiment with beauty shoots for Hunger. The next year or so is going to be hectic with exhibitions and international shoots. I can’t wait!
Also read:
Models around the world who are breaking the stereotype of perfection
How Anjali Lama is breaking gender barriers in the modelling industry
7 street photographers reveal how Bill Cunningham shaped their careers
Six ’80s supermodels and the life lessons we learnt from each one
Model Nidhi Sunil opens up about being trolled for having dark skin
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