鈥淚t鈥檚 the age of the teenager! Life lies before them. They鈥檝e got vitality, hip and they鈥檙e certainly with it,鈥 exclaimed Path茅 News in the 1950s. The concept of a 鈥渢eenager鈥 had taken off a decade earlier, when post-WWII societal shifts meant children stayed in education longer, entered the workforce later and reaped the benefits of consumerism. Since then, adolescent years have become part of the cultural zeitgeist. They鈥檙e the subject of countless coming-of-age books and films, from the angst-ridden protagonist in听The Catcher in the Rye听(1951) to Greta Gerwig鈥檚 Oscar-nominated movie听尝补诲测产颈谤诲听(2018).听There听has always been a desire to push boundaries, reinvent the self and establish an independent identity amongst young people.听The Face Magazine, established in the late-1970s, seized upon this craving for individuality and autonomy. The publication established a new genre 鈥 the style magazine 鈥 which would go on to shape youth fashion and music for decades. Now, an expansive survey at the National Portrait Gallery showcases more than 200 iconic images from the trail-blazing magazine, exploring its enduring impact on British culture.听
The Face听showcased some of the most influential stylists of the 1980s, but much of their work has never been shown beyond the page.听The Face Magazine: Culture Shift听sets this right, bringing era-defining individuals, like Ray Petri, to a new audience. In Petri鈥檚 hands, men鈥檚 fashion was transformed. The creatives around him, referred to as the 鈥淏uffalo鈥 group, included renowned lens-based artist Jamie Morgan. Together, Petri and Morgan created space for Black models within the industry, something that had been woefully neglected by other outlets. Their first cover together 鈥撎Winter Sports听(1984) 鈥 featured British-Burmese model Nick Kamen. It was a key moment in听The Face鈥檚听history, and within two years, Kamen was starring in a Levi advertising campaigns. The desire to knock down institutional walls was felt behind the camera too. Charlotte Jenson writes in听:听鈥淭his fast and furious energy also seems to stem from the fact that most of these photographers (many, like founder Nick Logan, from working-class backgrounds) were just starting out, and shared the same work-hard, play-hard mindset as the nascent magazine.鈥 This was a group with something to prove, and new ground to forge.听
The exhibition contains photoshoots that seem, to modern audiences, almost a caricature of the decade in which they were created. In one image, the model wears the season鈥檚 hottest sportswear. Everything about him, from the aviator sunglasses to the futuristic, silver lipstick, is emblematic of the 1980s. But this is this charm of the show. Each image is a reminder that听The Face听was at the heart of British culture throughout the latter half of the 20th听century, not only showcasing the best of music, art and fashion but actively driving conversations and tastes. Trends moved on, and creatives working for听The Face听in the early 1990s听鈥撎including Corinne Day, David Sims, Jurgen Teller, Karl Templer and Melanie Ward 鈥 sought out models who contrasted the glamour that dominated the pages of听Vogue. The approach honed a casual style that came to define the 1990s. The publication even had enough influence to turbocharge careers. Supermodel Kate Moss was featured on cover in 1993, the black-and-white portrait helping to launch her as an internationally known figure.
Digital technologies boomed in popularity in the 1990s, and听The Face听was at the forefront of exploring the creative potential of new image manipulation programs. The result was bold, colourful and 鈥渉yperreal鈥 images, which pushed shoots in a new direction. Photographers shifted from image-takers to image-makers, and the experimental pictures of this era make for fascinating viewing. Norbert Schoerner was a key driver in the adoption of image-manipulation and use of computer graphics, creating sylised portraits of celebrities like Kylie Minogue. Later in the decade, Elaine Constantine moved away from digital technologies to photograph her images in-camera, using flash to create intense and vibrant colours that evoked nostalgic memories of carefree teenage rebellion.
The Face听ceased operation in 2004, but fifteen years later, it was relaunched in print and online, returning to a radically altered publishing landscape. Today, a quick browse of their digital offerings includes articles diving into the camera rolls of the hottest celebrities, debates on the use of Artificial Intelligence and thoughtful pieces on what it鈥檚 like to juggle motherhood and a career in the creative industries. Times may have changed, but听The Face听still has its finger on the pulse of popular culture. The exhibition closes with work from this new chapter. National Portrait Gallery鈥檚 show serves as a testament to an enduring vision of a disruptive, creative and inclusive magazine, which continues to reinvent itself for new generations of teenagers.听
The Face Magazine: Culture Shift is at National Portrait Gallery until 18 May:
Words: Emma Jacob
Image Credits:
Girls on Bikes (Sarf Coastin鈥), by Elaine Constantine, styled by Polly Banks, December 1997, 漏Elaine Constantine.
Face Off, by David Sims, January 1998, 漏David Sims.
Kylie Minogue, by Norbert Schoerner, styled by Adam Howe, June 1994, 漏 Norbert Schoerner.
Voici Paris, by St茅phane Sednaoui, styled by Babeth Dijan, June 1988, 漏 St茅phane Sednaoui.
Global Warming TV, photographed and styled by Inez & Vinoodh, September 1994 漏Inez & Vinoodh/courtesy The Ravestijn Gallery.
