Georgie Wileman, 24, a London based photographer, likes to shoot her subjects in their own spaces, bringing a direct closeness to her portraiture. Known for her intimate photographs of male model wonder boys Ash Stymest and Miles Langford, and for editing the annual magazine Boys by Girls (exactly what it says on the tin: a magazine full of beautiful boys shot by female photographers), her latest project Girls at Home was definitely a branch off in the feminine direction.

Working with female models, she shot them in their actual homes, getting on with their everyday lives rummaging around in

kitchen cupboards and chasing mice out of their flats. Slotting in with the current zeitgeist represented by women like Lena Dunham who champions the joys of girly bedroom existence, Wileman’s shots have a refreshingly gritty honesty and naturalness about them.

What prompted you to start the project?

I’d been shooting a lot of guys at home, like Ash Stymest for Vanity Teen Magazine and Jack Marcy in his grandma’s house and I’d kind of just been shooting guys for Boys by Girls for such a long time that I thought it would be a nice way to transfer over to shooting women. I wanted to see the models stripped back and shot as real people.

What was it like working with girls, rather than male models?

I always thought that I would find shooting girls more difficult because female models have always seemed more guarded to me – in the past I have found it a lot harder to get a natural shot from girls. As soon as I arrived at one of the girl’s flats I got my camera out started shooting while they were getting settled. This seemed to help them forget about the camera pretty quickly. I also kept chatting to them and shooting them while they moved from room to room so that they didn’t try to be perfect in every shot.

It’s refreshing to see models doing ordinary things around the home, why is this the basis of your project?

I actually started shooting people in their own spaces for a school project, which focused on elderly men in their homes. A lot of my work has been an extension of this. I like that shooting people in places that they are comfortable in helps to tell their story, and even if people are done up I always prefer it if they give something real away in a picture. For this project it’s been really nice to pare back the models and shoot them as real people on their beds and in pyjamas. It’s been great to take away the glamour associated with fashion photography.

If you could shoot anyone tomorrow who would it be and why?

I never know the answer to this question. It might sound weird but if I fall in love with someone I have to keep shooting him or her. Miles Langford at Elite for example – I’ve shot him so many times and I would shoot him tomorrow and the next day and the next. I tend to have to meet people and shoot them first to really crave to shoot them again.

Who are your main photographic influences?

I have always loved Hedi Slimane, specifically his shots out of the studio. His stuff is always so beautiful and he just seems to document life and people really well. It’s the heart of his images that I really love, so even though the finish of his work is very different to mine he manages to always capture something remarkably special about his subject.

Words: Esme Anderson
Images: Georgie Wileman

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E. Tautz designer Patrick Grant explained in a pre-show interview with menswear extraordinaire Colin Chapman that the inspiration for his AW13 show was “crofters cottages” and “rusty old cars”.

In translation, that meant snappy double-breasted jackets and cloche hats, which screamed more 1920s than automobiles and Scottish heritage houses. The neat plaid suit jackets and ballooning knickerbockers wouldn’t have looked out of place on Nucky Thompson playing a game of golf, Boardwalk Empire’s hooch-swindling lothario. All the models needed was a carnation in their buttonholes and they could have been extras japing along the boardwalk.

And for those who can’t afford Savile Row prices, you can always channel the E. Tautz look by tucking your trousers into your socks.

MORE LONDON COLLECTIONS: MEN COVERAGE
Backstage at MAN: Astrid Anderson, Craig Green and Agi & Sam
Backstage at Richard Nicoll
Backstage at Topman Design
Backstage at James Long
Backstage at Christopher Shannon
Backstage at JW Anderson
Backstage at Jonathan Saunders
Backstage at Shaun Samson
Backstage at Katie Eary

Text: Esme Anderson
Images: Mark Rabadan

The post LONDON COLLECTIONS: Backstage at E. Tautz AW13 appeared first on Wonderland.

JW Anderson once announced that he “hates dresses”, but for his Mathematics of Love collection, he went straight to the flipside and presented us with boys in mini-dresses, boob tubes and over-the-knee patent leather ruffled boots.

Embracing femininity for the male form (and we’re not talking Laurence Llewelyn-Bowen’s floral shirts), Anderson’s collection is strictly adults only. It’s night-time sexy, with exposed décolletages, nipped in knits and black patent leather gloves. His show notes stated it was an “examination of bourgeois kinkiness and boudoir perversity” and with ultra-slick, Christopher Isherwood hair and thigh-exposing shorts, these boys wouldn’t have looked out of place bent over Liza Minnelli’s lap in Cabaret.

But you can always trust Anderson to present us with stuff we want to buy too; his woollen jumpers with compass-drawn circles are deliciously wearable, as were the royal blue and grey pinstripe coats – at least there was something in the collection that might actually keep us warm next autumn.

MORE LONDON COLLECTIONS: MEN COVERAGE

Backstage at MAN: Astrid Anderson, Craig Green and Agi & Sam
Backstage at Richard Nicoll
Backstage at Topman Design
Backstage at James Long
Backstage at Jonathan Saunders
Backstage at Christopher Shannon
Backstage at Shaun Samson
Backstage at E. TautzBackstage at Katie Eary

Words: Esme Anderson
Images: Mark Rabadan

The post LONDON COLLECTIONS: Backstage at JW Anderson AW13 appeared first on Wonderland.

Jonathan Saunders’ AW13 presentation was a glimpse into a procrastinating artist’s studio, from daubed paint prints on merino wool jumpers (according to Saunders he was inspired by “splodging paint onto paper at his desk”) to burnt orange palette collages on the wall.

Colour-bleed bomber jackets in sky blues and hot pinks emphasised that ombré is here to stay – pointing out that it’s the boys turn to have a crack at the trend. There was a wearable neatness about the olive green colour block woollen coats, and with casual but form-fitting bomber jackets and trousers, this was one collection to flatter the male silhouette.  As the models got their pose on, you couldn’t help but notice the vermillion colour pop soles contrasting with the dark patent leather on their slip-ons. Trust Saunders to bring a barrage of colour to AW13 – come next autumn, we’ll probably need it.

MORE LONDON COLLECTIONS: MEN COVERAGE
Backstage at MAN: Astrid Anderson, Craig Green and Agi & Sam
Backstage at Richard Nicoll
Backstage at Topman Design
Backstage at James Long
Backstage at JW Anderson
Backstage at Christopher Shannon
Backstage at Shaun Samson

Words: Esme Anderson
Images: Hatnim Lee

The post LONDON COLLECTIONS: Backstage at Jonathan Saunders AW13 appeared first on Wonderland.