The Face Magazine
The Face Magazine's avant-garde fashion editorials, cultural features and striking cover portraits
Featured The Face Magazine projects
This week's top The Face Magazine projects, carefully handpicked by Visie's expert curators, showcase the best in style and innovation.
Project The Face Magazine · Young designers. Photography by Alex ...
In a striking editorial collaboration for The Face Magazine, photographer Alex brings a distinct, raw perspective to the lens, documenting the vanguard of emerging luxury fashion. This portrait series moves beyond the standard fashion spread, leaning into a documentary feel that prioritizes the intersection of human form and sculptural garment design. Working alongside fashion editor and stylist Lulu Bullock, the project embraces a monochromatic palette to strip back the noise, allowing the interplay of light and texture to define each frame. The use of natural light across various outdoor settings—from open, tree-lined fields to quiet urban paths—creates a consistent visual language that elevates the subject matter. Each image utilizes a shallow depth of field, centering the model, Bebe Parnell, whose presence is anchored by an intense, direct gaze that demands attention. Casting director Nico Mao curated a group of individuals who embody the tension between avant-garde fashion and organic, human movement. Whether featuring a structured coat or an experimental top constructed from book spines, the work remains rooted in a sharp, editorial minimalism. This collection ultimately serves as a masterclass in modern portraiture, where the interplay of high-contrast compositions and natural light highlights the intentionality of the design, proving that even the most complex silhouettes can feel profoundly intimate when framed with such deliberate aesthetic precision.
Project The Face Magazine · Fresh Faces
In the Fresh Faces project, The Face Magazine reclaims the intimacy of portraiture through a compelling editorial lens, stripping away artifice to foreground the raw charisma of its subjects. Across this series, the publication leans into editorial minimalism, utilizing a neutral, uniform grey backdrop to emphasize the interplay between texture and gaze. Photographer Theo Sion orchestrates a visual narrative that shifts between the ethereal and the grounded, employing a mix of natural light and precise studio strobe setups to define the contours of every frame. The aesthetic is punctuated by high-contrast black and white photography, where techniques such as low-key chiaroscuro lighting and experimental motion blur add a distinct, dreamlike tension to the compositions. Fashion editor and stylist Danny Reed curates a sartorial dialogue that balances structured minimalism with eccentric details, from bone-inspired jewelry to mirrored disco-tile props, ensuring the styling always serves the narrative. With essential contributions from hair stylist Franziska Presche and makeup artist Ana Takahashi, the imagery maintains a polished, classic sensibility that feels both timeless and urgent. By prioritizing intentional composition and subtle stylistic shifts, the project cements its status as a vital document of contemporary faces, proving that classic portraiture remains the most potent tool in the media and entertainment industry for capturing the shifting spirit of modern youth culture.
Project The Face Magazine · Isn't she tweet?
In the vibrant spread Isn't she tweet?, The Face Magazine delivers an uncompromising masterclass in contemporary editorial photography, blending high-fashion sensibilities with a cheeky, pop-culture-infused aesthetic. Through a series of sharply curated images, the project navigates the intersection of Magazines, Media & Entertainment, utilizing a mix of bold studio strobe lighting and crisp high-key setups to create a visual narrative that feels both nostalgic and distinctly modern. Photographer Bella Newman masterfully captures model Amelia Gray across various set pieces, ranging from minimalist backdrops to surreal, hand-painted graphic spirals that demand total attention. The styling by Hollie Williamson is an essential component of this visual lexicon, layering oversized graphic tees and playful cartoon motifs against unexpected high-end accessories like leopard-print heels and delicate lily crowns. This juxtaposition of the mundane—such as drinking water or eating a sundae—with the curated precision of studio photography elevates the imagery into a stylized commentary on youth culture. With precise hair styling by Jake Gallagher and polished makeup artistry by Julian Stoller, the project maintains a consistent, high-energy tone. Whether leaning into the dramatic contrast of deep black backgrounds or the clean, ethereal quality of bright studio light, the work exemplifies a bold, editorial approach that feels both curated and effortlessly candid, perfectly capturing the pulse of modern creative media.
Project The Face Magazine · The Race is Worth the Fight
For The Face Magazine, photographer Alasdair McLellan captures entertainer Ethel Cain in a sweeping editorial titled The Race is Worth the Fight. The series spans both stark, high-contrast studio portraiture and atmospheric woodland settings, utilizing a monochrome palette to lean into a gritty, cinematic aesthetic. Styled by Danny Reed, the feature showcases a range of silhouettes—from tailored wool blazers and structured corsets to layered knitwear and sculptural masks. The imagery relies on the tactile interplay of analogue film, natural light, and clean flash photography to highlight the subject's distinctive tattoos and layered, moody compositions. Production credits include hair styling by Anthony Turner, makeup by Lynsey Alexander, and manicures by Jenny Longworth.
Project The Face Magazine · Mind, body, soul… and Alex Consani!
The Face Magazine presents a vibrant fashion editorial feature, 'Mind, body, soul… and Alex Consani!', showcasing model Alex Consani across a series of studio and location-based portraits. The imagery leans into a mix of editorial, tactile, and playful aesthetics, utilizing diverse techniques from high-key studio lighting to desaturated analogue film. Photographer Oliver Hadlee Pearch leads the visual direction, working alongside fashion editor and stylist Ursina Gysi to curate an eclectic range of structural and avant-garde silhouettes. The series captures a range of moods, moving between clean, minimalist studio backdrops and gritty, industrial urban environments, each emphasizing distinct textures and high-fashion tailoring.
Project The Face Magazine · New London
The Face Magazine presents New London, an editorial fashion series that captures a raw, candid perspective on contemporary style. Photographed by Hedi Slimane, the project features model Eva Yelmani in a composition defined by a gritty, high-contrast monochrome aesthetic. Utilising analogue film techniques and sharp flash, the imagery leans into a textured, intimate atmosphere. The series leans into a classic editorial format, focusing on layered styling and natural poses within a quiet interior setting.
Project The Face Magazine · changes, pts. 1&2
Featured in The Face Magazine, 'changes, pts. 1&2' is a comprehensive fashion editorial captured by photographer Anders Edström. The series leverages a high-key, minimalist studio environment to focus on the interplay between sculptural silhouettes and eclectic textile textures. Fashion editor and stylist Danny Reed curates a wardrobe that spans from structured, retro-inspired tailoring to fluid, pastel-toned floral prints. The photography relies on soft, diffused lighting and a monochromatic palette to maintain a clean aesthetic, while analogue film techniques ground the candid, mid-stride movements of the models. The result is a series of portraits and group compositions defined by contrast, negative space, and evolving fashion narratives.
Project The Face Magazine · Not where I’m standing
For The Face Magazine, photographer Fish Zhang and fashion editor Léopold Duchemin collaborate on 'Not where I’m standing,' a sprawling editorial project that navigates the intersection of classical portraiture and contemporary street style. The series oscillates between the controlled environment of a studio and the raw, atmospheric textures of urban exteriors, leaning into a distinctly cinematic, analogue-informed aesthetic. Central to the visual narrative is a focus on high-end tailoring and theatrical garment construction, defined by sharp silhouettes, oversized coats, and intricate embellishments. Hair stylist Hayate Maeda and makeup artist Rie Shiraishi complement this with refined, graphic beauty looks—notably incorporating dramatic winged eyeliner—while casting director Taka Arakawa grounds the editorial in a diverse, character-driven ensemble cast. The result is a series that balances deliberate, soft-lit studio compositions with moody, low-key street photography.
Project The Face Magazine · Now You're Perfect
Now You're Perfect is a fashion editorial for The Face Magazine featuring model Hanne Gaby Odiele. The project explores raw, tactile portraiture through a diverse range of high-contrast monochrome and atmospheric color compositions. Fashion editor and stylist Hollie Williamson leads the visual narrative, pairing sculptural garments and intricate accessories with textured environments. The series shifts between minimalist studio settings and weathered outdoor locations, utilizing both natural light and dramatic directional lighting. Collaborators include hair stylist Olivier Noraz, makeup artist Thierry Do Nascimento, and set designer Justine Ponthieux, who collectively define the editorial's layered, conceptual aesthetic. The result is a series of portrait studies that rely on materiality and deliberate styling to emphasize texture, utilizing techniques ranging from chiaroscuro to flash photography.
Project The Face Magazine · Firewalls come tumbling down
The Face Magazine explores surrealist and high-contrast aesthetics in its editorial series, Firewalls come tumbling down. Captured by photographer Feng Li, the project employs a documentary fashion photography lens to present a collection of portraits and unconventional compositions. The series leans into a distinct visual identity, utilising flash lighting and gritty textures to juxtapose domestic backdrops with stylized, avant-garde subjects. Through the use of Y2K-inspired details and raw, direct imagery, the project moves between clean, minimalist settings and moody, layered environments.
Project The Face Magazine · “don’t slip up”
For The Face Magazine, "don’t slip up" is a fashion editorial series that juxtaposes gritty, nocturnal urban street scenes with high-contrast studio portraiture. The project leans into a cinematic aesthetic, frequently utilizing low-key chiaroscuro lighting to draw out the textures of leather, vinyl, and sheer fabrics against the dimly lit backdrop of city streets at night. Photographed by Alex Mader and styled by fashion editor Delphine Danhier, the narrative is built around a series of candid, motion-heavy shots featuring model Freya Nutter. The visual language shifts between harsh, direct flash photography and clean, studio-based color blocking on vibrant blue backdrops. Detailed production support, including hair by Michael Delmas, makeup by Rebecca Wordingham, casting by Franziska Bachofen Echt, and set design by Sati Leonne, reinforces the moody, atmospheric quality of the imagery.
Project The Face Magazine · The many faces of Paz de la Huerta
For The Face Magazine, actor Paz de la Huerta is the subject of this expansive editorial feature exploring a series of diverse portraits. Photographed by Ben Taylor, the collection leans into an intimate, cinematic aesthetic that transitions from opulent, neoclassical interiors to raw urban street scenes. The series utilizes natural light throughout, emphasizing rich textures ranging from voluminous ruffles and fur to sheer lace and structured leather. The project features fashion styling by America Korban, who curates a high-fashion lookbook aesthetic for the talent. The production, managed by Carola Monteleone and Kudinova Kateryna, integrates detailed grooming through hair styling by Nicolas Philippon, makeup by William Bartel, and manicures by Alex Feller.
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