Paul Gorman is…

My new book – The Story Of The Face: The Magazine That Changed Culture

Jun 7th, 2017

This is the front of the jacket of my new book The Story Of The Face: The Magazine That Changed Culture, which is published by Thames & Hudson this autumn.

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Angie Bowie, Freddie Burretti, City Lights Studio, Ola Hudson, Kansai Yamamoto: My essay on the important factors in David Bowie’s style changes 1972-76 now live on SHOWStudio

Mar 25th, 2016

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My essay on David Bowie’s style changes 1972-76 is now on Oooh Fashion!, SHOWStudio’s current celebration of the late performer which also includes rare footage of Nick Knight’s photo-shoots for the 1993 album Black Tie White Noise and the 2003 British Vogue session of Kate Moss in Bowie stagewear.

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//Still from film of Nick Knight’s December 2002 London Black Tie White Noise shoot on SHOWStudio’s David Bowie: Oooh Fashion!//

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//Kate Moss in the Life On Mars Freddie Burretti suit from the film of the 2003 British Vogue shoot, also on David Bowie: Oooh Fashion!//

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The man who fell to earth: Derek Boshier wows the crowds at sell-out book launch and private view

Oct 7th, 2015
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//Derek in his element signing books with the blow up of his Bowie silhouette sketch for Lodger reflected behind him. Photo (c) Sarah Lee//

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Last night’s book launch and private view for the Derek Boshier monograph and new exhibition at Flowers Gallery in Cork Street, central London, was a great success.

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À la mod: My piece for The Guardian on the enduring appeal of Mod

Aug 13th, 2015

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From the SS16 menswear collections to the people flocking to Somerset House’s current celebration of The Jam, the aesthetic of “clean living under difficult circumstances” (as summarised by The Who’s first manager, Pete Meaden) is at one with what’s happening now in fashion…

Read the rest of my piece – with quotes from Dylan Jones of GQ/London Collections: Men, Soho tailor Mark Powell and Man About Town’s Ben Reardon – on the enduring appeal of Mod here.

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“Late hippie fleur du mal to the power of N’: Nick Kent x 5 by Joe Stevens

Mar 12th, 2013

// Nick Kent, London 1974. Photo: Joe Stevens. "Taken at the NME offices on Long Acre. Our Nick looking dolled up, headed to the record company offices to score albums he'd presold to shops in The Gate. Kent would convert the cash into dope, fags, eyeliner, some threads, and an omelette at The Hall Of The Mountain Grill on Portobello Rd." //

Overseen by Nick Logan (with Jann Wenner across the Atlantic, the key figure in the development of the music press) the NME was happily in thrall to The New Journalism, striking alliances with such fellow travellers as Creem’s Lester Bangs and charging through the mid-70s doldrums with a manifesto which contributed to punk’s rhetoric. This was delivered with élan, a drugged-up Dog Days Of Glam sense of style. No one exemplifies this slurred, unsteady on its bony legs, fuck-you stance better than Nick Kent.

Introduction, In Their Own Write, 2001

Photographer Joe Stevens has recently posted on his website a set of reminiscences of working with Nick Kent, whose journalism – along with that of Pete Erskine, Chrissie Hynde, Charles Shaar Murray and Chris Salewicz – for the NME in the early-to-mid-70s helped set me on the path to writing for a living.

Kent backed up his verbals with a striking visual presence which trumped most mainstream pop performers of the period.

As Dylan Jones has recounted, it was to Kent that a waitress in a Chinese restaurant once gravitated for an autograph, not his dining companions Iggy Pop and David Bowie, “because he looked more of a rock star than the other two”.

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