Paul Gorman is…

The Face, May 1992: Love Sees No Colour

Apr 29th, 2014
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//Cover: Boy George with Mica + Jade, styling David Mignon, photography Thomas Krygier//

From time to time I’m going to be turning over information and images here as I go through the process of writing my book Legacy: The story of The Face.

Today I spent an enjoyable and enlightening few hours interviewing former editor Richard Benson; during our conversation it became clear that one of the turning points in the history of this significant magazine occurred with the spring 1992 publication of the issue headed Love Sees No Colour.

This coincided with the High Court judgment against the magazine in the unfortunate libel case brought by actor/singer Jason Donovan on the grounds that he had been branded a liar and a hypocrite as a result of the inference that he was gay.

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//The Face May 1992, pp6-7: Nick Logan’s editorial on the right//

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//PP58-59: Left, montage by Keith Piper/Right, Kate Moss by Enrique Badalescu, styling Camille Nickerson + Lucy Ewing//

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//PP38-39: Seen, Gilbert & George, 1989//

The theme of tolerance had been hatched by Benson’s predecessor Sheryl Garratt long before the dispute reached, in publisher Nick Logan’s words, “its unhappy conclusion”.

In terms of the magazine’s narrative, the issue affirmed The Face’s position as the lightning rod of the progress of popular culture in the inclusive 90s.

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//PP76-77: Left, George O’Dowd in his Absolutely Queer T-shirt – “Homophobes are fine. I just don’t want them near my children.”/Right, Rebel MC in Michiko Koshino T-shirt, Ezra Oban + Dominique Kelly in Katharine Hamnett Protect + Survive vests. Photos: Kate Garner + Thomas Krygier//

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//PP82-83: Left (top), Apachi Indian in One World shirt by Paul Smith, (below) Banderas in Love Sees No Colour shirts by Joe Casely-Hayford,/Right, Des’Ree in No To Negrophobia T-shirt by Trevor Norris. Photos: Kate Garner + Thomas Krygier//

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//PP84-85: Left, (top left) Paul Reid in Face Love outfit by Dirk Bikkembergs, (top right) Charlotte Champion + Gabriella Stonebridge in Jean Colonna and Martin Margiela, (below) Colin “Sweet C” McMillan in Love Sees No Colour T-shirt by Gio Goi and Turn Your Nose Up At Racism by Bella Freud/Right, Michael Clark in Nazi Shithead outfit by Leigh Bowery. Photos: Kate Garner + Thomas Krygier//

Designed by Boris Bencic and Lee Swillingham, the issue tipped the hat to those figures who had played a part in the 80s story – Boy George, Paul Smith, Leigh Bowery – and also hit the mark with the generation setting the pace for the new decade, whether it be Joe Bloggs, Kate Moss or Martin Margiela.

Produced in an all-hands-to-the-pump atmosphere, with Logan and Garratt in daily court attendance and the all-too-real prospect of forced closure as a result of the huge legal bills resulting from the Donovan case, The Face May 1992 is a cracking issue, one which stands up as a consummate example of journalistic excellence achieved under duress.

Legacy: The story of The Face is published by Thames & Hudson in autumn 2017.

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Herb Schmitz’s lost London demi-monde: City Lights Studio, Yvonne Gold, Katharine Hamnett, Ika Hindley, David “Piggy” Worth, Jed Johnson, Barbara Trentham, Marrion Womble et al

Nov 2nd, 2012

//Marrion Womble + Barbara Trentham in City Lights Studio clothes, London, 1973.//

Herb Schmitz proudly describes himself as a photojournalist.

From the start of his career in London in the late 60s, the Dusseldorf-born Schmitz has turned an unerring eye to all manner of subject matter: seascapes,Turkish gangsters, the WW2 head of the Polish government in exile, the social scene in latterday Shoreditch (where he has operated a studio for more than 25 years)…

//Ika Hindley models Hamnett bangles, 1973.//

In the wake of a recent exhibition at Amsterdam’s Unseen Photo Fair, Schmitz has opened his archive of early 70s fashion photography for me, revealing images of a lost London demi-monde clad by such hallowed enterprises as City Lights Studio (the Covent Garden boutique operated by the subject of my latest book, Tommy Roberts) and Katherine Hamnett’s label Tuttabankem.

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