Tag Archives: Nick Logan

2013 ➤ A ‘blistering’ picture hoard from punk’s formative years

The Clash,book, exhibition,Photography, Sheila Rock

The Clash in 1976. Photographed by Sheila Rock

❚ FOR THOSE WHO SURVIVED the mid-70s, punk was the anti-fashion UK phenomenon that transformed contemporary culture. Now “a blistering 1976-80 photo-hoard” of mostly unseen pictures has been published as a 272-page photobook. Punk+ by Sheila Rock – an American in London – chronicles both designer and street styles that impacted on fashion, society and politics, including Vivienne Westwood’s shop SEX as well as BOY, Robot and Acme Attractions. The collection, which had been stored in a box in Rock’s garden shed, includes formative images of The Clash, Chrissie Hynde, Paul Weller, The Jam, Generation X, Siouxsie & the Banshees and The Sex Pistols.

Paul Simonon of The Clash says: “This book is a great photographic record of a major shift in British street fashion.”

Sheila Rock arrived in London in 1970 to join the David Bowie circle, and it was her friend and Patti Smith guitarist, Lenny Kaye, who took her to a gig by the then-unknown Clash. “That was the first time I was introduced to the punk scene,” she says. “I decided to take my Nikon camera with me and my photography career began.” Her photographs of showbiz performers and musicians have been published in titles from Vogue to The Sunday Times and can also be found in London’s National Portrait Gallery. This month her pix will also be showing in the Punk: Chaos to Couture exhibition at The Metropolitan Museum of Art in New York.

Mick Jones,,book, exhibition,Photography, Sheila Rock

At the Brown’s party tonight: Sheila Rock with Clash guitarist and vocalist Mick Jones. Photograph © by Beki Cowey

Rock’s career took off in 1980 in The Face, the 80s style bible published by Nick Logan, who describes Rock as “self-effacing but sweetly persuasive” in the preface to PUNK+. He notes how she refined her images to capture a style that portrayed what her subjects wanted to personify. She often achieved this better than they understood themselves.

Tonight the book was launched with a two-week exhibition of Rock’s photographs at Brown’s high fashion store in London, and a further show runs for a month from May 28 at Rough Trade East, where there’s also a book signing.

Mojo Magazine reports: “Sheila Rock’s PUNK+ book presents a blistering 1976-80 photo-hoard. The striking and fascinating photo-book collects almost 200 images of groups including The Subway Sect, Eater, Buzzcocks, The Clash and the Sex Pistols, plus documentation of the rapidly changing fashions of the late 70s. She estimates 90 per cent of the shots have never been seen, and that 85 per cent were self-motivated experiments rather than work commissions. Those enthralled by shifts in vintage youth styles will also delight in the images of unselfconscious punks, such as the young Jam fans who mixed the Weller look with the safety-pin aesthetic.”

➢ PUNK+ is published by First Third Books Ltd (London and Paris): 272 pages, size 20 x 27cm, limited edition of 300 copies signed and numbered, £99; standard edition of 1,700 copies, £49. The book includes illuminating conversations with Chrissie Hynde, Tony James, Don Letts, Jeanette Lee, Glen Matlock, Chris Salewicz, Jon Savage, Steven Severin, Paul Simonon, Jah Wobble and more.

➢ Sheila Rock celebrates punk at Brown’s Men’s dept,
London W1K 5QG, April 25–May 7, Vogue preview

➢ Another exhibition of photos by Sheila Rock runs May 28–June 30 at Rough Trade East, 91 Brick Lane, London E1 6QL. On May 29 at 7pm Sheila will be joined by Don Letts and Jeanette Lee plus special guests for a Q&A event and afterwards a signing session for her book Punk+.


1980 ➤ Why Face founder Nick Logan said: Publish and be Dammers

The Face, magazines, style bible, Design Museum, Nick Logan,

Five landmark issues: Without a cover-worthy photo, Nick Logan says of the New Order cover, July 1983, the radical crop was his suggestion. The “Shock report” on Thatcher’s art-school budget cuts was an epic piece of crisis reportage by yours truly. (Guardian collage)

❚ IN 1980, A RESPECTED EX-EDITOR OF NME staked his house on launching a new magazine that was to make style the focus of youth culture, as much as music. The Face was quickly dubbed Britain’s “style bible” and soon ranked among the half a dozen publications that had changed the direction of journalism since the Second World War. On Dec 1 London’s Design Museum announced that it had added The Face magazine (1980-2004) to its permanent collection, among other newcomers, the Sony Walkman and the AK47 rifle.

➢ In today’s Guardian, Nick Logan, the owner and founding editor of The Face, chooses five of its landmark covers, and explains why…

Issue 1, Jerry Dammers cover, May 1980 — This was the launch issue. I knew I could find something more current for a first cover than the Specials. But they embodied everything the magazine aspired to — they had a look, a passion, and great music — so there was never an alternative. In a sentimental way too, I owed 2 Tone a debt for the inspiration to pursue the idea. And, as it was my savings at risk, I could call it what I liked — after all, The Face was to be my escape from a career where too often I struggled to explain myself to publishers or committees. No focus groups here: I was purely, wholeheartedly, following instinct.
/ continued online

➢ The Evening Standard announces the launch of
The Face in May 1980

➢ 30th anniversary of the magazine that launched a generation of stylists and style sections


1980 ➤ Birth of The Face: magazine that launched a generation of stylists and style sections

❚ WHEN NICK LOGAN, A FORMER EDITOR OF THE NME, launched The Face in May 1980 little did he realise it would become the decade’s “style bible” and one of the six great postwar magazines to change the course of British journalism. The Face married music, popular culture, politics and street style with radical art direction and new fonts by Neville Brody. It paid peanuts to a select bunch of savvy and passionate writers, photographers and “stylists” who gave the word a fresh meaning (almost entirely lost today) and inspired an avalanche of imitators in mainstream media, retail, advertising and beyond.

The Face, magazine, 1984, men in skirtsItself dubbed “the world’s best-dressed magazine”, The Face broke with mainstream complacency by actively inventing or giving focus to entire movements that combined clothes, music and attitude. Many came to define the 80s – from The Cult With No Name which was eventually rechristened New Romantics, the Hard Times ripped Levi ensemble, the Burberry-loving Casuals, and the “bad boy” Buffalo silhouette created by Ray Petri and Jamie Morgan. This, if any, became the urban male uniform of the mid-80s, and was celebrated only last winter by an issue of Arena Homme + magazine, art directed by Brody who designed for the occasion two custom typefaces called Buffalo and Popaganda.

At its peak The Face sold 100,000 copies monthly. Brody moved on in 1986 and Logan in 1999, though the title endured until 2004. Logan launched Arena in 1986 as a men’s monthly, soon edited by Dylan Jones, who today edits GQ UK. The British edition of Arena endured until 2009.

➢➢ The birth of The Face — Read the first article introducing Nick Logan’s new magazine, in the Evening Standard on May 1, 1980


The Face, magazines, July 1983, New Order, Art on the Run❚ NICK LOGAN, publisher of The Face, was a working-class journalist from East London “People said you couldn’t then call a magazine anything as obscure as just The Face… I didn’t see why Tatler should have good paper and good photography and it should be denied to people like me.”

❚ NEVILLE BRODY on art-directing the early Face “It was a big laboratory. The New Order cover was a picture of the lead singer, and it wasn’t that great, a bright blue background. I said to Nick this picture was so shit and he said, Why don’t you crop it off the corner of the page? All you saw was the top left-hand corner of his face – immediately so commercial, and no other commercial magazine would have done anything like it. Great courage is what set his magazine apart.”

➢➢ Launching the style decade Lively social analysis in BBC Radio 4’s anniversary documentary starring all the usual suspects: on iPlayer until May 13