On Good Friday 2020, Alasdair McLellan started to document London during the unprecedented Covid-19 global pandemic. Taking his camera outdoors he captured London’s lonely landmarks and its socially distanced youth 🌍
. ‘I think Julie liked me and I liked her a lot. Obviously when someone like Julie Brown takes you on people notice. It changes things.’with legendary fashion image maker Joe McKenna. The pressure was on. 'I’d think, “I’ve got to compete with that?! They’re really amazing!” So yeah, I was nervous.’ Joe asked Alasdair for his inspirations and what character he wanted to create.
His narrative is one that is frozen in a time pre-internet, when life was all the more charming because of it. It’s almost as if a clock stopped at a certain point in his life, maybe at the time he was happiest, cementing his imagery with nostalgia while still looking super-modern. His work is expert and his legacy can be felt throughout culture. If you see a model sipping a pint of bitter or a gorgeous gloomy girl soaked in the midday sun, then it’s likely his work has been referenced.
His trajectory accelerated to such an extent he soon went from lone photographer loading and processing his own film to being on set with almost 90 people while shooting major fashion campaigns with every supermodel of note. How does he handle the pressure to consistently create while being the captain of such a huge chugging ship? ‘One time we were doing a fragrance campaign and everyone wanted sunshine.
A gay man, Alasdair’s work has always celebrated the LGBTQ+ community and his collective body of work taken over the past 30 years look like stills from a perfect unwritten, unmade movie. Ideally scripted by James Ivory, it would feature romance and heartache of the highest Oscar-winning order, with very impressive make-up, some really good haircuts and some fantastic fashions as support. ‘With photography I try to find some sort of narrative.
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