Posts tagged as 'Dean Chalkley'
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Tuesday, 29th Jul 2014
An exhibition not to be missed across the summer is - Return of The Rudeboy at Somerset House in London. Curated by fashion photographer Dean Chalkley and creative director Harris Elliot, the exhibition comprises a series of portraits and installations that “depict a collective of sharply dressed individuals, who exemplify an important yet undocumented subculture”.
Over the course of the past year, the duo have photographed more than 60 individuals across the UK, documenting the life, style and attitude of the re-born and growing urban group.
Jamaica’s first youth subculture, Rudeboys were depicted as the troubled youth, whose culture revolved around Ska and Rocksteady music. The name ‘Rudeboy’ began as a colloquial term for juvenile delinquents of the 1950s by the islands establishment. Like all youth subcultures (Punk probably the most famous), youth then adopted the terms as a new group identity.
Young men dressed in sharp suits with thin ties and pork pie hats, inspired by American style and Soul artists exemplified the emerging Rudeboy culture. The style crossed the Atlantic via Jamaican migrants bound for a better life in Britain. Picked up by British working class youth and absorbed into Mod style in West London.
The Rudeboy has recurred throughout the history of popular music both in Jamaica and Britain. Their sartorial influence – was evident in both the early Mod and Skinhead movements of the early and late 60s, with labels such as Blue Beat bringing music from Jamaica to ignite the dance floors of London and beyond.
It was also a key influence for the Two-Tone Ska movement that emerged out of the Midlands and London in the wake of Punk in the late 1970s, when bands such as The Specials, The Selecter and Madness reinvigorated Jamaican ska.
The exhibition promises an immersive experience with each of the subjects featured in the portraits providing their signature playlist acting as a sonic backdrop to the visual works.
The curators have worked closely with a variety of influential collaborators to contribute exciting, engaging and enrich the content of the exhibition. These include Rashad Smith, a British-born, New York-based producer who has worked with the likes of Busta Rhymes and Nas, tailors Sam Lambert and Shaka Maidoh, and Grammy award-winning filmmaker and pivotal Punk/Reggae scene DJ Don Letts.
(Images: Top: Sam Lambert, Middle: Bevan Agyemang, Bottom: Martell Campbell & Donya Campbell)
Thursday, 12th Sep 2013
London’s Proud Galleries opened their doors last night for the launch of new exhibition Amy Winehouse: ‘For You I Was A Flame’. Curated as part of a series of events commemorating the late artist’s 30th Birthday, the exhibition includes a handpicked selection of portraits. Contributors include painter and Specials bassist Horace Panter and photographer Dean Chalkley.
© Dean Chalkley / NME / IPC Media
Based in Amy’s home borough of Camden, the exhibition will run from September 12th - 6th October 2013. ‘For You I Was A Flame’ follows on from the hugely successful ‘Family Portrait’ exhibition held at the London Jewish Museum, with both exhibitions created in close collaboration with Amy’s family and the Amy Winehouse Foundation. The foundation is using the hashtag #Amys30 to share pictures from the events, which can be used on Facebook, Twitter and Instagram.
Monday, 22nd Jul 2013
We caught up with Dean Chalkley, the man behind the lens at our Twisted Wheel Collection shoot.
Fred Perry had seen my Young Souls project and knew that there was a love and passion for Northern Soul – that project, in particular, showcases that there’s a younger generation who are now really into that music. When it came to the Twisted Wheel shoot, we talked about the approach and really wanted to capture the environment – the essence of the moves, the dancing. There’s a joy in it, which is completely real.
For this shoot, it was absolutely vital that we captured dancing and movement whilst showcasing the clothing. It’s a contemporary study – looking through the shoot, we can see that each person is in their element. There’s a great picture of Tomas, where his face is completely in the moment. He’s not smiling, he’s not posing for the camera; his focus is completely on dancing. Similarly there’s a shot of Emma, where she’s concentrating on her moves but there’s a lot of composure – Northern Soul dancing has a high level of energy and crazy moves, but there’s often a lot of grace and composure there too. It’s almost like a gymnastic performance – it’s like doing a vault, you have to land it properly.
Music is a vital influence for me and my work. Some people think that I’m actually a music photographer – I love music, but for me it’s so much more than a collection of notes and lyrics on a page that’s been performed incredibly well. For me, music is an all-encompassing thing – for example, when you think of Northern Soul, there were plenty of live bands that appeared at the all-nighters, but the scene was largely based around records. People will adore a record, because it makes you feel a particular way, it makes you adopt the essence of the scene. That links up music and photography for me, because I might go see a band play, and then when I photograph that band, I’ll work with them to try and apply the essence of their sound to the shoot. When you look at Northern Soul records, when they’re played out to an audience that are really into it, the dancefloor itself becomes the illustration of this sonic experience.
It’s really nice to see how Fred Perry have peppered little details through the designs – the rose, the badges. The Northern Soul scene is very diverse – there are the styles that are specific to the movement; the baggy trousers, the swing skirts, but the Twisted Wheel itself actually started out as a Beatnik club. The thing I love about the Northern Soul look is that it’s actually all-encompassing. Obviously things like the Fred Perry shirt have travelled throughout the whole of that period, they’ve always been worn on that scene – not only are they great looking, but they’re very practical, and perfect for dancing.
The models featured in the shoot are genuinely into it. They’re real people; they’ve not been selected from an agency because they fit a certain aesthetic. They have a depth of character that makes them a perfect fit not only to Fred Perry; but to the Twisted Wheel Collection itself.