Q+A: Niclas Heikkinen.

Continuing in the 'Fashion hearts Photography' vein, I spoke to London-based photographer, stylist and co-founder of online fash/art-mag Underlining Colours, Niclas Heikkinen, on stellar shoots, famous photogs and the model who went (or jumped, rather...) the extra mile for a frappucino.

How did you come to be involved in fashion photography? How was your time at Central Saint Martins?

I loved every minute of it. I had always been

interested in cinema, photography and design, and I thought I could do

all three. But when I was in uni I was told that my illustration

wasn't strong enough and instead I should focus on photography, and my

tutors really pushed me to show my work to people since I was a bit shy

to show my work to anyone. I'd call it a journey and while I was trying

to figure it all out in my head I suddenly got my first commission.

You're primarily known for your photography, but you also dabble in styling - what lead you to add styling to your list?

I don't like making categories too much or labeling anything, even though

I sometimes do it too - I consider myself more an artist and photography

is my main medium to express myself and styling is supporting it. When I

did my first shoot I didn't know any stylists and had to do it all pretty

much by myself since I didn't have much time; I think I only called in one

label and just made props for the shoot to make it look what I had in

mind. It was very DIY, I was spray painting latex gloves and masks and

stuff. But then again it wasn't that I didn't follow fashion, I always

liked the design aspect of the fashion; forms and how garments are

constructed.

^ From Underlining Colours Bone Deep Issue

A lot of your photography seems at once ominous and yet serenely beautiful, how would you describe your aesthetic? (Also, you're Swedish-born, do you feel that carries through in your work? I sometimes think the icy palette in your photos is reminiscent of that...)

I'd describe my style as raw and perhaps a bit austere. As a person I'm quite

positive so a lot of people find it strange why my work is so dark. But I

quite like the dichotomy between these two. I think similar powers exist

in many other contexts, think nature or cities, for instance New York can

be very cold but beautiful at the same time. Being Nordic shows in my work

as being very organised, not too sure about the other elements.

^ Cover for Ilovefake Magazine

^ From Underlining Colours Brothers Issue

Is there a particular shoot that proves memorable? Or a favourite shoot?

There are so many, but one of the most extreme ones was when we were doing

a shoot in which the model had to be jumping on a trampoline for 9 or 10

hours straight wearing autumn/winterwear such as furs and it was one of

the hottest days of the year and my neck got sun burnt so I can't even

imagine how the model was feeling. Had to bribe her in the end with a

frappuccino to do some extra shots in the end. It was also one of my most

expensive shoots ever.

Do you have a muse or a particular influence which inspires your work?

I get inspired by exhibitions and watching films. Also, I enjoy talking

with my designer friends, these aren't very fashion-heavy conversations

since it turns out that most of my designer friends don't really follow

what the other designers are doing. I find this quite interesting,

actually. So we speak about books, exhibitions, music, travels and food.

When it comes to muses, it's normally models who aren't aware how amazing

they are, also I like models remind me of birds or have a bigger nose or

scars or they are just a little bit odd.

You're one of the founding members of online fashion/art collective Underlining Colours, how did the collective come to be? What kind of work was involved in the establishment of the collective?

The whole thing was quite organic. It all started when Asami and I wanted

to use this guy who we scouted but didn't know quite how since he wasn't

your average model and magazines can be funny who you shoot with. We were

inspired by Araki and Diane Arbus and how they worked with their models

and the level of intimacy they had with the people they worked with and

thought it would be cool to do something similar and decided to do a

project with this guy who we'd scouted. We also thought it would be cool

to have some people who come from a different discipline to collaborate

with us and soon Salina and Hong joined us, they both went to CSM and were

both fantastic illustrators. It wasn't until we finished the first

project/issue we thought we might as well continue and that was when

Underlining Colours was born, but this again is very different from what

Underlining Colours is today.

^ For Indie Magazine

^ From Underlining Colours Bruised Hearts Issue

Do you have a favourite fashion film or a film that represents the intimate relationship between fashion and film?

The first thing that comes into my mind is Great Expectations with Gwyneth

Paltrow and Ethan Hawke - I loved the green shades in the film.

Do you have a favourite designer?

Nah not just one. But have to say I hope Helmut Lang would come back.

Any projects in the pipeline? What's next for Niclas Heikkinen?

I've been speaking with Quentin Jones that we do something together,

separate from Underlining Colours, just to try out a different medium.

Also Max Parsons is more involved now with the whole magazine and we are

going to make some changes. I've always wanted to make a limited edition

print of the magazine.

Male Muse: Francesco Cominelli.

When it comes to men in fashion, it's often difficult to find someone who's honed a style that blends the interesting and ever-so-slightly outré with the refined and classic. Francesco Cominelli, assistant editor at Vogue Hommes, makes it seem - as the cliché goes - all so effortless.

^ The restrained but sophisticated document wallet and double-breasted blazer are off-set by the forest green trousers.

^ I knew leather jackets were wardrobe classics but whether this trés chic reinterpretation has me planning a trip to the naff vintage stores in search of an oversized biker jacket. Also, this shade of blue jeans should be inducing wretching but Cominelli saves it with a slim belt.

^ Proving he also does casual tee and trousers combo to perfection. The detail at the cuffs of the tee, with the pattern of the trousers makes for a surprisingly strong impact considering the monochrome palette.

^ Usually frayed edges wouldn't appeal but Cominelli makes it utterly convincing using luxe fabrics, a mlutch and curiously tied belt. One of my favourite looks ever. For sure.

^ I never really got the appeal of candy-coloured suits but beautifully neutralised by jet black accessories, Cominelli assures it's possible outside a London club setting.

Images from GQ, Jak and Jil, Alex Padfield and Onesixtynotepad

Grafters and the Genuine Workwear Aesthetic.

Apologies for the post-less stint, have been in France's Ireland-esque region, (referring to shit weather here) Nord-Pas-de-Calais, to visit ma soeur et son petit bébé - Jacques Desgrousilliers O' Connor (were I to go about officially changing my name it probably wouldn't be all that different from this). Not gonna lie, he already has me kind of jealous with his numerous asymmetric knits in a typically French monochrome palette of steely grey and white courtesy of atelier maman. Sigh.

But adult life in the tenties does offer its advantages, too. Namely, big f*#k off leather boots at a bargain price. You may recall I spent a disproportionate amount of time agonising over which boots to buy, when, and where. While the deep chocolate suede pair I settled on scored high on 'form', I couldn't deem 'function' one of their admirable traits. Due to Ireland's cold snap and my own stupidity regarding fabric care, they're not fit for much any longer.

Having noticed the damage I'd caused them I was on the look-out for a replacement and decided (though I NEVER purchase anything I actually end up wearing here) to scour eBay for boots of a beautiful disposition. Result below...

Now, technically, these are work/safety boots (by specialist brand Grafters) and should, technically, be worn only in situations involving the processes of cement-mixing, block-laying and site-surveying. Needless to say, these activities aren't part-and-parcel of my day-to-day existence. STILL, I've never been one to get entirely stuck up on connotations - they're an amazing pair of boots and came v. v. cheap in comparison to high-street models in a similar black/leather/motorcycles vein. The only disadvantage is that they're somewhat difficult to break-in, being the sturdiest of sturdy and all. However, if it means a Rick Owens/Ann D-esque aesthetic for oh around 45 euro, then I'll suffer for the cause.

Menswear Image-Maker: Peter Fingleton.

It never really ceases to amaze me just how much fashion-devotees hasten to deem designers their idols. Yes, they're crafting the clothing but fashion in the broadest sense encapsulates a much greater sphere of artistic talent. I mean, I don't think I'd care much for Dolce & Gabbana were it not for Meisel consistently working his sex-infused magic and yes, ladies, I know Alber Elbaz is the flawless-dress-designing dad you never had but without Meisel (yeah, again, he's just that good) a Lanvin collection wouldn't conjure up images of a spindly-limbed witch/nymph chicly creeping through the depths of some otherworldly landscape.

In other words, it's fashion photography that's often responsible for constructing the beauty which inevitably leaves us swooning, salivating or just plain stunned and starry-eyed.

When I heard Dublin's finest club-photog, Peter Fingleton, had just launched a blog (about time...no one this talented should be selfish enough to keep it to themselves) I requested a few shots depicting moments of menswear magic in Dublin and beyond...

Check out Peter's blog here and info on the weekly disco madness he's semi-responsible for here.

Milan AW 10/11 - Digest Numéro Deux.

How is it that some of the designers whose work you rate high above the rest are often the ones you forget purely due to the fact that they don't get as much press (Neil Barrett)? And those that hold that so coveted position in fashion, which sees their work presented to be adored without question (yes, you, Miuccia) constitute an almost compulsory inclusion in a magazine spread? Something's amiss. Still, ignoring Prada, Milan seems to have turned out another stellar spate of collections...

^ Neil Barrett AW10/11 - Leather? In a Neil Barrett collection? Ok, not exactly groundbreaking. But what is really captivating about this is Barrett's use of leather patches and kind of fabric-junctions whereby the silhouette is divided into several parts. Also liking the juxtaposition of light-hearted whimsy with a hard edge (those buttons/fabric circles upon an epaulletted mac).

^ Alexander McQueen AW10/11 - This reminds me of kaleidoscopes (great) and also of snakeskin (not great). Still, despite the set's (and a few of the suits'-) resemblance to writhing serpents (and fungal spores now that I look at it again...), McQueen consolidated his position as the creator of the incredibly unconventional and yet entirely wearable. Oh, and more leather sections - always good.

^ Prada AW10/11 - I think it says a lot that the above are the best looks I could pull from this collection. No longer is Mrs. Prada bent on feminising men, but rather forcing them to regress to the age of about 3. If I find you wearing a sweater vest like these, I just can't promise that I won't plead with you to burn it post-haste. The abundance of camel, on the other hand, is somewhat more appealing.

^ Moncler Gamme Bleu AW10/11 - While I'd have to be on the brink of freezing to death before wearing one of this collection's pieces, must admit that the presentation method was pretty amazing. As far as I can see from runway pics, it began with models asleep in beds, then proceeding to dress and display.

Images from GQ

Milan AW 10/11 - Highlights On- and Off-the-Runway.

While Milan may be considered the stagnant pool of conservative menswear by many, I'm consistently impressed. You see, I think the chief thing to remember when considering Milan menswear is that it's not the outré sartorial experimentalism that's so commended in London and Paris but more of a re-working of the classics that constitute the modern man's wardrobe i.e. you'll not find conceptual headpieces or anatomy-armor accessories (I'm looking at you Katie Eary, LDN's finest) here, but you will see that a staple like the blazer, or the trench, is subtly updated.

And, not to sound too conservative in my speech, but isn't that menswear is all about? Re-working/ever-so-slightly altering what already works? Sometimes that old adage rings true - if it ain't broke, don't fix it. And so, a few highlights from Milan AW 10/11 so far...

^ Jil Sander AW 10/11 - Raf returns to a v. bare palette for the colder season but guarantees interest by throwing a host of geometric shapes into the mix.

^ Burberry Prorsum AW 10/11 - If only I could've congratulated Bailey when I met a few months back. Surely his best performance in quite a spell, countless re-workings of the trench (cinched here, belted there, zippers and asymmetry everywhere...) and much more experimentation with silhouette than this house is accustomed to.

^ Costume National AW 10/11 - Ennio Capasa continues in the asymmetrical vein and adds a dash of glamour to the mix. It seems turning menswear femme might not be the function of Miuccia any longer.

And because it's often what's off-the-runway that inspires what will be on it next...

^ Highlights from Tommy Ton's street-style documenting in Milan for GQ.

Oh, and because everyone enjoys the antics of Dame Viv...

Images from GQ