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21-02-2013
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He's now the Fashion Director of Dazed & Confused.

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i don't know her. claudia schiffer doesn't know her. she was never in paris, we don't know her.
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15-03-2013
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Dazed & Confused April 2013
"True Blue"
Model: Kasia Struss
Photographer: Josh Olins
Stylist: Robbie Spencer
Hair: Shon
Makeup: Yadim




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02-05-2013
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Vogue Hommes International Fall/Winter 11.12
The Classics
Photography: Mario Sorrenti
Styling: Robbie Spencer
Models: Unknown
Hair: Recine
Makeup: Aaron de Mey



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02-05-2013
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Dazed & Confused August 2011
"Hollow"
Models: Madelene de la Motte & Unknown
Photographer: Richard Burbridge
Stylist: Robbie Spencer
Hair: Recine



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13-06-2013
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Dazed & Confused July 2013: Kati Nescher by Paolo Roversi


Modern Life Is Rubbish
Photographer: Paolo Roversi
Models: Kati Nescher, Vanessa Axente, Marie Piovesan & Ondria Hardin
Styling: Robbie Spencer
Hair: Yannick D'Is
Make-Up: Adrien Pinault
Nails: Elsa Deslandes





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13-06-2013
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13-06-2013
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Digital Edition Dazed & Confused via Mat Cyruss

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13-06-2013
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Dazed & Confused July 2013
Mad Fur It
Photographer: Jeff Bark
Models: Joanna Tatarka, Marta Dyx & Leonna Binx Walton
Styling: Robbie Spencer
Hair: Shingo Shibata
Make-Up: Inge Grognard




Digital Edition Dazed & Confused via Mat Cyruss

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13-06-2013
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Dazed & Confused July 2013
Young & Restless
Photographer: Richard Burbridge
Models: Kremi Otashliyska, Gryphon O'Shea, Anmari Botha, Maria Bradley, Kayley Chabot & Maria Loks
Styling: Robbie Spencer
Hair: Rutger
Make-Up: Inge Grognard
Nails: Honey




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13-06-2013
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Quote:
Robbie's Dazed

Since its inception Dazed and Confused has been one of the standards by which other magazines are judged. The Dazed look Ė that instantly recognizable blend of innovation and edge, has spawned imitators, but none that can match the original when it comes to style and wit. With the launch of the July issue Dazed begins a new era of creativity. Led by fashion director Robbie Spencer, the London glossy breaks new ground with content that pushes the visual envelope and dares to inspire and provoke. The dazzling 30 page Paolo Roversi cover story is a near mythic exploration of ďtrash fashionĒ that reveals the extraordinary quality of discarded objects.

Finding the beauty in the unexpected is one of Robbie Spencerís specialties; throughout his illustrious career he has continuously taken fashion into the realm of art with unorthodox styling, creating some of the most memorable imagery in recent memory. In this Models.com exclusive preview, he unveils his plans for Dazedís future, the inspiration behind the astonishing cover story and just what keeps him excited about fashion.

What does your new position as fashion director entail?
Under my direction, alongside Creative Director Chris Simmonds and Editor Tim Noakes, I intend to build on the visual language we have developed as a team over the past three years. My goal is and has always been to create and commission memorable imagery, as well as unifying the Dazed aesthetic for both print and digital.
As Fashion Director I intend to bring a youthful enthusiasm to the pages of Dazed, working with a new fashion team as well as new contributors. This marks a new era of Dazed and I am excited about what we can achieve together.

What made you want to work with Paolo on your first issue as fashion director?

It was a real privilege to work with Paolo on my first issue as Fashion Director of Dazed & Confused. I felt like he was the perfect component in capturing the rawness of the issueís ďtrash fashionĒ theme while also producing some beautiful and almost couture-like imagery. I felt like together we were able to create a real statement of intent using some of our favourite girls: Kati Nescher, Vanessa Axente, Marie Piovesan and Ondria Hardin.

What do you feel this new era of Dazed represents?

Since the beginning, I would like to think I have brought a strong aesthetic and youthful philosophy to Dazed. I am excited to mix young and established names, something that we do so well. I am interested in building on our fashion vocabulary.
We are in an era where a magazinesí print future is uncertain. I believe the only way to make secure a future is to continue to inspire the industry and our readers through our visual language. Each issue needs to be collectable and book-a-zine like. Fashion magazines need to have impact and poster appeal. I like the idea of our readers ripping out fashion images from the magazine and putting them up on their bedroom walls. I used to do this as a teenager, and I feel like magazines still need to have that. Every image should be the product of interesting collaborations, a mix of young and established names, art photographers, legendary fashion photographers, up and coming photographers, young London talent, and contributors on a more international level. This mix is the DNA behind Dazed.

I am also very excited to be Fashion Director of Dazed Digital. For me, the website and magazine are one. We work as one team across both platforms, and as we launched Dazed Digital so early, we are lucky enough to have secured such a strong following. Each strengthens the other, and exploring the creative possibilities between print and digital platforms is something I have always been very interested in and want to continue to develop.

How would you say the magazine has evolved and changed over the years?

The magazine has changed dramatically over the past eight years. I joined Dazed before the online side of fashion really took off. We were still faxing sample requests! I have seen the rise of Dazed Digital Ė we launched the site very early on Ė and I feel like this is the most exciting time where we can create crossover content rather than compete with each other.
We have such a strong family and legacy of amazing talent that have grown through Dazed. It is bit like a school where you train and develop your skills. We have such an amazing alumni and family of contributors. It has always been a hub of creativity and nurtured some of the most talented stylists in the industry: Katie Grand, Katy England, Alister Mackie, Nicola Formichetti, Cathy Edwards, Bryan McMahon, Karen Langley, and Katie Shillingford, to name a few. Jefferson has always been so encouraging and supportive of young talent.

When was the first time you worked with Dazed?

I have been a part of the Dazed family since I started working in the fashion department back in 2004, while completing a BA in Fashion Journalism. Immediately, I could see Dazed as a really creative platform. The career of Stylist/Fashion Editor seemed really appealing. I liked the way you could create images and that the tool for a stylist was clothing. You could see that it was a place where you could find creative expression, but also quite clearly a pathway to a career. I think my dedication to Dazed has enabled me to progress through the ranks and develop my visual language through the pages of the magazine.
I initially studied art. Iím really interested in history and if I hadnít joined Dazed then I probably would have done a History of Art degree. I would like to think that all my work has that element of historical reference to it. Even if you donít necessarily see it in there, itís important to me that it has some kind of context, art reference, or historical reference.

Can you talk a little bit about the main story and the idea behind it?

The shoot was inspired by the recent punk resurgence such as the ĎChaos to Coutureí punk exhibition is currently on at New Yorkís Met Gallery. I wanted to resort back to the DNA and ideologies of the punk aesthetic, taking the AW13 focus on raw materials and turning the collections on their head, crushing them up and setting them on fire. The shoot consists of beauty portraits, nudes and more extreme anti-fashion /recycled fashion looks over thirty pages featuring Kati Nescher, Vanessa Axente, Marie Piovesan and Ondria Hardin.

The Trash Fashion issue is all about taking discarded materials and crafting them into couture-like iconic images. I felt the image of Kati Nescher wearing Givenchy by Riccardo Tisci and a burning paper stole created by London CSM graduate Luke Brooks was a great sentiment for my first cover as Fashion Director. I like the idea of a magazine cover in flames.
Elsewhere in this issue, I have shot with some of my favourite photographers including Jeff Bark. We shot a Fendi AW13 special turning Joanna Tatarka, Marta Dyks and Binx into NY Fendi fur punks. The new faces from Hedi Slimaneís Saint Laurent AW13 show Ė Gryphon, Kremi, Maria Loks, Maria Bradley, Anmari Ė feature in a grunge inspired beauty story shot by Richard Burbridge.

What keeps you excited about fashion?

I love the fact that everything keeps changing; the creative possibilities are limitless. You can have an idea in your head and with a lot of hard work and communication end up realising it as a printed image. I love collaborating with inspiring people that I can identify with and share a mutual understanding with and passion for creating a great image. Photographers such as Ben Toms, Hedi Slimane, Mario Sorrenti, Paolo Roversi, Richard Burbridge, Jeff Bark, Pierre Debusschere, Collier Schorr, as well as other collaborators such as set designer Janina Pedan and make up artist Peter Philips. I find it so inspiring to work with someone with an art as opposed to just fashion.

I think in fashion imagery it is important to suggest ideas and make people think. You want to inspire the industry as a stylist. Especially as the industry is so driven by commerciality, you want to feel like youíve given something back. I want to have a lasting legacy, to be remembered for making something special. The idea of performance in fashion and art in fashion is very important. Itís very easy to succumb to the commerciality of it all, but you have to keep pushing ideas and keep doing things that surprise people to feed the industry creatively.

Itís really amazing when you get a student from some provincial town messaging you saying how much itís inspired them, or you get a note from someone like Miuccia Prada saying they loved an image you made. You get a lot of satisfaction out of that because you feel like theyíre actually seeing it and that you are connected in some way, and that they actually felt something. A few photographers and a few designers still do that in their work, where you actually feel something in what theyíre doing. Itís more difficult with a stylist, because they donít actually own an image. You just create an image, but you donít necessarily have ownership over it; youíre just a team player in it. It would be nice to actually own the image you create. Maybe someday I will start photography!
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14-06-2013
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Dazed & Confused May 2013: Catherine McNeil by Jeff Bark


Divine Comedy
Photographer: Jeff Bark
Models: Catherine McNeil, Ning Lu, Noma Han, Sung Jin Park, Bettina Murota, Cole Bleu Kwiatkowski, RJ, Samantha West & Shingo Shibata
Styling: Robbie Spencer
Hair: Recine
Make-Up: Lisa Houghton





Digital Edition Dazed & Confused via Mat Cyruss

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14-06-2013
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Dazed & Confused May 2013
Fierce Creatures
Photographer: Lina Scheynius
Styling: Robbie Spencer





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14-06-2013
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Dazed & Confused March 2013
Photographer: Jeff Bark
Model: Nastya Kusakina
Styling: Robbie Spencer
Hair: Rick Gradone
Make-Up: Lisa Houghton




Digital Edition Dazed & Confused 03/2013 via Mat Cyruss

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14-06-2013
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Dazed & Confused January 2013
CRYSTAL BLUE PERSUASION
Models: Athena Wilson and Yuri Pleskun
Photographer: Collier Schorr
Styling: Robbie Spencer
Hair: Holli Smith
Makeup: Maki Ryoke



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14-06-2013
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Dazed & Confused January 2013
Dark Innocence
Cinematography Martin Rinman
Edited by Inessa Tsulimova
Photography Fumi Nagasaka
Styling Robbie Spencer
Grooming Sharin at Link Details
Models Adam and Peder at Nisch Management, Daniel, Hugo, Kimie, Martin at Stockholmsgruppen
Photographic Assistant Hannah Richter
Styling Assistant Ulrika Lindqvist
Retouching Color One NYC
Special Thanks To Jane Glandal, Meghan Scott, Hjalmar Klitse
All clothes Saint Laurent by Hedi Slimane SS13 menswear




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