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Jefferson Hack (April 2005 - April 2010)
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www.ponystep.com
Jefferson Hack: Cultural Conduit.
by Dean Mayo Davies
Jefferson Hack is a rarely-interviewed paragon who lets his empire - Dazed & Confused, AnOther magazine et al- do the talking. In an often quick-fix magazine culture where few intellectual iconoclasts remain, he is a rarity.
A visionary protagonist, cultural incubator and catalyst, his authenticity is a key to the enduring quality and validity of his work. He can effortlessly switch from introducing Gareth Pugh to Karl Lagerfeld at the Crillon, to having a drink in a shabby pub with other young, creative minds (and without any hangers-on in tow). Truly modern, Hack realises the simultaneous validity in both the essential grass-roots and the ludicrous glamour. He has integrity written through him like a stick of seaside rock.
DMD: How did the SHOWstudio experience at Abbey Road work out for you?
JH: It was good. It was really impressive what [Nick Knight] tried to do.
DMD: Magik Markers were brilliant.
JH: She’s funny as hell, that girl. She’s got a really good sense of humour.
DMD: Hard to control though?
JH: But nice. I’d never met any of the bands before, the idea was that I just ask bands whose music I like but that I didn’t know. I cut that other band off after two songs, you know. They’re not happy with me.
DMD: I think it’s interesting that 87.7fm is acting as a gallery space almost. I mean Diesel had the U:Music station a few weeks before on that frequency.
JH: But I couldn’t log in to it - I tried to get it in a taxi when I was driving up to Abbey Road and I got someone toastin’ over the top of some speed garage, shout-outs going to different posses. It really made me laugh as I thought for a moment: ‘What’s Nick Knight got going on?!’ I thought ‘Who’s doing that? Who DID Stella McCartney get in?’
DMD: How do you think London compares now to when you started?
JH: I’m very positive. I think now is the most interesting time, an exciting, rich and enviable time. You know, when we first moved our offices to Old Street [from Soho], there was nothing here, it was a desert. There were a couple of pubs and there were very few opportunities to get a coffee - the only thing we could eat were Ginsters pies from the petrol station, that was where we’d get our food at lunchtime. People kind of look back and say ‘Oh it was so exciting’ because I was hanging out with Katie Grand and Alexander McQueen, Phil Poynter and Mert & Marcus and Katy England. We were all so young, we did all these amazing parties and had so much fun. It was so creative. But actually it was a real struggle to get anything done - nobody really gave a **** about London and there was no money for anything, no sponsorship, no PR support for anybody. Things have changed a lot, especially over the past five years with this generation.
DMD: Can we talk about your project with 7L [the Steidl-backed publishing imprint of Karl Lagerfeld]? Or is it still secret?
JH: Sure. I’m doing books of AnOther magazine: AnOther Fashion book, AnOther Portrait book and AnOther Art book. I’m taking all the archive and David James [AnOther magazine’s Creative Director], is gonna art direct it into three volumes. The fashion photography volume will be edited so it’s not entire shoots, just great fashion images. In the portrait volume, aswell as the cover stars there’ll be things like Jude Law shot by Helmut Newton in Monaco for us; Lucien Freud shot by David Dawson for us. You’ll get one volume coming out each season and they’ll start in February next year. Karl [Lagerfeld]’s excited because he wants to archive this work that gets lost in magazine culture - his idea is that a magazine will last for fifteen years but a book will last for 100 years. I’m excited because I want people to see that we were really ahead of our times, that we were very influential: we pioneered a lot of the crossover between art and fashion photography that is quite mainstream a concept now. We’ve had a lot of fun - we’ve worked with Mario Sorrenti, Craig McDean, Nick Knight, Sam Taylor-Wood, Inez & Vinoodh, an amazing bunch of photographers. And stylists from Venetia Scott, Marie-Amélie Sauvé to Alister Mackie, Katy England. So we’ve got all these images and I want them to be redesigned so it feels like a completely new approach. I didn’t wanna put out a bunch of reproduced pages. I want it to look back but forward aswell, to strip all the design, have all the photography and celebrate it. Make it timeless, like it could have been shot last week.
DMD: Let’s talk about ‘Another Thing I Wanted to Tell You’, the iconic feature of AnOther magazine. It has become hugely referenced in the industry. If I was to open AnOther and see you partake in the feature, what would you be saying?
JH: [Laughs]. It’d probably be about vintage typewriters. I’ve just got a really cute Olivetti ‘Valentine’.
DMD: By Ettore Sottsass?
JH: Yeah. He died this year, so I would do a homage to him and his influence on design. I’d bring it all back to this beautiful object: a gleaming, red-orange typewriter that is now sitting in my office next to my computer. It freaks people out when they come in: ‘Do you USE that? Do you really TYPE on that?’ Oh yeah, I do all my articles on this ****-off typewriter...
DMD: Oh, of course: ‘I’ve just typed this up! Can somebody scan it in?’
JH: I was thinking of doing a book of all of them, it would make a great book. There’s about fifty or so people who have done the feature now and they’re a really great collection of people.
DMD: It would be brilliant if you could do it as a little hardback book that you could just carry around.
JH: That’s exactly what I was thinking, I was thinking of doing it as a small softback.
DMD: How important is it for you to be a latent figure in the industry? To manage your public profile and remain behind-the-scenes. Is that something you’ve struggled with?
JH: I don’t think I’ve struggled with it. I think it’s really useful and flattering if people can say nice things about your work or if they slag it off. I mean it sort of goes over my head really, it just goes with the territory. The culture will allow you to take it as far as you want to go and with that you’ve then got to deal with the consequences. I have to go back and face a room of 40 people in the office - I don’t want them to think I’m an *******.
DMD: I’m talking particularly about when people want to take your picture in the front row at a fashion show.
JH: All of that is just bollocks isn’t it? When I’m there I just wonder ‘What happens to all these ****ing pictures?’ People go to fashion shows for very different reasons - I’m not going because I want to have my photograph taken, but I never get wound up. The thing about fashion shows that’s very important to me is that I really feel I have a responsibility when I’m there to represent the magazine. And also more recently to represent the independent press and a British lifestyle press. You’re put into a situation where you’re part of the world’s press: there’s Vogue Italia, American Vogue, Interview magazine, whatever. Every single magazine is vying for that location and there’s an amazing hierarchy in the way that they’re put. I do feel a bit sometimes like I’m kind of president of a small country called Dazed & Confused and I’ve turned up for a United Nations meeting. Except we’re not gonna save the world by any means - though we might colour it a little more brightly, or not, depending on what the season is.
DMD: If you were reading this as a teenage Jefferson Hack what advice would you give to yourself as an aspiring publisher?
JH: I think advice givers are probably best avoided, generally. Avoid the advice givers. My Dad gave me some good advice, he said: ‘What’s this ****ing magazine you’re doing? Go and get a proper job!’ I didn’t speak to him for about five years. [Laughs].
Jefferson Hack: Cultural Conduit.
by Dean Mayo Davies
Jefferson Hack is a rarely-interviewed paragon who lets his empire - Dazed & Confused, AnOther magazine et al- do the talking. In an often quick-fix magazine culture where few intellectual iconoclasts remain, he is a rarity.
A visionary protagonist, cultural incubator and catalyst, his authenticity is a key to the enduring quality and validity of his work. He can effortlessly switch from introducing Gareth Pugh to Karl Lagerfeld at the Crillon, to having a drink in a shabby pub with other young, creative minds (and without any hangers-on in tow). Truly modern, Hack realises the simultaneous validity in both the essential grass-roots and the ludicrous glamour. He has integrity written through him like a stick of seaside rock.
DMD: How did the SHOWstudio experience at Abbey Road work out for you?
JH: It was good. It was really impressive what [Nick Knight] tried to do.
DMD: Magik Markers were brilliant.
JH: She’s funny as hell, that girl. She’s got a really good sense of humour.
DMD: Hard to control though?
JH: But nice. I’d never met any of the bands before, the idea was that I just ask bands whose music I like but that I didn’t know. I cut that other band off after two songs, you know. They’re not happy with me.
DMD: I think it’s interesting that 87.7fm is acting as a gallery space almost. I mean Diesel had the U:Music station a few weeks before on that frequency.
JH: But I couldn’t log in to it - I tried to get it in a taxi when I was driving up to Abbey Road and I got someone toastin’ over the top of some speed garage, shout-outs going to different posses. It really made me laugh as I thought for a moment: ‘What’s Nick Knight got going on?!’ I thought ‘Who’s doing that? Who DID Stella McCartney get in?’
DMD: How do you think London compares now to when you started?
JH: I’m very positive. I think now is the most interesting time, an exciting, rich and enviable time. You know, when we first moved our offices to Old Street [from Soho], there was nothing here, it was a desert. There were a couple of pubs and there were very few opportunities to get a coffee - the only thing we could eat were Ginsters pies from the petrol station, that was where we’d get our food at lunchtime. People kind of look back and say ‘Oh it was so exciting’ because I was hanging out with Katie Grand and Alexander McQueen, Phil Poynter and Mert & Marcus and Katy England. We were all so young, we did all these amazing parties and had so much fun. It was so creative. But actually it was a real struggle to get anything done - nobody really gave a **** about London and there was no money for anything, no sponsorship, no PR support for anybody. Things have changed a lot, especially over the past five years with this generation.
DMD: Can we talk about your project with 7L [the Steidl-backed publishing imprint of Karl Lagerfeld]? Or is it still secret?
JH: Sure. I’m doing books of AnOther magazine: AnOther Fashion book, AnOther Portrait book and AnOther Art book. I’m taking all the archive and David James [AnOther magazine’s Creative Director], is gonna art direct it into three volumes. The fashion photography volume will be edited so it’s not entire shoots, just great fashion images. In the portrait volume, aswell as the cover stars there’ll be things like Jude Law shot by Helmut Newton in Monaco for us; Lucien Freud shot by David Dawson for us. You’ll get one volume coming out each season and they’ll start in February next year. Karl [Lagerfeld]’s excited because he wants to archive this work that gets lost in magazine culture - his idea is that a magazine will last for fifteen years but a book will last for 100 years. I’m excited because I want people to see that we were really ahead of our times, that we were very influential: we pioneered a lot of the crossover between art and fashion photography that is quite mainstream a concept now. We’ve had a lot of fun - we’ve worked with Mario Sorrenti, Craig McDean, Nick Knight, Sam Taylor-Wood, Inez & Vinoodh, an amazing bunch of photographers. And stylists from Venetia Scott, Marie-Amélie Sauvé to Alister Mackie, Katy England. So we’ve got all these images and I want them to be redesigned so it feels like a completely new approach. I didn’t wanna put out a bunch of reproduced pages. I want it to look back but forward aswell, to strip all the design, have all the photography and celebrate it. Make it timeless, like it could have been shot last week.
DMD: Let’s talk about ‘Another Thing I Wanted to Tell You’, the iconic feature of AnOther magazine. It has become hugely referenced in the industry. If I was to open AnOther and see you partake in the feature, what would you be saying?
JH: [Laughs]. It’d probably be about vintage typewriters. I’ve just got a really cute Olivetti ‘Valentine’.
DMD: By Ettore Sottsass?
JH: Yeah. He died this year, so I would do a homage to him and his influence on design. I’d bring it all back to this beautiful object: a gleaming, red-orange typewriter that is now sitting in my office next to my computer. It freaks people out when they come in: ‘Do you USE that? Do you really TYPE on that?’ Oh yeah, I do all my articles on this ****-off typewriter...
DMD: Oh, of course: ‘I’ve just typed this up! Can somebody scan it in?’
JH: I was thinking of doing a book of all of them, it would make a great book. There’s about fifty or so people who have done the feature now and they’re a really great collection of people.
DMD: It would be brilliant if you could do it as a little hardback book that you could just carry around.
JH: That’s exactly what I was thinking, I was thinking of doing it as a small softback.
DMD: How important is it for you to be a latent figure in the industry? To manage your public profile and remain behind-the-scenes. Is that something you’ve struggled with?
JH: I don’t think I’ve struggled with it. I think it’s really useful and flattering if people can say nice things about your work or if they slag it off. I mean it sort of goes over my head really, it just goes with the territory. The culture will allow you to take it as far as you want to go and with that you’ve then got to deal with the consequences. I have to go back and face a room of 40 people in the office - I don’t want them to think I’m an *******.
DMD: I’m talking particularly about when people want to take your picture in the front row at a fashion show.
JH: All of that is just bollocks isn’t it? When I’m there I just wonder ‘What happens to all these ****ing pictures?’ People go to fashion shows for very different reasons - I’m not going because I want to have my photograph taken, but I never get wound up. The thing about fashion shows that’s very important to me is that I really feel I have a responsibility when I’m there to represent the magazine. And also more recently to represent the independent press and a British lifestyle press. You’re put into a situation where you’re part of the world’s press: there’s Vogue Italia, American Vogue, Interview magazine, whatever. Every single magazine is vying for that location and there’s an amazing hierarchy in the way that they’re put. I do feel a bit sometimes like I’m kind of president of a small country called Dazed & Confused and I’ve turned up for a United Nations meeting. Except we’re not gonna save the world by any means - though we might colour it a little more brightly, or not, depending on what the season is.
DMD: If you were reading this as a teenage Jefferson Hack what advice would you give to yourself as an aspiring publisher?
JH: I think advice givers are probably best avoided, generally. Avoid the advice givers. My Dad gave me some good advice, he said: ‘What’s this ****ing magazine you’re doing? Go and get a proper job!’ I didn’t speak to him for about five years. [Laughs].
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tapenerd
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They end up on TFS Jefferson!
Oh, if he only knew about this thread! HAHA. I love that picture and the interview was great too. It's neat that he is working with Karl!
^So true, lemeray. And yes, the books he is making alongside Karl Lagerfeld sound amazing.
www.dafjones.com
L'Uomo Vogue party
www.showstudio.com
From the 'Political Fashion' project-
Who Would Wood Wank by Jefferson Hack and Sarah Maple
www.dafjones.com
L'Uomo Vogue party
www.showstudio.com
From the 'Political Fashion' project-
Who Would Wood Wank by Jefferson Hack and Sarah Maple
karen sofie
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omg, I dreamed that I was to a party at the showstudio headquarter, so weird!
Anyway, Jeff looks sweet and happy there
Anyway, Jeff looks sweet and happy there
karen sofie
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I like the shirt a lot, too.
^Yes, it should be out in September.
http://yourboyhood.blogspot.com
Seoul, S.Korea
sun, May 18, 2008
Jefferson Hack (36), co-founder of Dazed & Confused & editor in chief of Another Magazine and Another Man
place: Daily Projects, 1-24, Chungdam-dong, Kangnam-gu
Jefferson Hack is co-founder of Dazed & Confused with photographer Rankin. Also he is editor in chief of Another Magazine and Another Man.
shoes _ Converse
homepage: www.dazeddigital.com & www.anothermag.com
http://yourboyhood.blogspot.com
Seoul, S.Korea
sun, May 18, 2008
Jefferson Hack (36), co-founder of Dazed & Confused & editor in chief of Another Magazine and Another Man
place: Daily Projects, 1-24, Chungdam-dong, Kangnam-gu
Jefferson Hack is co-founder of Dazed & Confused with photographer Rankin. Also he is editor in chief of Another Magazine and Another Man.
shoes _ Converse
homepage: www.dazeddigital.com & www.anothermag.com
karen sofie
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oh, I like that 'cubism' tee. But is it just the light or has he had his hair dyed a little bit red or??
karen sofie
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He would
yeah, thanks, cosmocat!
yeah, thanks, cosmocat!
Working Girl
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Jeff didn't go to his own magazine party in New York. I want pictures of him. I hope we get some in London
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