Fashion photography is having a moment. With the Guy Bourdin retrospective in full flow at Somerset House, and the Horst: Photographer of Style at the V&A receiving critical acclaim, it seems fitting that a new exhibition at the Fashion Space gallery should pick up on this theme, and look forward to fashion photography's future.
One of the new fashion exhibitions London offers an exciting glimpse into the wealth of contemporary practices in fashion photography. This results in a dynamic, colourful and multi-faceted display. Explaining the concept behind the show curator Magdalene Keaney said, “If someone tells you not to stop it means you must be doing something good to begin with! The title of this exhibition is intended as a clarion call.”
Featuring photographers who push the boundaries of fashion photography and who are developing new and radical ways to progress their art, this exhibition brings together the industry’s most exciting and maverick talent. The exhibition will operate in two parts. Part one will focus on themes of materiality and play, with part two showing later in the year. Not to be missed for those wishing to pick up fashion photography tips and inspiration.

What	Don't Stop Now: Fashion Photography Next (I)
Where	London College of Fashion, 20 John Prince's Street, London, W1G 0BJ \| MAP
Nearest tube	Oxford Circus (underground)
When	15 Jan 15 – 28 Jan 15, 10:00 AM – 6:00 PM
Price	£free
Website	Fashion Space Gallery

What the curator says

An interview with Magdalene Keany

WPO: Firstly, congratulations on putting together a really diverse, exciting and optimistic book and exhibition. Can you identify anything in particular which first motivated you to put this collection of work together?

Magdalene Keany: Thank you. That’s really nice of you! I wanted to do this book because I was seeing a lot of really fantastic work being made by a new generation of photographers. I’d been living and working around fashion and photography in London and I felt there was this prevalent idea that there was no new work which was creative or interesting beyond commercial imperatives. I disagreed with that so I set myself the project of writing the book as an optimistic proposition – who was making this work? How and why were they making it? What were their stylistic and conceptual concerns? Where was it being published? How had this shifted from the current generation of establishment photographers? I started to research as widely as I could.

How did you go about choosing your selection of photographers?

I’ve long studied fashion magazines so there were people I’d been watching there; there were people who I knew or had worked with and I talked to as many people as I could. I was very fortunate because many people such as Julie Brown from the fashion photography MAP where I formerly worked were very generous with ideas and advice. I also had a brilliant co-contributor called Eleanor Weber who made important suggestions about photographers.