“For rankinphoto, it can’t just be a straight fashion image, it needs a reason for being”
, it can’t just be a straight fashion image, it needs a reason for being,” writes fashion editor Katie Grand in the foreword to, a Rizzoli-published monograph which celebrates 30 years of the British photographer’s images. Taken from the pages of Dazed & Confused, which he co-founded with Jefferson Hack, AnOther and countless other publications – including, which Rankin began in 2012 – his unapologetic work defined the 1990s as it hurtled into a new millenium.
“They say geniuses are those who can hold two opposing ideas in their head at the same time,” says Hack, who provides the afterword to“When you enter into Rankin’s photography, he transforms everyone else into the genius in the room. That is his gift, to transfer complex, often contradictory ideas into simple-to-understand, immediate pop iconography.
“This is one of my favourite projects. Robbie was one of the biggest pop stars in the country at the time. He’d left Take That in 1995 and had this persona that the press, and fans, just loved. He said in a quote forthat he wasn’t particularly cool at the time, but I don’t think he’s remembering the 90s, as the genuine obsession people had for him was overwhelming.
“This is a shoot for Dazed in 2003. We were going for this film noir style, something both retro and timeless. I shot it on film and we really avoided heavy retouching that made everyone in the 2000s look weirdly plastic. This image was all about old fashioned glamour – the styling was at once historical, paying homage to cinematic femme fatales, and yet also really in keeping with contemporary fashion. Outside of the clothing though the set makes these images different.
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