From the early London punk scene, through Leigh Bowery and the clubs kids, to street culture in Japan and the Asian mainland, Hartnett has been there to capture the look while it’s still fresh and raw. We were keen to ask a few questions of the man who’s seen it all.
BST: You’ve been documenting youth and street culture for over 30 years now. What is it about those worlds that keeps you excited?
PAUL HARTNETT: I started documenting street and club culture at the age of eighteen as a means of social lubrication. I wanted to get close to the key punk players such as Soo Catwoman and Sid Vicious, who lived in the next road to me in West London back then. I wanted to go beyond the visual. A camera seemed a perfect excuse to talk, exchange ideas, develop a rapport. Sometimes there’d be very little beyond the hair spray and eye-liner, sometimes there were all kinds of viewpoints, the most brilliant perspectives.
At the core of my work there is a continuing look at customising, how individuals have crafted a look. My pictures are portraits, executed with a Kodak Instamatic, a Polaroid camera and a range of Nikon stuff. I’m not a technical person. For me it has always been about faces, dimly lit, content driven, not style driven. Faces, colours, textiles, soul. The messed-up, the dressed-up. The fucked-up.
You’ve recently been exploring Chinese youth culture. What were the most interesting things they’re up to?
I recently visited Shanghai and Beijing for i-D magazine. I was involved with a street and club exhibition at Source’s Kong Gallery and this was a way in to meeting some creative souls. Visiting fashion schools such as IFA Paris and Raffles Design Institute was my focus, away from the gallery. There is such a rawness to Chinese fashion. It is often quite crude and quite different to the work Chinese students do at the likes of Central Saint Martin’s in London or FIT and Parsons in NYC. Having observed over 600 fashion students at work, having photographed a selected few, I gained insights. The Chinese are so very different to the Japanese. The work at Shinjuku’s Bunka, for example, is on another planet compared to what is happening in Shanghai and Beijing. Yep, it’s superior. That said, I was fascinated by the grounded approach of so many students at IFA Paris in particular. It’s a place to watch, they certainly have the technical skills.
You’ve covered the most important musical and style movements of the last 30 years. Which of those do you feel the most empathy with, and what’s going on at the moment that you are most excited by?
I saw The Sex Pistols perform many weeks before the Punk Festival of 1976. It was just electric, kind of like Brecht entering the stage. Before that I’d only seen Sparks, Bowie and Cockney Rebel perform live. I was in a band as a teenager, Missing Presumed Dead, so inspired by the DIY ethos of Punk and Power Pop. What I love about fashion and music is when people are totally fired up, and a bit ‘bonkers’ with it. Really exploding internally and doing something individual externally, going beyond a commercial formula, a safe established pattern.
Right now there’s a musician named NIYI who DJs at club nights such as Gauche Chic. As a producer, NIYI is unpredictable, he uses the most unexpected samples. He is very playful and could certainly be categorised under ‘bonkers’. He is my #1 muse right now — a joy to photograph, when he can be bothered to turn up.
You’ve run clubs as well as documenting those run by others: have you always been that involved in the scenes you cover photographically? Have you ever had issues with access — scenes or subcultures who you wanted to document, but who simply closed ranks and didn’t let you near them? How do you deal with that? Who or what scene have you not covered, but would most have wished to?
I ran a club named Kawaii in London back in 1983. It was very inspired by Japan’s club culture. I also ran the world’s first club for drag kings, women who dress as men, back in 1995. The majority were female to male transvestites, some were heavy-duty transexuals. Every Thursday night there’d be 150 toughies, and me. There was one simple rule: NO CAMERAS! This allowed me a somewhat strategic exclusivity.
I’ve never had issues re access. I’ve had good coverage over the last three decades, and I tend to be guest-listed without ever having met the promoters. Door whores just know who I am. Being fat and a few months short of fifty seems to be a plus nowadays. Verification for clubs abroad is easier than it was in the past due to my website, people can check out editorial content, photographic approach, fast as click-click-click. Some fetish clubs can be stand-offish, they live in fear of News International and local councils.
The only club I have ever experienced shit with is that shit club named Boom Box. Oh, what a Hoxton hole. Just so hyped, so over-rated, and so over. I took a few pics… then pressed the delete button and left. I have little patience for fashion sheep.
You seem both fascinated by style and its associated fantasy worlds, but your photos are raw and uncompromising — you talk about showing the ‘reality of fashion’. What does that mean to you?
Take a look at street-style pics in magazines such as i-D and Dazed & Confused and you will often find credits for an entire team of mag slags; hair stylists, make-up performers… an entire circus. To me this ain’t street-style, it’s manipulation. What I have done for the last three decades is SNAP with seconds of seeing. No touching, no altering, no upgrading. SNAP. Same location, same same same reality. Sure, sometimes I’ll ask for a plastic bag to be put aside or an event bracelet to be concealed, that’s all. So many magazines provide clothes that their advertisers wish to be promoted. That sucks.
What’s the future of street and club photography as you see it? What’s the role for ‘photographers’ as such, when the ‘kids of today’ have MySpace and a bunch of club photo websites on which to show off their poses, and every phone is a camera?
The Internet has come along and fucked so many people sideways. The music industry is in a tizz, everybody
seems to be online so much of the time. Punk’s DIY ethos is everywhere. People pimp their profiles to a narcissistic extent on myspazz and facebore. There are street-style photographers such as Facecunter (I think that’s his name) who snap at fashion events, but in a really bad way. So cheesy and hap-hap-happy. All very Grazia or Closer, Heatish.
I think it’s great that so many people are taking photographs, even if it with with dinky telephone toys. I love that crap quality, that low-res fuzz. I love the diversity available. That said, I continue in my own way. I have CCTV eyes, and pay an almost forensic attention to detail. I like clarity and the portraiture I have amassed is for a future audience I have never met.
[Thanks to Adz!]