Rankin's Lens - Rediscovering Cool Britannia in 'Back in the Dazed

Author Magazine Editor-in-Chief Oona Chanel sits down for an exclusive interview with legendary photographer Rankin, whose work has not only captured but also redefined the essence of the 90s British cultural landscape. In this intimate conversation, we delve into the narratives, social commentary, and political undertones of Rankin’s photography, beautifully showcased in his retrospective, "Back in the Dazed." This exhibition at 180 Studios offers a nostalgic journey back to the heyday of Cool Britannia and 90s style—an era immortalized through Rankin’s visionary lens. From cult celebrities and musical icons to supermodels, Rankin was at the heart of London's cultural revolution. His work with Dazed & Confused didn’t just reflect the zeitgeist; it actively shaped it, giving voice and vision to an entire generation.

“As a photographer, I feel a deep responsibility to consider the impact of my images. My approach has always been to provoke thought and push boundaries respectfully. Plus I’ve always used photography to turn a critical eye on culture and critique society. For me, the nature of media, and the medium of image creation and dissemination, is a discussion we can’t afford not to be having.” - Rankin

OONA: In 'Back in the Dazed,' you revisit the iconic era of Cool Britannia and 90's style, which you captured so vividly through your lens. How do you perceive the cultural and artistic impact of this period on contemporary British identity, and what do you hope viewers take away from this retrospective exhibition?

RANKIN: Large part of why Creativity in the 90s was so interesting was because we were all the younger brothers and sisters of punks. That DIY attitude was just embedded into us from a young age. 

So we all had an attitude of wanting to do it our way. This irreverence was kind of baked into us all and it really influenced our approach to our work and lives. It definitely gave me a confidence in myself that was kind of unshakeable. 

Helena Christensen

Helen Mirren

In fact the main reason Jefferson and I started Dazed & Confused was because we wanted to control the medium we were working in. We didn’t want to work for someone else and we set out to change what a magazine was and what it could do. 

The show tells that story through the medium of photography. It's like watching me grow up as a photographer and watching a set of kids experiment and push the boundaries of what a magazine and its content could be!

OONA: Your work with Dazed & Confused Magazine not only documented but also shaped the aesthetic of a generation. Could you discuss the narrative techniques you employ in your photography to convey the stories and ethos of British youth culture during the 90s?

RANKIN: When I look back now, I wish I’d done more documentation of the period, just good clean photos not only concepts. I’d just love to have those images. What I ended up doing was really trying to combine conceptual photography and the seduction of fashion. I was trying to put ideas into every picture.

Some of that was great, some didn’t work. I was also obsessed with breaking the rules of fashion and beauty and showing things could be done differently.

When you look at the work in the show through that lens, you can see we predated a lot of the imagery that we all take for granted now; specifically around representation and equity. Those early years were definitely great for experimentation and starting out, I was like a blank canvas. We were naively fearless, doing things that inevitably changed culture.

OONA: The 90s were a time of significant social and political change in the UK. How did these broader contexts influence your work, and in what ways do you see 'Back in the Dazed' as a political statement communicated through your photographic lens?

RANKIN: I was definitely influenced by what was going on around me and I would always say we were political, even if it was just a small p. body politics, social equity. That kind of thing. But we were also just kids making a magazine straight out of the student union. 

At college we literally did every single part of that magazine. We financed a lot of the earlier issues by doing parties, because we got into the club scene, and that really was the making of us. I think that our student experience made us realise that we could do it on our own. When we started Dazed & Confused there was a massive recession in Britain. Thatcher’s policies promoted an underground economy, encouraging small, underground businesses. That Do-It-Yourself spirit coupled with a few sponsorships helped us get a leg up.

OONA: As 'Back in the Dazed' is the first retrospective of your groundbreaking works over this prescient decade, how do you reflect on your artistic evolution during these years? What key moments or images stand out to you as particularly transformative or indicative of your growth as an artist?

RANKIN: From those Dazed years, I would say that the series “Blow Up”, was really the first pivotal piece of work I did and it really stays with me. The idea was to create a portrait of nightlife at that time by taking pictures of clubbers at nights all over London. It was a baptism of fire in many ways as I was shooting in these pop-up environments, and it’s all real members of the public with their own distinct personalities. How to photograph fast and build real rapport quickly was so important to learn and I’ve kept and honed those skills over the decades since. In a lot of ways this was the first iteration of my RankinLIVE project, which I still do today, where I take pictures of the public, not models or celebrities.

Jude Law

RANKIN: When it comes to celebrities, Björk was the first serious musical artist that I photographed. We’d been doing the magazine for only a couple of issues when we got the call from her record company, saying that she would like me to do a press session. This was the first time a celebrity had paid me for a shoot, so I was seriously nervous. As a way to protect myself, I took Björk to St. Albans, where I’d spent my teenage years as there was a comfort in the known.

Björk was an amazing collaborator and quite graciously guided me if my inexperience showed. She made me realise that I should always follow my own instincts and not be derivative. That way of working set the blueprint for how I approached every portrait shoot since.,

Nanu Nanu Björk

OONA: Your lens captured a myriad of cult celebrities and musical icons, each contributing to the fabric of 90's British culture. How did your approach to photographing these figures evolve, and what insights can you share about the symbiotic relationship between your subjects and the cultural zeitgeist they helped define?

RANKIN: I get asked a lot to define the “Rankin style”, I think people expect me to recommend a light or talk about always shooting in a studio. But I always thought that was a bit of a cop out. I don’t think my style is really aesthetic, it’s about how I interact with the people I’m photographing. I’m a collaborator and I want every image to be of the person, people should look at them, not just look at my style. 

I think the 90s was a time where that level of honesty was key. We talk about authenticity now with celebrities, but we were doing that 30 years ago. I wanted people to open up the magazine and feel a connection with the people on the pages, just like Liam and Noel were putting out songs which kids could feel some kind of emotional or rebellious resonance with. It was real, that's the key. 

U2

Minnie Driver, Debbie Harry, Michael Stipe

OONA: Throughout the decade covered by 'Back in the Dazed,' you produced over 200 iconic editorial shoots. Can you elaborate on your creative process and methodology during these shoots, and how you managed to consistently capture the essence of the era?

RANKIN: I didn’t grow up in the art or fashion world. I’m from a working-class environment and that means I’ve always considered myself an outsider looking into the industry. I’m lucky though, my parents always encouraged me to ask questions, to not settle, and that turned me into a bit of a contrarian. This background means, although it's my craft and passion, I haven’t had to take everything so seriously in photography. I never needed to preserve the status quo in the industry. My shoots can be humorous, or pointed, conceptual or emotional, they can be anything I want them to be. I think this is why, looking at the exhibition, you get a sense of the decade. I’m not doing the expected, I’m shooting models and real people, kids on the street as much as high-culture. So there is more than surface, there is an attitude which feels representative of the time. 

OONA: Given that 'Back in the Dazed' revisits a period that continues to influence contemporary aesthetics and culture, how do you view your legacy within the realm of fashion and portrait photography? What aspects of your work from the 90s do you see as most relevant or resonant with today's artistic and cultural landscape?

RANKIN: I hope a lot of the work still feels quite fresh and modern. But the part of my work that I think still resonates is the stuff where I was very much going up against a lot of the other things that were homogenous within the industry. I photographed plus sized models, had older women in shoots, the first cover for Dazed was an openly gay black man - these things are common now and everyone’s shouting about inroads which are being made in representation but we did lots of these things in your face first.

Charlie Watts

David Thewlis

OONA: The design and curation of an exhibition play crucial roles in how audiences engage with the work. Can you discuss the curatorial choices made for 'Back in the Dazed' and how these decisions enhance the viewer’s experience and understanding of the cultural significance of your photographs?

RANKIN: I work with a curator, Ellen Stone, so I’ve asked her to answer this question.

Ellen: When looking at Rankin’s work the term “authenticity” comes up regularly. There is an emotional authenticity and a conceptual authenticity to his images, so I wanted to find a match to that within the curation. By arranging the photographs in chronological order, the design of the show allows viewers to experience the evolution of Rankin's work and the cultural shifts of the 90s and early 2000s as they occurred. This approach helps the audience appreciate the progression and changes in style, mood, and societal trends authentically, capturing the true essence of the era without the need for large amounts of texts explaining each image. Instead we went for encouraging direct and personal engagement with the visuals, while the comprehensive timeline at the end provides deeper context, reinforcing the temporal authenticity of the exhibition. 

In the end though, it’s a show about finding your own connection to the imagery and I really hope the paired back aesthetic gives everyone space to find themselves in the imagery.

Edward Enninful

Ewen Bremner

OONA: Your work often transcends mere documentation, offering a manifesto on how to view the world. Could you delve into the philosophical underpinnings of your photography during the Dazed & Confused era, and how you aimed to communicate broader truths or critiques through your images?

RANKIN: I realized early on that photography is a powerful medium. All of it from documentary to fashion. It shapes societal views and can define or challenge cultural norms. As a photographer, I feel a deep responsibility to consider the impact of my images. My approach has always been to provoke thought and push boundaries respectfully. Plus I’ve always used photography to turn a critical eye on culture and critique society. For me, the nature of media, and the medium of image creation and dissemination, is a discussion we can’t afford not to be having. Especially now.

Back then I think you see that even as a baby photographer I was exploring these themes and trying to find a voice to discuss them. 30 years ago I was doing shoots about the fashion industry’s mistreatment of models, and was trying to find new ways to depict emotions. Some of my favourite shoots were conceptual and the aim was to critique not accept the status quo. 

Katie Grand

OONA: The creative community that emerged around Dazed & Confused Magazine was vibrant and influential. How did collaborations within this community shape your work, and what role do you believe such creative collectives play in fostering artistic innovation and cultural shifts?

RANKIN: Dazed was born out of collaboration. None of us had ever done a magazine before, we were all pretty new to it. But I think the energy was really optimistic, and we were also really competitive.

The thing that really kept it fresh, was the team's internal competition to do work that got given pages. That tension and jeopardy made all of us very inspired. We definitely pushed each other to do better work, even if it was more about trying to get more space in the magazines. From styling to glam or editorial, we were making it up as we went along, and somehow that hard work paid off. I can look round the publishing, fashion and beauty industries today and those people I came up with are not the top players. 

Looking back I only wish I’d appreciated it more at the time. They pushed me to be a better photographer and I owe them everything for that.

Tilda Swinton, Ben Daniels

‘Back In the Dazed: Rankin 1991-2001’ celebrates standout imagery from over 200 editorial shoots by Rankin for his magazine Dazed & Confused. On display until July 7th at 180 Studios, London. Tickets are available at 180studios.com/rankin.

Interview By Oona Chanel

Images By Rankin