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Jonathan Bracewell

Jonathan Bracewell +44 (0)7854 008464

Art Direction / Graphics / Photogrpahy / Styling / PR / Trend Prediction / Journalism


Look Right. Look Forward. Shot for Modisch magazine, a university project. Focuses on layering and includes high-end street brands such as Norse Projects and Albam.

Lines of Contrast Shot for Hexagon magazine, a university project. Focuses on minimalism and modernism. Heavy emphasis on silhouettes and feature brands such as Odeur and Alexander Mcqueen.

Perfect Preening Products Shots using male grooming products. taken and converted to negative.

Behind the Other Lens Working behind the scenes on a photoshoot, capturing moments that are sometimes missed.

Product Shots Various product shots focusing on detail and strong colouring.


Magazine Modisch Magazine for final project at university. ‘The contemporary magazine for the contemporary man’ features fashion, art, culture and grooming. The publication has undergone extensive design development and draws heavy influence from Scandinavia. This is also evident through the features Modisch includes and reports on.

Hexagon follows all things conceptual and minimalistic within the fields of fashion, art and music. It aims to open the publics’ eyes to new ideas, new happenings, new sights and new sounds, but also look back and celebrate the artists who have sculpted the creative paths used as guidance and inspiration.

Magazine Hexagon

PR Bolt Publicity Joint project with class mate David Labuschagne, Bolt Publicity was a theoretical PR company set-up in a university project.

Trend Booklet Menswear Autumn/Winter 2011/2012 Publication showing development of four trends. In each, related research, fabrics, colours and predicted looks were presented.

Journalism The next two articles, ‘Suprematism’ and ‘Snap, Flash, Develop’, were written for university projects. The following two articles, ‘The Alternative Valentines Day’, and ‘Spring has Sprung’, were published on the website FashionBeans ( a male fashion website).


Like anything materialistic, Art also complies with trends. Over the past centuries, there has been a noticeable rise in creatives broadening their horizons and experimenting with different techniques. Movements are formed and consequently followed. But what about those forgotten movements? The ones that have influenced many of the things we see today. An art movement that was first developed in 1913 by Russian Kasimir Malevich could fall into this bracket. Heavily influencing styles such as minimalism and conceptualism, Hexagon asks the question…whatever happened to Suprematism?

In 1913, a Russian artist named Kazimir Malevich set about creating an art movement which would: “liberate art from the ballast of the representational world”. It would pioneer the use of pure geometrical abstraction in painting and would heavily influence the future of modern European art, architecture and interior design. Malevich named his creation Suprematism. But with the directions of art constantly changing, how did it maintain popularity when its primary ideas were relatively simple? And why do the foundations of the Supremist movement still resonate in today’s world? Kazimir Malevich was born 23rd February 1879 in a region that is now known as Kiev, Ukraine. Until the age of around 12 or 13, he knew nothing of professional artists, but became completely enthralled with the creative works of peasants. This particularly included embroidery. After the death of his father in 1904, Malevich moved to Moscow to build on an already strong artistic education. In his early work, avant-garde artists such as Natalia Goncharova and Mikhail Larionov, who both were particularly interested in the Russian folk art, lubok, influenced Malevich heavily. After several years of successful exhibitions and even a handful of well-reviewed theatre set designs, meant that Malevich was well on his way in forging a successful career. It remains one of the greatest mysteries of 20th century art that he risked all of this when he presented the idea of Suprematism. Having being an artist who had relied on forming deep relationships with nature in his previous works, the idea of producing pieces with no link to nature or emotion was certainly something that had not been seen before.

In late 1915, ‘The Black Square’ was exhibited publically at a gallery in St. Petersburg. There was uproar within the art world, as many did not how to take the minimalistic nature of the work; a black square, painted with oils on a blank white canvas. Famous art historian and Westernizer, Alexandre Benuis criticised Malevich’s work heavily and even stated that the first Supremist piece would be “the death of painting.” The Russian however, considered it to be the beginning. He believed that painting could finally concentrate on the pictorial qualities of art itself and achieve pure sensibility. “The square is not a subconscious form. It is the creation of intuitive reason. The face of the new art. The square is a living, regal infant. The first step of pure creation in art.” Malevich set about producing a vast number of works. Some of the most notable were; ‘Airplane Flying (1914 oil on canvas), ‘Boy with Knapsack (1915 oil on canvas) and ‘White on White (1918 oil on canvas).

However, the most powerful movement in the completely abstract art in the early twentieth century was inextricably linked with the Russian Revolution. When it began in 1917, Malevich’s art became an examplar for not just the creative world, but also in terms of social and political differences. A well-formed group joined Malevich in his quest to bring Suprematism to the masses and they began to construct a movement based entirely on non-representational art. It was these works that there were links to be made to the cataclysmic social forces that were to transform the Russia of that time. The era in which Stalin came to power dealt a huge blow for the movement and became one of the heaviest acts of censorship in art history. Suprematism, as Malevich tells us, “originated neither from Cubism nor from Futurism, neither from the west, nor the east. For, non-objectivity could not originate from something else.” Simplicity is key. Shunning all potential for cultural and emotional references, Suprematism allows the audience to view art as it should be viewed, non-objectively. In a modern world of technological advancements in all areas of art and design, we must pay homage to icons such as Malevich. Suprematism pioneered the use of geometrics and block colours in art and its fair to say that without this movement, the landscape of creativity could be very different today.

Snap, Flash, Develop.

I find that the simple pleasures in life are best. This can relate to all manner of things but none more so, I believe, than having a roll of 35mm film developed. Since their inception in the 19th century, cameras have developed in shape, size and quality. The very method of how an image is processed has inevitably also changed, due to the development of digital technology. The term ‘camera’ derives from the Latin term ‘camera obscura’ which basically means ‘dark chamber’, in reference to their construction in early development stages. All work on the same principle. A hole is placed at the front and through this, light is received. A lens manipulates and focuses the light on a capturing surface, which is situated to the rear of the camera. In simple terms, a camera works in the same way as an eye.

Where once all images were processed on photographic film, at a relatively slow rate, advancements in technology now mean that photography has surpassed what many deemed possible. The birth of the digital camera meant that images were now captured through an electronic image sensor. In turn, these are then stored on a compatible storage device, such as a memory card. The number of images which can be stored is dependent on the size of the memory card. All this you have probably heard before, generic facts and common sense aplenty, but why am I really here discussing cameras? I am here to fight the losing battle of the traditional film camera and tell you why you should invest in the past, rather than the future. My first strong memory of a camera was around 1998 (not that long ago I know), when I went on a family holiday to Majorca. My mother had recently purchased a film camera, which looked not dissimilar to that of a modern day disposable, perhaps slightly more bulky. I remember getting into a pose by the pool, waiting for my mother to say: ‘smile’, and then that moment was captured. I didn’t know what the image looked like, nor did my mother, but it was something about this that made the photograph seem more natural. It wasn’t edited or retaken. The memory was captured there and then. Repeat this method 35 times and a roll of film/memories is complete. Everyone recalls waiting for photographs to be processed. It is quite a magical experience. Once received, they are flicked through with pleasure and the subtle need to expect the unexpected. All this, however, boils down to my perception of what a photograph should be. A photograph should be a moment that is captured once. This moment will never repeat itself, nor should one try to change or manipulate it. The image should be completely natural, no retakes, no second chances. That is the beauty of the art of photography.

I cannot for one minute show disapproval towards digital technology. Our generation have developed some of the greatest technological advancements ever. I find progress like this both reassuring and fascinating. It has broadened the fields of science, creativity and healthcare (to name but a few) further than the expectations of most and in a relatively short space of time. This can also be said for the field of photography. SLR (Single-Lens Reflex) cameras are amazing pieces of machinery and the inception of cameras in phones and tablets has also been inspiring to witness. It just seems a little too fabricated for me. For something that should be so individual, it seems that the use of technology has stripped this away. So to all you gentleman out there, next time you want to purchase a camera, stay away from high street deals and source a vintage film camera. A good one can be found for anywhere between £25 and £100 and range in aesthetic quality. 36 exposure 35mm film can be picked up for around £5-£6 including processing. Think of it as an investment in your memories and trust me, you won’t be disappointed.

The Alternative Valentines Day

Saint Valentine. He’s got a lot to answer for hasn’t he? Giving global corporations the impetus to cash in on our willingness to celebrate THAT four-letter word. But what about the 14th Februarys’ forgotten few?

For many of us single folk, it’s a time to reflect on what should have been, as well as what could be just around the corner. However, as someone who always turns negative situations into positive ones, I believe that Valentines Day can be more special to the unattached male than first thought. On average, during this ‘holiday period’, men spend twice as much as women on gifts. So this year, instead of trying to woo ‘the unattainable one’ with chocolates (that she will probably never eat), flowers (which will probably end up at her grans) or racy underwear (which she will probably wear for someone else), invest in the most important thing… you. 

 Remember the most important rule of this investment… you are the hardest person to impress, so put a little bit more effort in than you normally would do with a girl. £200, for me, seems to be ideal price territory for gift buying. Anymore seems a little excessive and any less seems a bit cheap. Once your price limit has been set, relax and have a long hard think about what you WANT. NEED is not a word that should be crossing your mind through this process. This is a season for knitwear lovers, so splash out on a luxury chunky cardigan, or a cashmere V-neck that can be used in layering. Buying trousers can sometimes be tricky so I believe that you can never go wrong with a straight fit jean or chino. Dark washes and colours will be able to be worn with the majority of what you own and quality is key when looking for the bottom half of an outfit, so don’t recoil when a large price tag is present.

Spend wisely. My personal opinion is that if I have a set amount of money, I look for an expensive piece that I will both wear a lot and keep for many seasons. I have wanted a pastel blue Dries Van Noten shirt for a few months now and the tone will complement my wardrobe well. This retails at around £155 so I would even have the added privilege of change. I might even spend the rest on a nice new scent, or maybe a few white American Apparel t-shirts. It’s amazing that in this time of potential loneliness and self-doubt, the rekindling of an old beautiful flame called fashion has reaffirmed my faith in love. A love that will always be reciprocated…

Spring has Sprung!

As the doom and gloom of a treacherous winter is left behind, expectations for a beautiful summertime are high. This unprecedented hunger for better weather could be matched only by the need for exciting spring/summer clothing. After the designers set the standard, the high-street stores were passed the “fashion baton”. I must say, they have delivered extremely well.

In this article, I’d like to discuss a topic that is always on the lips of male fashion followers. Something, that is so often done so wrongly and is paralleled by the ease of which it can be pulled off perfectly… Colour. That’s right. Colour. It’s OK. Definitely no need to retreat behind the couch, hide and tremble behind a cushion. Colour is nothing to fear. The next few paragraphs will show you how to use colour to your advantage and make it work in tandem with your existing wardrobe. I will also include the odd bit of advice regarding what to avoid and why.

Treat Colour as a best friend who has holidayed for the winter. Welcome its return. Embrace it… and love it.

The most frequently made mistake when wearing colour is possibly the most important thing that needs to be correct. DON’T overdo it. As more and more designer and high street stores are including colour in their collections, one may be tempted to purchase a full spectrum of items. Resist this poison apple. No one wants to sit with a man whose clothing outshines the sun. Colour Basics

I find that the best way to make the transition from a typical winter outfit to a typical spring outfit is small changes. For example:

Wear a coloured polo shirt underneath a blazer or cardigan. Spice up an outfit with a pair of brightly coloured shoes. As the weather gets warmer and more reliable, swap for espadrilles or flip-flops. It may even be chance to swap that scarf you received at Christmas for a more vibrant, lightweight type. Zara seem to be particularly brilliant at providing alternative neckwear this season. At work, take one day a week where a tired winter-worn shirt is swapped for a more illuminating option. Another key thing to remember about colour is that it has to compliment your skin tone. Light skinned folks like myself are unfortunate in this aspect, as there are colours we must strictly avoid. Pale colours such as orange, lemon and soft greens will make one look washed out and drained. Stronger colours such as navy or a vivid pink will work well. Olive toned and darker skinned men are lucky due to the fact that any colour will suit.

Seeing as the sun is only just emerging from a deep slumber, take this article as a starting point. The firing gun, if you may, which sets you off on a six-month marathon. I suppose what I am trying to emphasise is that just because the month of March is now in full swing, don’t automatically think that spring and summer wear is suitable everyday. Wake up, look outside and plan your outfit accordingly. More importantly… enjoy it.

Jonathan Bracewell


Current copy of my univeristy portfolio