When the return of seminal culture mag The Face was made official last week I noted on social media that “few things meant as much to me” as that particular magazine did back in the late 1990s and early 2000s.
The Face was a gateway to another world, and an accessible one at that. Sometimes I would recognise the people on the cover, other times not, but by the end of each issue I surely would. I came of age in the time of Harmony Korine, and Chloe Sevigny, and of Larry Clark and the return of New York garage soft-punk. I’m not ordinarily one for nostalgia, but I often long for the days when I would wander the aisles of Borders and pick up magazines like The Face, Select and Juxtapoz (incidentally, the last of those is the only one still running, and Borders is long gone too).
The return is nothing if not thrilling, not least due to the publisher’s plans to do a full-on print edition. I’m passionate and highly obsessive about magazine culture, and genuinely think that there is a place for publication like The Face in the contemporary landscape.
Paul Gorman, who, quite literally, wrote the book on The Face is in discussion on the return here.
The Glass Family 