My longtime collaborator, stylist Tony Lundström, designed the look for Dr. Denim's SS14 collection. Tony took his inspiration from the 80’s mullet, or Vokuhila (german)

During the late 1970’s and especially during the 1980’s, the mullet was a relatively common men's haircut. The style, however, fell out of favor in the 1990’s and now it is used extensively to indicate that a person lacks fashion awareness or is generally socially incompetent.

Combinations with a mustache called Vokuhila-Mischna where Mischna stands for Mit Schnauzer "with a mustache", or Vokuhila-Oliba which is an abbreviation of Oberlippenbart.

In Danish the mullet is called "svenskerhår", because many Swedish hockey player had previously worn this hairstyle.

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Edgy Fashion Photography

“Edgy and Elegant Photography- That's what I want to do"

Why Edgy Photography?

Modern, cool, contemporary… And yes, edgy. That’s how people usually describe the work of Berlin & Stockholm based fashion photographer and filmmaker Per Zennstrom.

A native of Sweden he is deeply interested in cutting edge technologies that shape modern image making - like 3D, 380° Video and Virtual Reality, but he applies that new knowledge with a firm grasp of the history and heritage of photography. Per is continuously striving to push the boundaries of his craft.. He himself is saying that he's “exploring the edges of photography”

His work often takes on a somewhat darker, edgier undercurrent that aligns very well with ambitious, progressive and fast moving brands. Per himself speaks of an “Edgy Elegant" look, a very precise translation of image making that is both sophisticated and laser sharp. It’s a unique look that Per Zennström has developed over the years which means a good dose of classic fashion photography + a twist to give it a special edge.

With his experience of over two decades of creative work all over the world, with all of the major luxury brands, his versatile talents as a visual storyteller often sees him donning the hats of photographer, filmmaker, online publisher and digital marketer. This experience allows Per to approach projects with a deep understanding of his clients needs and wants - sometimes he is actually able to formulate these things better than the clients themselves.

Cool, Contemporary & Modern

Per believes that creatives today need to step up to the plate and demand, or simply just take more responsibility for their projects, especially in the publishing phase of the project. Digital hasn't really changed very much when it comes to taking the pictures - the processes are pretty much the same. It's when we enter the publishing phase where the real revolution has happened. Today it’s possible to get your story across and reach almost anyone with an internet connection and Per is tirelessly exploring these possibilities both for himself and for his partners.

Originally hailing from the beautiful city of Stockholm, his creativity has allowed him to go all over the world, where he’s worked with some of the most prestigious brands of our time, including Dior, Guy Laroche, Nina Ricci, Absolut Vodka, Porsche and Bentley, just to name a few.

He’s lived and worked in the visionary hubs of Paris , New York and currently Berlin﹘which is evident in the decidedly high-end and cosmopolitan look of his work. In New York he learned his craft, in Paris he learned about fashion and now, in Berlin, he is exploring the new media & start up methodologies and how those processes can help him and his clients.

Per is fond of saying “As long as the girls look beautiful you can do almost anything” meaning that it’s possible to add edge to the images as long as you make sure that the bases are covered and that you have solved your client's problem.

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Cutting Edge Photography

For me it's clear that the real changes in photography the past 10-15 years have nothing to do with digital cameras or camera technology in general but rather in the distribution of images and how images are being consumed, looked at and shared. Cameras continue to take images, yes there are more of them and they are getting better and smaller but it's what happens after the image has been taken that really has matters today.

I try to take advantage of all the new channels and above you have an example of just this. My self published magazine Moon just came out with it's second issue and I'm using the magazine to connect with potential clients as well as shape my own image.

This was simply impossible 15 years ago.

There might be another shift happening right in front of us as we speak and that is the return of photography as personal history and the demise of it as fleeting and ephemeral media - see the self destructing images in Snapchat for example.

In the latest issue of The Information Sam Lessin argues that:

"The rise of AI-driven photo storage and organizing services like Google Photos heralds the return of photos as personal history, rather than as fleeting media. That signals a new battleground for tech companies over what value they can derive from a person’s photo history."

Edgy & Cool photography?

OK, Just go to work

I firmly believe that creativity is work - hard work. I do not subscribe to the notion that you simply sit around and all of a sudden the creative genius strikes you like a lightning bolt. Having said that I immediately come to think of that famous quote by Thomas Edison “Genius is one percent inspiration and ninety-nine percent perspiration.” I can honestly say that I really identify with that.

Doing creative work is about unceremoniously rolling up your sleeves and getting to work. You work, you discard, you change things around, you throw the ideas out, and start all over again. Rinse and repeat...

In my work with clients and partners, this has been my process for a long time now. You chip away at the marble block and slowly a shape starts appearing from within. Working creatively is just that - you treat it as work. That means that you have to develop and learn new skills as the work context is changing. You have to create a rock-solid process for your work. That means to only work on things that actually move things forward and creates high value, either for you or your clients.

So if the magazines you are working for start to scrap their print issues and put their money into moving images you don't whine about it, you learn to shoot video and edit in After Effects instead.

You need to become a pro at going to work!

Clients

ABSOLUT VODKA, ALTEWAI.SAOME, BENTLEY, Biba Paris, Bon Magazine, DIOR, Elle (French/German/Swedish), GALLERIE LAFAYETTE PARIS, GUY LAROCHE, HAHNEMÜHLE, H&M, LEICA, Marie Claire, MICHAEL SONTAG, Madame, MARC AUREL, MARC O’POLO, NINA RICCI, PORSCHE DESIGN, Qvest, Rolling Stone, SCHWARZKOPF, S:T EMILE, TOM TAILOR, TONI & GUY, Tush,

Per Zennstrom Photography, Bornholmerstrasse 88, 10439 Berlin

Edgy Fashion Photography | 2017