5MINS with Alejandro Cabezut
Alejandro Cabezut is featured in the latest issue of #PHOTOGRAPHY Magazine, at only 21 he's fast becoming one-to-watch in the world of fashion photographers, we recently caught up with Alejandro for the low-down on his work, inspirations and advice for aspiring artists.
Hey Alejandro, first of all, can you tell me a little bit about yourself? I read that you grew up in Mexico before moving to Los Angeles. What made you want to become an artist, and why photography?
I was born in Monterrey, Mexico but also lived in Texas growing up. I still go back a lot and it’s very important for me to retain my bicultural identity. I actually technically don’t live in Los Angeles, but rather travel here once a month for about two weeks to shoot. I never really thought of becoming an artist… It was more of a gradual thing that I fell into. I always liked lionizing pretty people and was very into style, which I think are contributing factors as to why I ended up in fashion photography.
Was the choice to work in the fashion industry something that you’d always had in mind?
Pretty much as soon as I picked up photography at age twelve, yes. I didn’t really see it as a career but rather as something I liked to do as a hobby, probably because I was so invested in the traditional academic route at the time.
You mentioned that you were doing a shoot the other day, who that was for and how did it go?
I actually shoot all the time, so I couldn’t say I remember specifically which shoot I was referring to. I really try to make it a point to have fun during shoots. We’re all there to do something we love after all, and it’s not like fashion is serious business… as in we’re not saving people’s lives or directing the future of nations, so my sets tend to be relaxed and light-hearted.
The first editorial piece in your Them collection was featured in our last issue, what was it like shooting on a public street rather than a closed set or studio? Are there ever any major issues when working in this sort of environment?
I actually seldom do studio shoots (as you can tell from my portfolio). I much prefer shooting on location, I think it serves to promote a sense of fantasy in photography and can be much more immersive than run of the mill studio shoots. Not to say that studio shoots can’t be exquisite, but I just prefer to be in the open world. As far as major issues, just the ones one might expect. When I have teams of this size (I think for this shoot we had a team of 14) I sometimes feel like I have to herd the cows, but once you get the ball rolling it’s all fine. It’s also a bit more hectic being in a creative director position for larger shoots because you have to run around making sure everyone’s executing what they’re supposed to be, precisely and timely. But I’m not complaining!
Do you prefer this sort of setting to studio work, which is typically much more controlled?
Definitely. No studio for me, unless the project specifically calls for studio, which is usually not the case.
As a modern-day photographer, what inspires you to produce work?
I guess for me the biggest inspiration is the need to not be stagnant. The ideas simply come as a consequence.
Is there a piece of your own work that remains your favourite out of everything you’ve done so far?
I think my newest work is always what I like best. I like new things for sure! Since I still learn so much every time I shoot I think I can noticeably see a difference between the work I did, say a month or two ago, and the work I’m producing today. Although there are some gems that I shot back in High School that I’m particularly proud of, those being Don’t Look Back! and Heist.
The images you shot for the Don’t Look Back! series had much more of an obvious storytelling element to them than the majority of your other work. Do you prefer working with a narrative or focusing more on the actual fashion?
That was actually the first editorial I shot when I was 16. Doing shoots like that is great but they’re very resource consuming and it’s hard to get the manpower to do shoots like that. Others that I’ve done in a similar fashion are Heist and Jaywalkers, and the logistics make it significantly more difficult to execute than other types of editorials. Since I’m sort of a one man show in the sense that I produce, creative direct, and photograph all my shoots without an assistant causes those types of larger ‘passion project’ productions to not be as frequent, but I’m hoping to orchestrate another one very soon.
If you could shadow one artist for a day, who would you choose and why?
Steven Meisel for sure. He’s just amazing, his understanding of culture, emotion, and fashion and how he melds the three together is just mind-boggling. It would be even better if I could trade places with him for one day, I just can’t begin to imagine the possibilities of working with the endless amount of resources he has!
So you’re currently only 21 and have already established yourself as a successful photographer. What advice would you give to aspiring fashion photographers just starting out?
I guess if you really want it you’ll figure it out one way or another. Up until a little over half a year ago I never had access to resources in a larger market, I shot the same four girls in good ole’ San Antonio, Texas until I first came to LA to shoot in July of 2015. If there’s a will, there’s a way homie. And if you’re sitting around and it’s not happening, go out and take it. I’m still working on that one myself, to be honest.
Finally, what are you planning next? Is there anything you’d love to do this year that you haven’t already, a photography bucket list almost?
My plan is to continue the climb up the gargantuan mountain that is the fashion industry. Sure, there’s lots of things I’d love to do. Shoot Maartje Verhoef in some badass Valentino, maybe shoot the cover of Bullett or Oyster, Dazed & Confused maybe? Have a staring contest with Anna Wintour for sure. There’s lots of things, hopefully they’ll all come true.
See more of Alejandro's work in #PHOTOGRAPHY Magazine Issue 15 and online here
