The second was the closer collaborations it fostered between photographers and stylists: explosive creative couplings like the late Judy Blame and Jean-Baptiste Mondino; Melanie Ward and Corinne Day; Isabella Blow and Sean Ellis.
The first was the shift away from location shoots to studios, where the photographer and subject could build their own world and be more experimental; shoots for the Face could be demanding and take all day.
This fast and furious energy also seems to stem from the fact that most of these photographers (many, like founder Nick Logan, from working-class backgrounds) were just starting out, and shared the same work-hard, play-hard mindset as the nascent magazine.
A fashion image shot by Norbert Schoerner and styled by Greg Fay and Justin Laurie sees the chiseled model Rufus Jordan in a sharp suit and cufflinks, with a Tesco bag over his head.
But the Face’s raucous sense of fun never wanes, enhanced by incisive wall texts that jettison art jargon in favour of anecdotes from photographers and stylists.
