Felice Fawn’s Eye
On Lookbook.nu there’s this photographer from Cambridge named Felice Fawn who’s figured something out about fashion that most people miss. She started shooting at fourteen—just snapshots of pets and family at first—but by sixteen it became something serious. She trained as a tattoo artist in her hometown before switching to fashion photography at nineteen, and since then she’s been documenting the weird specificity of how people choose to dress.
Cambridge gave her something. She talks about loving how the place is this mix of landscape and city, with all these wide open spaces around. Most of her family lives close by. I think that kind of rootedness shows in how she approaches her work—there’s no desperation in it, no hunger to prove something. She’s not trying to escape or make it big in some industry sense. She’s just looking at what’s in front of her and figuring out how to photograph it truthfully.
What strikes me about her work is how personal it stays even while she’s building a professional practice. She prefers her own projects to client work, which makes sense—in her own shoots she can pour all the time and obsession into getting something right. She’s been influenced by Patrick Demarchelier, who has that quality of catching something true in a frame, and she hunts ideas in unlikely places—shop windows, music, the everyday. The sources don’t have to be other photographers or artists. They can be anything.
She’s living in Cambridge with her boyfriend, five years in, completely settled. Three friends she’s kept since she was twelve, people she shares a specific sense of humor with. That stability matters. It lets you do serious work when you’re not constantly scrambling to figure out who you are or where you belong. She reads Vogue and Harper’s Bazaar but also watches American Dad and Family Guy, which tells you something—she’s not precious about culture. Good is good whether it’s in a magazine or on a late-night comedy sketch.
The music anchors her. Radiohead and Thom Yorke solo recordings are what she listens to, and those are artists who care obsessively about texture and mood, about getting the small details right. I see that same attention in her photographs. She loves pastel tones and floral patterns, not because they’re trendy but because they’re soft and specific and searching—there’s something incomplete in them, something that pulls you in.
What Lookbook.nu gave her is permission to exist in a community of people who think seriously about clothes. Not fast fashion, not trends. It’s about how you move through the world, what you choose to wrap yourself in, how that becomes a conversation with everyone else paying attention. The feedback loop is different there, more peer-to-peer obsession than traditional fashion media gatekeeping.
Twenty years old and she already knows what she’s after. That clarity at that age is rare. Most people are still scrambling, but Felice has her influences locked down and her practice shaped. She’s hunting for something in how clothes and light and a person’s stillness come together in a frame, patient enough to wait for it.