Brian Conway is one of Ireland’s great creative exports. The Irish born, London based freelance stylist and creative producer is something of a dreamy genius and inventor of fashion stories, from editorial to commercial, that go beyond the visible, the evoke a sense of something so ethereal and exquisite that one can’t help but fall into the tales he tells in the shoots he styles.

Brian’s work has appeared in major fashion publications such as Tatler, British Vogue, Harpers Bazaar Spain, Rollacoaster Magazine, The Hollywood Reporter and Empire Magazine while his commercial clients include Aer Lingus, Specsavers, Guinness, L'Oreal, H&M, Volkswagon. He splits his time between his homeland and London and continues to work with the international set. Here I spoke with him about his career so far, his favourite designers and how to long-lasting capsule wardrobe..

Brian, where did your love of fashion begin?

I was quite young! There are photos of me dressing up with my siblings from a very young age. I was also glued to fashion TV and fashion shows as a teenager, and that further fuelled my interest. Growing up in rural Ireland before social media was a thing, TV and magazines were my main outlets when it came to learning about the industry.

How did you get your start in styling?
I was exposed to styling when I was at university, where I was involved in the DIT (my college) fashion show. Through the show I met various editors and stylists which gave me a great insight into the industry in Ireland. I then moved to London for a short period of time to intern for the designer J.W Anderson where I had the opportunity to work with the brand’s renowned stylist Benjamin Bruno. I gained hands on experience with the styling, prepping the show with Benjamin, seeing the castings, fittings and backstage on the show day. I then went back to Dublin taking any knowledge with me to give styling a go. I did a test shoot for a friend who was doing a college photography project. A well known Dublin photographer saw this shoot and contacted me to shoot with them and it just spiralled from there really.

Moving to London, how does the industry differ from working in Ireland and how did you break into the industry in such a big, creative city?

It’s a completely different ball game. In Dublin I was one of the only male stylists on the scene. Moving to London I was a small fish in an ocean of bigger fish. Competition is so fierce here and to getting your foot in the door with any publication or getting to freelance with other big name stylists is incredibly challenging. I’ve been lucky to have worked with some top artists through my Vogue and LOVE magazine freelancing.

Yes, you’re a freelancer with Vogue, tell us about your work with the Bible and how that came about..

I started freelancing for British Vogue in 2017, shortly after I moved as a fashion assistant with Hannes Hetta, the following year I worked with fashion editor Jack Borkett as a fashion coordinator on the trend supplement for the Rihanna September issue cover where I got hands on experience on how to put together a magazine. I’ve been freelancing with them ever since. The knowledge I have gained from Vogue has been very useful for my career to date.

Your editorial work is beautiful, explain to us the process of bring such amazing shoots to life and the relationship with all involved as you create from concept to the end result..

Thank you! Team work and communication are the keys to success when it comes to editorial. It’s a collaborative process between the photographer, stylist, editor, movement director, set designer, model, makeup artist and hairstylist. You need to communicate your vision clearly to execute your vision as best as possible. In terms of process, it can really vary. Ideas could stem from the stylist, a photographer or are commissioned by an editor. If an idea comes from a stylist or photographer then there’s normally a collaborative approach to refine the mood and theme the idea, in addition to the various elements involved (from location to model). After that it’s straight into pitching the publication you have in mind for the shoot. Once commissioned I’d usually dive straight into turning the idea into a reality.

Who are some of your favourite photographers and creative directors you’ve worked with?

I’m really into shooting on film right now. It adds cinematic quality to the images. I really love what Grant James Thomas and Piotr Marzec are doing right now.

How do you balance between personal taste and opinions and working on commercial projects?

When I work with commercial brands, what’s most important is helping them achieve their objectives. This often boils down to producing something that would best resonate with their target audience. Of course, there’s always room to push boundaries and inject a bit of my personal taste too. But ultimately any form of creative flair or personal input has to make sense in terms of a brand’s core identity - otherwise you’ll end up with a huge disconnect with their audience.

Where do you find yourself most inspired or how do you continue to feel inspired to create new work?

I feel most inspired when travelling, I feel like my brain switches off from mundane everyday tasks. Seeing different cultures, architecture and art really gets my creative juices flowing. I also get inspiration from designers. If a designer produces something out of the ordinary in terms of design that I will want to shoot then that will help me lead my creative process.

What are some of your go-to designers?

I really look at what every designer has to offer. I review the collections post fashion month and have a strong database of who’s doing what for the season ahead. I love Bottega Veneta under the helm of their creative director Daniel Lee, who at the tender age of 33 has an impressive resume of Maison Margiela and Balenciaga. I also adore Noir Kei Ninomiya, he creates beautifully structured masterpieces. John Galliano for Maison Margiela is always a favourite. His work with movement director Pat Boguslawski on the SS20 Paris show is a must-see. Another brand I love right now is the PeterDo.

Are there any young up and coming designers you’re digging right now?

I love discovering new designers, I think it’s good to nurture young talent and give them a platform. I always keep an eye on the Central St Martins and London College of Fashion graduates along with the designer colleges back home in Ireland like NCAD, LSAD and The Grafton Academy. Right now I’m digging Patrycja Pagas, the UAL graduate who I have used in some of my most recent projects.

Do you have a favourite shoot you’ve done?

It’s too hard to choose one as I like aspects from all of my shoots. Recently I got to work with Bella Hadid and Kate Moss, freelancing under the major Katie Grand and her team for the LOVE magazine. That was pretty great.

Who are your own personal style icons?

I don’t think I have any personal style icons but I really love @yanggenn88 on Instagram. I really love the Korean and Japanese style. They are so ahead of the game. In terms of red carpet I love Timothee Chalmounts looks, especially as he doesn’t work with a stylist - they are all curated by him.

Major fashion faux pas you can’t cope with..?

This is a funny one, I used to despise kitten heels a few years ago and now I’m obsessed with them and they are all the rage. Like any trend my pet hates can definitely change over time!

Do you believe in closet editing or building?

I find it really hard to edit my wardrobe as I have a significant memory attached to each piece I’ve worn over the years. I also believe in keeping old pieces as they can be reworked with new pieces over time. If that sounds like hoarding to you or if you are into wardrobe editing you need to be cut throat. If you haven’t worn something in over 12 months then I think you should donate it to charity or sell it on Depop or whichever online platform is at your dispoal. In terms of building, it’s great to have a capsule wardrobe in mind.

What are your top tips for creating a trustworthy and long-lasting capsule wardrobe?

As I’ve matured my wardrobe mindset has majorly changed. I used to really buy into trends and I would get carried away with the low price of something. When I’m shopping now, I really think about how a new piece can work with my existing wardrobe. I think it’s really important when purchasing something new to think how it will integrate with your wardrobe and can you create three or more looks with it and what you already have. I try and stay away from fast fashion and trends and I really focus on quality and sustainability. I build my wardrobe around coats, for me that is the foundation of my look because living in Western Europe, we layer up for most of the year, a good coat can elevate any look.

Follow Brian on Instagram @briconstyle

Images with thanks to BriConStyle.com