IN CONVERSATION: LOUIS BEVER ON ART, FOOTBALL SHIRTS & FLAT 92

Enshrined in a sense of honesty that underpins his stylistic intent, Louis Bever’s portraiture photography delivers a distinct warmth of feeling, blending his own passion for football and painterly artistic points of reference to culminate in portraits that feel intimate and deeply personal. Often shooting models within the comfort and confines of his own home, Louis’ instantly recognisable approach has seen him go from strength to strength as a photographer, shooting an array of campaigns for clients from Ralph Lauren and the TATE to Manchester United, Arsenal and Wimbledon.

Following Louis’ Flat 92 project, where he catalogued an extensive football shirt collection through a photography series inspired by paintings and shot in his bedroom, we linked up with the London-based photographer to launch adidas’ series of Third Jerseys for Real Madrid, Arsenal, Bayern Munich and Manchester United. Pairing the jerseys with paintings by artists from each club’s home country, Louis continues to introduce his frame of reference through subtle transcriptions and nods to classic artworks from L.S. Lowry, Francis Bacon, Grant Wood, John Constable, Juan Gris and Albert Gleizes.

Sitting down with Louis following the shoot, we discussed his approach to photography, the influence of art on his practice and how football fits in with it all.

I read that you had originally studied law before studying an MA in photography. How did you first get started as a photographer?

My grandfather was an officer in the army and spent much of his life taking pictures. He travelled a lot and always had a camera with him. He then gave me his camera when I was 10 or 11, and I instantly became intrigued with taking pictures. Moving around every 2-3 years, it became a social icebreaker when it came to making new friends, especially through skateboarding and football. 

I have always had photography as a hobby and have constantly taken pictures. It then became my full-time job in 2021, fortunately. Even during law school, I always carried a camera with me, taking pictures at parties, in the library, and capturing life on campus.  I was slightly torn about doing a Master's in photography. It was great meeting technicians who taught me how to use the equipment, but I’m not very good at analyzing pictures and their meanings. I reckon it all boils down to a gut feeling. If you think something looks right, along with a bit of excitement, then take the picture. Not everyone will like your work, but that doesn’t matter. As long as you like it. 

Additionally, I wasn’t accustomed to people being so overprotective of their work in London. It’s just a few JPEGs; share them, because people will forget about them in a few days. You’re not that special!

Your work tends to focus on portraiture, often captured in your own home. What appeals to you about taking portraits?

It’s either because I thoroughly enjoy home comforts and being relaxed, or I’m lazy. I love shooting at home because it makes the process of taking portraits less intense. I feel that many photographers approach photography in a theatrical manner. They need a stylist, MUA, hair stylist, studio, this and that. This is all then plastered over Instagram. In my opinion, just take the picture rather than iPhone pics of the set. That classic ‘here’s my bin bag full of rolls of film in my hand shot’ annoys me more than it should. I’d like to see the pictures, not your bag of film or Salomon shoes on set.

To be quite honest, all you need is a camera and an idea. Just shoot it wherever it is most convenient for you! Easier, cheaper, and far more comfortable for your subject. I completely understand that for some projects, this is not possible; however, if you’re shooting single portraits of someone crossing their arms against a wall, why do you need to rent a studio?

I love how David Bailey would invite his mates and subjects over to his flat to catch up and take pictures. He inspired me to do the same. The biggest compliment was when Arsenal decided to do this ‘home’ theme in their recent campaign for their third shirt and kindly let me shoot it. This was shot in a studio, however; I can’t imagine half of Arsenal’s team sitting in my East London flat. 

A lot of your work sees the subjects you’re photographing captured wearing football shirts – what importance does this have to your practice?

I’ve collected football shirts since I was 15, and I just wanted to display them. I remember seeing football shirts being shot in a very nuts/zoo mag manner, which isn’t my cup of tea. Rather than showcasing a model in a skimpy football shirt, I wanted to showcase the shirt and the subject in it equally. I love shirts and taking portraits, so it worked perfectly for me. 2005 Soccer A.M. is a thing of the past. 

I love taking people’s portraits, but it’s important to add a bit of yourself into a portrait. For me, it was football memorabilia. The art helped to pose the subject. If a painter spent years doing a painting and chose a certain pose, there must be a reason behind it. The only difference is that it takes 1/125th of a second for me to take a picture. I don’t have the patience to spend a gazillion years painting a portrait. 

Football has come full circle in recent times, becoming a hot commodity in fashion and popular culture further than it ever has before. Has football always been a big part of your life?

It’s helped me make friends growing up, and I’m from a big football family. I feel as if football families are like families that ski. You either do it or you don’t. Funnily enough, I would say both my nans are the most passionate about football, so a lot of phone chats involve transfers, fixtures, and fouls rather than my love life and when they’ll be becoming a great-grandmother any time soon.

I grew up abroad in Italy and France, where the passion for football is admirable. Growing up around that was great because the passion is far different than that of English football fans. Obviously, growing up abroad, I’d always been an Arsenal fan, but you feel more British when you’re abroad. I naturally just loved English football more, as I wanted to get my French and Italian fans into the Premier League. 

Reimagining iconic paintings and classical art through the lens of modern football culture, your Flat 92 Project has struck a chord amongst many. What was the guiding inspiration behind the project?

I’m quite surprised anyone was interested, to be honest. My mum got me into art, and my dad got me into football. Naturally, I love nostalgia, so I created the project because I have great memories of looking at art and watching football. When my dad was away with work, my mum would drag my brother and I around galleries. I would then go to the football with my dad. I was quite selfish, only focusing on the things I genuinely enjoy, so it’s nice to get a thumbs-up from people. I love modernising the old paintings because it’s like a challenge. Trying to match subjects with paintings and vice versa. But it’s also the small details, like gloves, hats, and scarves, that replace the ones in 400-500-year-old paintings. Puts a smile on my face when I stumble upon a match.

Transcribing infamous paintings into a modern context sits at the core of your work with Flat 92– what is it about that process of transcription that inspires you?

I’ve come to the realisation that everything has been done and everyone is inspired by someone else’s work. It’s actually something I say a lot to people about the creative scene in London. If you think your work is special, it’s not, and if you think you are replaceable, you are. So just enjoy making things and add as much of yourself into your work as you can. If you’re inspired by something, be inspired by it and create something that reflects you with genuine interests. It’s great because it keeps your brain busy and you look at everything differently. I even drew inspiration from a Ryanair safety manual while waiting for the plane to take off and turned it into a collection of pictures. 

Having an attitude that your work is just as good as everyone else’s takes the pressure off and just makes making things far more enjoyable. Naturally, you then make more as you know you like it, and it’s a bonus if other people do too. 

Transforming commonplace moments of domesticity captured in your own flat into iconic visual moments, you have distilled the everyday and transformed it into the sublime. What was the importance of the home in taking these photos and creating these works?

I thoroughly enjoy glamourising the mundane. Even when I’m outside the flat taking pictures, a lime bike in the right light catches my eye more than a great view. I’ve captured these very simple moments that we experience every day, such as making tea, watching TV, or being on the phone. Still, I’ve done so using a large medium-format camera and a sophisticated lighting setup. We are so accustomed to seeing similar projects being churned out online that I always thought it would be fun to take a conventional portrait shoot out of the studio and do it somewhere more familiar. 

Creating this editorial for END. and adidas Originals, how did you choose the paintings that would serve as the inspiration for your photographs? 

It was a hugely enjoyable experience matching the team’s cities with artists from various countries. Using Adidas accessories to replace multiple objects within the paintings, then. Matching the colours with different clothes.  The subjects who were photographed were all based in London. Some I’ve shot before and some I haven’t.  Adidas has always been hugely supportive of my work, and I would like to thank END. for having me.