Paul Willoughby

One of the publications we are fond of here at KLLKT is bi-monthly film mag Little White Lies

whose stunning cover illustrations make it leap of the shelf. The magazine’s creative director Paul Willoughby is the man behind a broad spectrum of these aesthetically and conceptually sharp designs, which vary impressively in both style and technique. We caught five minutes with him to discuss his work and his Creative Agency The Church of London ‘s new gallery space at 71a in Shoreditch.

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KLLKT: I guess we should start at the point whereby we became familiar with your work, the cover illustrations for the brilliant Little White Lies magazine of which you are also the creative director. To what extent are the illustrations a testament to your passion for film?

Paul Willoughby: The covers are more a reflection of my love of illustration and graphic art within design for film. Kind of relating to the Polish film poster movement, and the 60s/70s approach to american film imagery, which embraced illustration/artistry. 

K: One thing that struck me almost instantly when visiting the recently opened gallery space at (your creative agency) The Church of London, was the incredible range of styles and media that you incorporate into your cover illustrations. Is there always an attempt to ensure you are undertaking fresh approaches or are the works more influenced by the films themselves?

PW: Both. The film inspires an aesthetic intent, and the aim is to break new ground in my work as much as possible, as exciting moments often happen outside the comfort zone. Peter Saville talks about the point between A and B, so you start out with the best intentions and a snapshot of what a project might look like, then the most meaningful and rewarding moments come in that middle ground. I love surprising myself, at least then you know you’ve progressed.

K: Perhaps my favourite of the LWL covers is the Michael Fassbender ‘Shame’ piece which is a collage subtly made from pornographic images, how important is it for you to encompass conceptual meaning to your illustration work rather than just aesthetics?

PW: Very important. A sound concept yields a more rewarding depth of experience for the viewer.

K: Do you get more satisfaction from your work gracing the cover of a magazine, or it being displayed in a gallery?

PW: Tough one, but I’d say both, as they feed different parts of the artists psyche and communicate to a different audience. With a cover, your guaranteed thousands of eyes are going to see it, with gallery work perhaps less so, but theres a very personal connection related to presenting your ideas in a space.

K: Are there plans for another solo exhibition any time soon where some of your other personal work will be displayed?

PW: I hope so. I’ve got a couple of ideas brewing that should suit the gallery experience.

K: How did you come to establish The Church of London?

PW: Through meeting two exceptional blokes whilst working as an intern for a board culture mag called Adrenalin. 

K: In your capacities as creative director, designer and illustrator, which do you take most pleasure in?

PW: I sometimes hit what Mihaly Csikszentmihalyi describes as a flow state whilst drawing. Or something like that.

K: With both Huck and LWL firmly established, 71a’s new gallery space open and regularly hosting events, what comes next from TCOL?

PW: Many sound contributions to the creative industry we hope.

To get a closer look at Willoughby’s work, head to 71a

 Leonard St, EC2A 4QS or pick up a print/copy of LWL from the shop here .