When you think of reportage, you think of something serious. The set was extremely intimate, and he stayed for two extra hours. We want to walk away from the shoot feeling sexy, strong and confident. Ryan has had a big impact-he helped shape our approach to photographing men. That was an iconic moment for us that took on a life of its own online. We approached him for the story on Ezra Miller. Ryan’s work is very erotic and beautiful, personal and intimate. We knew that in any profile, we wanted them to look and feel sexy. We had been shooting men in the same way, a basic profile shot, and not showing their personality. PDN: What are some stories and photography you have assigned recently?ĪW: Ryan Pfluger was one of the first people we approached as we moved to our new direction. Pfluger “helped shape our approach to photographing men,” says Wilson. Actor Ezra Miller photographed by Ryan Pfluger. It allows us to think holistically about the year and create something unique and even evergreen with each issue. In addition to taking on causes through our themes, now we have several celebrity and thought-leader profiles, pictorials and still lifes in each issue.
We now have the opportunity to dive fully into a theme and bring it to life through many perspectives. When we had one Playmate or one celebrity profile in an issue, it sometimes had a one-note feel. We use the quarterly themes to inspire us editorially. We see those as the core values and causes of the brand. Those will continue to be our four quarterly themes. And next year in Q1 we will begin with Equality. PDN: How has switching from a monthly to a quarterly changed how you work or what you assign?ĪW: We have four themes. I work extremely closely with the creative department and the creative director, Erica Loewy. My department is in charge of producing all the visuals across the company. PDN: Your title is “senior director, multimedia.” What are your main responsibilities?ĪW: I started as the photo director on the print magazine, and then inherited all the digital photography as well and then I just recently inherited the video department. There’s a timelessness to Playboy that we’re trying to instill.
We want it to be aspirational and to have sex appeal and to feel classic.ĪW: It’s a little bit nostalgic. What unifies it is that we’re still Playboy. We do expansive artistic shoots with models and sets.
We do reportage, portraits for celebrity profiles, still lifes. Even in our marketing, we want the images to feel like an extended portrait: They’re all about the subject, showing their personality, showing the story, how they feel and what they want.Īlthough Playboy’s nude photography gets a lot of attention, we do much more than that. Playboy worked with Dali, Warhol. We want to embrace new and upcoming artists and be seen as a platform for people who see this as a serious art. PDN: How would you describe the visual style of Playboy, and does it carry across all aspects of the brand?ĪW: Since we’ve begun publishing the magazine quarterly, we lean on the heritage of Playboy as an art magazine. John Vlautin, head of corporate communications, was also on the telephone call. PDN interviewed Anna Wilson, senior director for multimedia at Playboy, about choosing photographers to shoot for the brand and the quarterly magazine. As the editor’s letter in the winter 2019 edition stated, “Today, we strive to be more inclusive, stretching and redefining tired and frankly sexist definitions of beauty, arousal and eroticism.” In addition to hiring new photographers, Playboy media has a new focus and a new style. In 2018, Playboy unveiled a redesigned website and announced it was reducing its magazine’s frequency from six issues a year to quarterly.
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