Interview

THE BRIGHTON BASED STUDIO bRINGING CREATIVE COMMUNITIES TOGETHER

The Collective Light founder Chris Wild on how he created the studio through his love of working with creatives.

A creative space should be one of enjoyment, allowing the team and ideas to flow as the work is created. In Brighton such a place exists. The Collective Light, set up by founder Chris Wild around 9 months ago has allowed the creative community in Brighton to come together and produce work they can be proud of.
The studio not only allows photographer Chris, inspired by 60’s & 70’s fashion, to create his fantastic concepts but also an opportunity for others who have a passion for creating to share their ideas too.
As various factors put increasing risk to the arts, creative spaces like The Collective Light become more important in giving people somewhere to do what they do best.

TYG: Hi Chris, please tell us about The Collective Light. How long has the studio been going and how/why did you start it up?

Chris: The studio has been going for around 9 months now. It is based on a few simple principles: (1) We wanted to help local creatives grow and nurture here in Brighton. (2) We offer a creative space for professionals and students to develop and express their talents at our studio. (3) As a creative photographer, I wanted to express my love for vintage fashion, the modernist movement and the 50s-70s in general

TYG: How did you become a photographer yourself?

Chris: I have been documenting the Mod scene here in Brighton for close to 15 years, but mostly on the street. By moving into a studio, I have more artistic control over concepts that I couldn’t achieve otherwise. I have had close to a million views of my Mod Weekender photographs, which are publicised each year via ModCulture.co.uk 

TYG: On your website, you describe how you are heavily influenced by photographers such as Man Ray, as well as 60's/70's fashion. What is it about this that has influenced you so much?

Chris: I lived in Brussels for 5 years and immersed myself in Surrealist & Dadaist art, particularly photography. My inspiration for those was ignited by an exhibition of Surrealist Photography in the Pompidou, Paris. I have always been a rule breaker and maverick, hence I sort of found my identity in their work. My passions also run into cinema, magazines, books and music. I have spent many years assembling vinyl from around the globe. If it’s marginal, contrary to mainstream and challenging, then I am all in.

TYG: What is the aim of The Collective Light?

Chris: As mentioned before, I love working with creatives. I believe strongly that the arts uphold the soul of who we are. With threats to the arts coming from funding withdrawal, AI and online distraction, it has never been more important to protect and nurture our creative selves

TYG: What is it like being able to meet all the different creative communities through The Collective Light?

Chris: I work regularly with models, makeup artists, hair stylists and more recently, vintage clothing fashion historians/resellers. I have also been approached by musicians who like my aesthetic. Meeting those people, I get an upsurge in creative energy and learn lots about all sorts of creative worlds. My style of shooting is to collaborate around a vision where each person brings their own creative energy. Seeing the results that are produced and sharing them is perhaps the best part of all.


TYG: What is the creative scene like in Brighton?

Chris: The Brighton scene has always been a hive of creative talent. There are so many people here who are passionate about their art. It is why living here was always a life goal of mine, having travelled far and wide with corporate work beforehand. The other great thing about living in Brighton is that everyone can just be themselves. Though there is judgment and. prejudice in all walks of life, Brighton is just more accepting of people than anywhere else I have been

TYG: Do you have any particular favourite shoots to date, and why?

Chris: I have collaborated with so many great people in my work so far that it wouldn’t be right to judge any one shoot against another. I can honestly say that in almost every shoot I have worked on so far, I have achieved some great results. From an aesthetic point of view, the Modernist fashion and social commentary shoots are the ones that I love the most.

TYG: How do you normally go about coming up with a story/idea to creation?

Chris: I use cinema and magazine references mostly. I love French New Wave, Italian Giallo and Japanese Nikkatsu films the most. That said I am inspired by the great Directors Nolan, Kubrick, Hitchcock and Clouzot. On the magazine side, I have a sizeable collection of Vogue, L’Officiel, Harpers, Femme Chic and my favourite Linea Italiana to draw from. The last component is my own creative vision - breaking photographic rules and standards, seeking frames and perspectives that challenge the viewer, and breaking exposure rules to push the boundaries of light and shadow. All my concepts are underpinned by a story - I often share this with the team prior to starting the shoot as it helps draw engagement, ideas and most importantly, emotional content.

TYG: What sort of things do you look for from a creative team on shoots?

Chris: Definitely freedom of expression. I will only fill the gaps in the creative vision if the collaborator needs more direction. Some of my best work has come from capturing others in their element. I have learnt in life that often you just need to step back and let others be great. I use collaboration chats, online inspo boards and any other references to facilitate and stretch the collaborators whilst remaining true to the creative vision and story for each image.

TYG: Do you have any further aims with the studio or any ideas on the horizon for new creative projects?

Chris I have been surprised by how quickly what we do has taken off. We have a long list of creatives wanting to collaborate, but I typically shoot with quality rather than quantity in mind, so it is taking a while to get through each creative brief. I need to rethink how to better manage my studio time and what I can commit to scale what we do. I am also discussing some collaborations with photographers I admire for 2026.