Executive Overview
The COVID-19 pandemic reshaped the global consciousness, casting an eerie, unprecedented silence over the world’s most kinetic metropolises. For London—a city historically defined by its frenetic energy, perpetual motion, and the relentless hum of millions—the lockdowns introduced a surreal stillness. Gone were the bumper-to-bumper rush hours, the roar of overhead aircraft, and the crowded subterranean chambers of the Tube. In their place came an enforced domesticity, a period characterized by social isolation, digital communication via pixelated screens, and a profound, collective introspection.
It was within this historical crucible of uncertainty and seclusion that French photographer and Central Saint Martins alumnus Maxime Imbert found himself at a personal and professional crossroads. Having spent a decade planting roots in the British capital, Imbert was already contemplating a relocation to Paris when the pandemic struck. Instead of fleeing or retreating inward, Imbert chose to anchor himself deeper into the fabric of his adopted home.
The result of this meditation is Pulp, a poignant, vibrant, and visually striking new photobook published by Alep. Described by its creator as a "love letter" to London, Pulp serves as a counter-narrative to the prevailing cultural memory of lockdown as a time of passive hibernation. Rather than documenting individuals curled up in drab leisurewear or sinking into despair, Imbert’s lens captures a series of defiant expressions of identity. His subjects—shot within the intimate confines of their own homes—pose in striking, theatrical wardrobes ranging from neon bikinis and creative fetish wear to thigh-high silver boots and outlandish avant-garde makeup.
Beyond its striking visual aesthetic, Pulp functions as a sociological document of a strange historical epoch. It explores the reciprocal nature of portraiture during a time when human touch and physical presence were strictly rationed. Through hours of shared tea, intimate conversations about life, and creative collaboration, Imbert forged temporary yet profound bonds with a cross-section of Londoners, including friends, models, and fresh faces sourced via local casting directors.
This comprehensive piece examines the genesis of Pulp, the socioeconomic and cultural backdrop of London during lockdown, the methodology behind Imbert’s photographic sessions, and the broader implications of capturing human visibility in an era defined by forced invisibility.
Detailed Chronology: From Personal Flux to a Visual Love Letter
Phase 1: The Precipice of Change (Pre-2020)
Before the novel coronavirus upended global society, Maxime Imbert’s life was already marked by a sense of transition. Having relocated from France to the United Kingdom a decade prior, Imbert honed his artistic vision at the prestigious Central Saint Martins. Over ten years, he immersed himself in London’s sprawling, diverse cultural subcultures, watching trends rise and fall while building a career in photography.
By late 2019 and early 2020, however, Imbert had reached an inflection point familiar to many expatriates who have spent a decade abroad: the nagging question of whether to stay and deepen one’s roots or pack up and return to the continent. He weighed the prospect of moving to Paris. Little did he know that a global health crisis would soon render international relocation temporarily impossible, forcing a dramatic pause on his life choices and trapping him within the architectural confines of London as the city prepared to lock down.
Phase 2: The Eerie Silence of Lockdown London
When the UK government instituted its first nationwide lockdown in March 2020, London transformed overnight. The transition was nothing short of cinematic. The capital’s arteries—usually choked with red double-decker buses, black cabs, and swarms of commuters—emptied out. The skies grew quiet, devoid of the constant contrails of commercial aviation heading into Heathrow and Gatwick. Neighborhoods that pulsed with the sound of pub chatter and underground club beats became hollow chambers of echoing footsteps.
For Imbert, this environment of seclusion provided a strange lens through which to view his decade-long residency. While millions retreated into domestic bubbles, communicating exclusively through video-conferencing platforms like Zoom and Houseparty, Imbert felt a growing urgency to engage with the city rather than simply endure it. In the interludes between strict lockdown regulations—those brief windows of freedom when restrictions eased—he conceptualized a project that would anchor his wandering thoughts and reconnect him with the human element of London that had made it his home for ten years.
Phase 3: The Genesis of Pulp (2020–2021)
The project that would eventually become Pulp began organically. Imbert reached out to individuals within his creative network, including old friends, acquaintances, and new faces introduced by London-based casting directors. The premise was simple yet deeply intimate: he would visit people in their homes, utilizing their personal spaces and their own wardrobes to construct photographic narratives.
Rather than treating the shoots as transactional, cold assignments, Imbert approached them as therapeutic exchanges. Armed with his camera, a few rolls of film or digital memory cards, and an open ear, he spent hours with each subject. These sessions transcended traditional commercial photography; they became safe spaces for shared vulnerability. Conversations drifted from everyday anxieties about the pandemic to ruminations on lost loves, artistic aspirations, and the surreal nature of contemporary existence, all punctuated by the simple act of sharing a cup of tea.
Phase 4: Publication and the Launch of a Legacy (2026)
Years after the shutter clicks echoed through London flats, the project has materialized as a physical artifact. Published by Alep, Pulp represents the culmination of Imbert’s pandemic-era journey—a tactile manifestation of a time when physical touch was dangerous, yet artistic creation proved vital.
The trajectory of Pulp finds its current milestone with the official book launch scheduled for Friday, September 18, 2026, at Claire de Rouen (11A Kingsland Road, London, E2 8AA) from 6:00 PM to 8:30 PM. This launch marks not only the commercial release of the monograph but also a public celebration of endurance, creativity, and the enduring human spirit in one of the world’s great creative capitals.
Supporting Context & Metrics: The Sociology of Lockdown Creativity
To fully appreciate the cultural weight of Pulp, one must examine the broader socioeconomic and psychological landscape of London during the COVID-19 pandemic. The period was marked by unprecedented shifts in urban mobility, domestic routines, and artistic expression.
Urban Demographics and Isolation Metrics
- The Exodus and the Pause: During the peak 2020–2021 lockdown phases, official mobility reports from transport authorities and mobile network operators indicated a drop of over 70% in central London foot traffic during standard working hours. Thousands of temporary residents and international workers fled the capital for their home countries or rural family estates, creating an unprecedented hollowed-out urban core.
- The Rise of Domestic Confinement: For those who remained—particularly freelancers, artists, and creative professionals living in rented flats or shared houses—the home ceased to be merely a refuge after a long workday. It became an all-encompassing universe: office, cinema, gymnasium, social lounge, and quarantine zone combined.
Sartorial Defiance: Rejection of the "Marl Leisurewear" Aesthetic
A fascinating sociological phenomenon of the pandemic was the bifurcation of lockdown fashion. On one hand, mass-market retail data showed an astronomical surge in the sales of sweatpants, loungewear, and stretchy comfort clothing as humanity settled into months of remote work.
However, within London’s subcultural and creative underground, a diametrically opposed rebellion took place. As documented brilliantly in Pulp, many individuals refused to let their identities be swallowed by comfort and anonymity. Deprived of nightclubs, galleries, and public stages, these subjects transformed their living rooms into runways.
Imbert’s portraits capture individuals draped in:
- Neon bikinis that screamed for summer parties that were cancelled or heavily restricted.
- Creative fetish wear and avant-garde garments that challenged traditional notions of domestic modesty.
- Thigh-high silver boots worn casually in apartment kitchens, juxtaposed against mundane domestic backgrounds like tiled backsplashes or unmade beds.
- Outlandish eye makeup and theatrical styling executed with no audience present other than the photographer and, eventually, the future viewers of the book.
This sartorial choice was more than mere vanity; it was an act of psychological preservation. By dressing to be seen, these subjects rejected the passive erasure imposed by lockdown laws. They claimed their right to visibility, ensuring that their creative identities remained alive and vibrant even when the rest of the world had ground to a halt.
Official Statements & Personal Reflections
The philosophy underpinning Pulp is articulated best through the reflections of its creator and the intimate memories forged during the photographic sessions.
Maxime Imbert on the Core Ethos of Pulp
Reflecting on the overarching narrative of the book, Maxime Imbert explains to cultural publications like Dazed:
“Pulp gathers portraits of individuals, siblings, friends, couples and roommates in the intimacy of their own home, wearing their own clothes. It captures the city’s atmosphere and the people who made it feel special.”
Imbert emphasizes that the collaborative process was rooted in mutual exchange rather than hierarchical image-making. The therapeutic dimension of the work was palpable for both photographer and subject:
“There’s something therapeutic about spending a few hours with someone, talking about life and sharing a cup of tea. In the end, it’s always more than just taking pictures.”
Ephemeral Connections and Circumstantial Intimacy
The human toll of the pandemic was often measured in missed connections and severed ties. Imbert’s recollections of his subjects highlight how intensity of shared isolation could forge deep bonds that, paradoxically, were sometimes swallowed by the resumption of normal life.
Recalling his time with a subject named Dominic, Imbert shares a bittersweet sentiment common to many pandemic relationships:
“One that comes to mind is the moments I spent with Dominic. We became closer around the time I worked on Pulp. Talking a lot about lost loves, sharing dinners and playing the guitar together. Unfortunately, we’ve lost contact since. But I always hope that our paths will cross again.”
This quote encapsulates the emotional architecture of Pulp: it does not promise permanence, but rather honors the beauty of fleeting human connection when the world outside had stopped spinning.
Future Outlook: The Legacy of Pandemic-Era Art
As society moves further away from the acute phase of the COVID-19 pandemic, cultural institutions and critics are tasked with evaluating how this historic disruption altered artistic production. Projects like Maxime Imbert’s Pulp offer a vital window into this evaluation.
The Shift from Digital Ephemera to Tangible Monograph
During the height of lockdowns, the art world migrated almost entirely to digital spaces—virtual gallery tours, Instagram livestreams, and digital-only zines. While these mediums kept creative communities afloat, they suffered from a lack of permanence and tactile engagement.
The eventual physical publication of Pulp by Alep represents a counter-movement: a desire to lock history down into paper, ink, and binding. Photobooks from this era are increasingly viewed by collectors and historians as crucial primary sources. They document how real people navigated psychological strain, how they utilized fashion as armor, and how artists adapted their methodologies to maintain human contact under restrictive conditions.
What Lies Ahead for Imbert’s Work
Having completed his monumental decade-in-London retrospective encapsulated within Pulp, Imbert’s artistic trajectory stands at an intriguing juncture. Whether his long-contemplated move to Paris eventually materializes or whether London continues to serve as his primary muse, Pulp proves that his artistic vision possesses a rare empathy. His ability to strip away the noise of a bustling global capital—or, conversely, to find color and life within its deadened silence—signals an enduring talent in contemporary portraiture.
Event Details for Collectors and Enthusiasts
For those wishing to engage directly with the work, the official launch details are as follows:
- Book Pulp
- Photographer: Maxime Imbert
- Publisher: Alep Publishing
- Launch Date: Friday, September 18, 2026
- Time: 6:00 PM – 8:30 PM
- Location: Claire de Rouen, 11A Kingsland Road, London, E2 8AA
- Availability: Available for order now via Alep Publishing and select independent art bookstores.
Ultimately, Pulp transcends its origins as a quarantine project. It stands as a timeless testament to resilience, a visual archive of individual expression during a collective trial, and a deeply felt love letter to a city that—no matter how quiet it gets—never truly loses its soul.
