Alfie Whiteman: Moving the creative goalposts

Represented by Somesuch, director and photographer Alfie Whiteman’s creative practice takes him into the unfiltered cross-section of communities, identity and subculture. Previously a professional footballer for Tottenham Hotspur, he turned to self-portraiture out of creative frustration while on loan in Sweden before making the leap to full-time filmmaker, where he channels his discipline into soulful, cinematic campaigns for brands from Baracuta to On.

How does it feel to be nominated as an innovator by Nils Leonard? 

It’s incredibly flattering, because he’s a real industry leader. I’m very grateful for his nomination. He’s someone who I think is doing unbelievable work and tearing down tradition, going against the grain and trying to put ideas first, which is something that I really value and want to do myself. I would love to work with him and get the chance to say thank you.

I was living these two parallel lives where I was stepping into the creative industry and then working as a footballer, but in neither of them was I totally me.

What has your journey into the industry been like so far? When did this become something that you wanted to do professionally? 

It’s been quite surreal, it’s all happened very quickly. I only retired from football nine months ago, but it’s something that I was preparing for since I was 19-years-old. On my days off, I was running on sets, getting coffees, even driving at times, because football is such a short career and I knew I wanted to get out of that world.  

I was fortunate to have friends who are directors, photographers and producers that could help me get on set. So, I was introduced to this world a while ago, but always carried this frustration of still doing football, which is very demanding. Hence why I liked taking a lot of photographs and teaching myself.  

I recently signed with Somesuch, and I’m so grateful to [Co-Founder] Sally Campbell for believing in me so early on, and all the support they’ve been providing. It’s been an incredible time and so great having such a wonderful team behind me.  

Above: Self portrait by Alfie Whiteman, shot in Sweden as part of his A Loan series.

Can you tell us more about your recent project, Toe Wrestling for Vibram FiveFingers? 

A friend of mine is a photographer, and he was shooting a campaign for Vibram at a toe wrestling tournament. The day before the shoot, the client asked him to make a video, so he called me up, and I just turned up with my camera. 

The night before, I researched toe wrestling and became obsessed with how strange it all was. I had no control over what would happen, so I leaned into that weirdness. The contestants all had these intense, strained expressions that I found hilarious. 

I love the beauty and imperfections in these places that often go unnoticed. There’s a sense of honesty about them.

I spent the day running around with a camcorder, trying to capture the atmosphere and energy while competing with other crews for shots. It felt like the first time I had real creative freedom, just trusting my instincts on the day. 

Your project A Loan touches on your isolation and solitude when you were playing football in Sweden. How much did that period change you creatively and personally? 

Massively. That project was about my frustration with not being able to make things and being in this creative rut. While I was playing in Sweden, I intentionally decided to stay in a tiny little cabin in the woods, away from the distractions of the city. 

I realised that I was always looking outwards for things, and this was the first time I started looking inwards. I started taking self-portraits, just because there was no one else to take photos of.  The next thing I know, I’ve come home with over 600 portraits. My friends were like “Wow, you should do something with these’ and I said ‘No one can ever see these. Like, my bum’s out in front of the tumble dryer”. 

Now they’ve been all over the place, with my diary entries paired with them. I was trying to be okay with putting it out there and getting over my insecurities, as I have worried about what other people think in the past, especially in the world of football.  

I was living these two parallel lives where I was stepping into the creative industry and then working as a footballer, but in neither of them was I totally me. Putting that project out was like crossing a line and finally being myself.  

Above: Still from Whiteman's film shot at a British toe wrestling contest for Vibram Five Fingers. 

You seem drawn to communities and subcultures that feel raw and unpolished. What is it that you find in these spaces that inspires you? 

I love the beauty and imperfections in these places that often go unnoticed. There’s a sense of honesty about them. I just like people and subjects that make you question things and wonder. I feel that’s where the most interesting, untold stories are.  

I’ve found there’s a real freedom with being creative and having a licence to make what I want.

Are there any other projects that have felt significant or like turning points in your career? 

I worked on a film at a Northern Soul Night event for a brand called Baracuta, which was similar to the toe wrestling where I just turned up and was capturing scenes that aren’t overly scripted, just observing people and the emotion of losing yourself in dance. I stayed there until four in the morning, and I got a twitch in my eye from looking through the viewfinders.  

I’ve also been very fortunate to assist people like Ben Garrick. I was just on a World Cup job that was incredibly insightful, with so many moving parts, I learnt so much about how to really think on your feet and do things quickly and manage teams.