SHALL WE DANCE: Anders Hayward
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Cotton crêpe suit, cotton shirt, and grosgrain bowtie with glass beads, metal ring with Swarovski crystals, and metal ring (Gucci)
Cotton crepe suit, cotton shirt with plissé grosgrain trimmings, calfskin leather horsebit loafers, metal rings with Swarovski crystals, and metal ring (Gucci)
Cotton sweatshirt and metal rings with Swarovski crystals (Gucci)
Jersey tracksuit, cotton shirt, calfskin leather sandals, and metal ring with Swarovski crystals (Gucci)
Silk pyjamas jacket (Gucci)
Jersey tracksuit, cotton shirt, calfskin leather sandals, and metal ring with Swarovski crystals (Gucci)
Silk pyjamas suit, calfskin leather horsebit loafers, metal rings with Swarovski crystals, and metal ring (Gucci)

He’s as good on the dance floor as he is on the runway, a statement he doesn’t have to make for us to believe his mad skills. And the only time he’s willing to keep still is for the camera to capture his best angle – which happens to be all angles. With his eclectic taste in music, artistic leanings, and wide-eyed wonder, this 22-year-old Brit might just be the most cultured millennial fashion model we know and the only “Jack” to be on his way to mastering all trades.


MANIFESTO: Tell us a bit about yourself. What are you up to these days besides modelling?


ANDERS HAYWARD: I have just spent the last month in New York, which has been great. I love being there; it’s such a vibrant city. I always come away from New York inspired in some way. I spend most of my time in London these days, which is a real bonus for me, because it is a fantastic place to live.


M: What was the turning point in your career?


AH: The moment that really changed things was the Burberry campaign. It was so humbling to be a part of such an epic production, with an amazing cast and crew. The thing that made it so special was the fact that I got to do what I really love on such a huge platform. It really sparked my career and I’m so honoured.


M: You’re a professional dancer too.


AH: I started dancing when I was around five years old, in a local dance school. I was there for a few

years and then actually gave it up to do sports and school. I was just being a normal kid. I picked it up again at 15, and that was the moment I didn’t really know what I wanted to do with my life, so I auditioned for a dance school (BRIT School), got in somehow, and then that was decided. During my time at BRIT, I found a real love for contemporary dance and wanted to pursue it further. I later auditioned for London Contemporary Dance School, who gave me a place, and that’s kind of where I developed a style for it.


M: How do you describe your affair with dancing?


AH: Dancing helps me keep sane. With a job that’s as sporadic as being a model, you never really know when you are going to be working next, or if you are going to be off for a bit. I have never really been too comfortable with just waiting around for the next job to pop up. You have no control over your career and I think that limbo really kills you inside, so dancing for me is used as a therapy and my own outlet for something creative. Something that I am proud of. It gives me a sense of worth I guess.


M: You’re also known as a “movement director”. What’s the difference between a movement director and choreographer?


AH: There isn’t too much of a difference if I’m completely honest, but for a lot of people I think choreographer sounds a bit scary; as though everything is going to be a leaping ballet position and over the top poses. Movement direction to me is just something that is more subtle. Something so small can drastically change an image and help develop characters further, which I believe is the key element that makes a convincing story. I want to create interesting, honest characters.


M: You mainly focus on contemporary dance. What other dance genres have you explored?


AH: I had a range of training at BRIT School, and I used to be in a street dance company when I was younger, so I’ve had a wide spectrum of dance. However, I would love to be able to explore more contact improvisation and new interesting ways of connecting bodies. I don’t feel like I have even scraped the surface of contemporary dance yet so to delve in to different techniques is my main focus at the moment.


M: What have you learnt from this industry?


AH: Never think you are better than anyone. You meet the same people on the way up as you do on the way down. Because you are doing well does not mean you are the chosen one. It can end just as fast as it began. Don’t take anything for granted but don’t take yourself too seriously. Just enjoy any amazing opportunity that comes your way and be thankful for it.


M: How did modelling change your perspective of fashion?


AH: That a lot of hard work goes into it. Fashion has such an important role socially, that it’s hard to say it’s just about having nice clothes. Clothes help form identities, along with art and music. They form sub-cultures and communities. Fashion is an art in itself, and that’s what I think I have learnt from it – that it has an importance to society.


M: Do you still look at fashion in the same way prior to modelling?


AH: I find myself buying nicer clothes. I tend to think quality over quantity now, whereas before I never really thought too much about what I was wearing. I’m not too bothered about being trendy, but a quality piece of clothing just makes you stand a bit taller, and it lasts a lot longer.


M: What improvements do you want to make in your career?


AH: To be honest, I haven’t figured out how to improve my career apart from reaching more Instagram followers (@anders_hayward), which can only really happen if I start posting thousands of selfies a day. I’m not too into that, but I’m happy with how things are now in my career and I hope things continue.


[More pictures and a continuation of the interview in the March 2016 issue of MANIFESTO]


Photography: Paul Empson

Fashion Director: Jonathan Yee

Styling: Eric McNeal

Hair: Mari Matsumoto

Make-up: Yelena Tsygankova

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