The pandemic was a strange period of isolation and seclusion. Looking out at the world from our homes or through our screens, with so few aeroplanes in the sky, no rush hour, surreal footage of dolphins in the canals of Venice, and socialising within our bubbles. London, usually so frenetic, was eerily quiet. French photographer Maxime Imbert was already in a period of personal flux when Covid hit, having lived in London for a decade after studying at Central Saint Martins, but considering moving to Paris. In the interludes between lockdowns, he embarked on a project to reconnect with the city that had been his home for ten years, while also reconnecting with people amid the pervasive introspection of the Covid age.  

The series, now published as a photo book called Pulp, became what he calls his “love letter” to London. “Pulp gathers portraits of individuals, siblings, friends, couples and roommates in the intimacy of their own home, wearing their own clothes,” Imbert tells Dazed. “It captures the city’s atmosphere and the people who made it feel special.”

For Imbert, there was also a reciprocity between himself and his subjects. The process felt “organic”. He recalls, “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.” Some subjects were friends or models he knew, while some were “fresh faces” he met with the help of London-based casting directors. 

He has fond memories of these photo sessions, forging new connections which remain enriching even if they proved circumstantial. “One that comes to mind is the moments I spent with Dominic,” he recalls. “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.” 

Despite the introspection and stultifying inactivity that fell like a blanket over much of the city (those of us lucky enough not to be caught up in the immediate horror of the pandemic), what emerges from Imbert’s portraits is not a series of introverted, shrinking people – the individuals and couples in Pulp aren’t in their comfy sweatpants; they appear in a variety of striking looks, sometimes wearing barely anything, sometimes dressed theatrically in neon bikinis, creative fetish wear, thigh-high silver boots, and outlandish eye makeup.

These people don’t appear to be retreating into marl leisurewear; they are dressed to be seen. While clubs were closed, there were fewer reasons to go outdoors, and most group socialising took place on Zoom and House Party. Imbert’s photo sessions created a chance of visibility during a period of enforced hibernation, offering an opportunity to be held aloft in the gaze of the many eyes who would, in the future, look at their portraits. 

Maxime Imbert’s Pulp is published by Alep and is available to order now. The book launch takes place on Friday 18 September 2026 at Claire de Rouen (11A Kingsland Road, London, E2 8AA) from 6 to 8.30pm.