As symbolic of London’s swinging 60s as Twiggy, Mary Quant’s seminal miniskirt, free love and Carnaby Street, Alec Issigonis’ Mini couldn’t be any more a standard bearer for blatant Englishness if you painted three of them, red, white and blue. Which is precisely how Paul Kenton’s captured the iconic little car here. Suspended in perfect animation (as there’s no apparent Tarmacadam pictured beneath their wheels), there’s a certain Italian Job ambience to Kenton’s work, whether by accident or design.
We can just envisage them bombing down the steps of a bank. And the sound of Michael Caine. In Italy. Which admittedly isn’t very Rule Britannia at all, however there’s a host of ways you could interpret this stylistically ‘on the money’ composition in our book.