At the turn of the millennium the Face was being designed and art directed by Craig Tilford and Graham Rounthwaite. As well as being a talented designer/art director, Graham was also an illustrator and had strong ideas of how a new breed of illustration could be used in a fashion and culture magazine. Graham had made artwork for The Face that replaced what would have previously been fashion photography's exclusive domain, bringing a fresh look to a streetwear fashion editorial.
A short time later, alongside fellow illustrator Pete Fowler, he worked on Faberge's 'Fusion' perfume campaign again replacing what would once have beed the job of photography. 

Goodall had always been very influenced by fashion photography, and so his illustrations carried the same attitude that was often conveyed in fashion editorials. This fitted well in a magazine like The Face and Graham gave Jasper free reign, never once asking for changes. There was a strong ethos of experimentation and creativity at The Face magazine and individual artists and photographers were given a forum to explore new ideas without heavy handed direction.
For a brief period in the early noughties, a new school of illustrators stood alongside fashion photography, echoing its attitude. This created an excitement around illustration and helped catapult it to new levels of popularity — illustration became aspirational, chic and edgy for the first time in years.