Photographer Tim Walker has publicly reflected on how his attitude toward working with animals in fashion photography has evolved over the past two decades. In a recent Instagram post, Walker issued a retrospective apology for a shoot involving a lion named Atlas alongside models Karen Elson and Edie Campbell. During the shoot, held at a grand country house, the lion reportedly reacted negatively when forced to walk over slippery tiles, eventually breaking through a guard fence. Crew members fled the scene, while Elson and stylist Katie Grand took shelter in an upstairs bathroom. At the time, Walker said he felt concerned for the lion but noted that no one else expressed discomfort. Looking back, he described the shoot as “wrong” and “outdated,” acknowledging that societal views on the use of animals in such contexts have shifted significantly.

Walker’s change in perspective underscores broader shifts within the fashion industry and public consciousness regarding ethics and animal welfare. While he once embraced grand, theatrical shoots involving wild animals, Walker now prefers a more intimate style, as demonstrated in his recent work for the National Portrait Gallery. He expressed hope that his upcoming exhibition would convey a “joyful” mood, reflecting the dramatic cultural and political changes in the UK since his childhood in the early 1980s.

Throughout his career, Walker has collaborated with several iconic designers, including Alexander McQueen, Vivienne Westwood, John Galliano, and Viktor & Rolf, which he credits as a formative influence on his artistic approach. His growing reputation allowed him increasingly expansive creative freedom, exemplified by boundary-pushing shoots for Vogue. On one occasion, alongside stylist Kate Phelan, he brought fashion into unconventional settings, such as Glastonbury Festival, where clothing was deliberately exposed to mud in the spirit of experimentation.

One notable project took Walker to Papua New Guinea under a “birds of paradise” theme, where he captured images of local men adorned with flowers against natural landscapes. Walker recalled presenting those photographs to then-Vogue editor Alexandra Shulman, who enthusiastically supported his vision. He noted, however, that the emphasis was less on fashion and more on cultural and visual storytelling—a direction he said he might approach differently with the benefit of hindsight.

Walker’s reflections reveal a personal reckoning with past practices and a commitment to evolving his creative process in line with changing ethical standards and cultural sensibilities. His career trajectory demonstrates both the challenges and opportunities faced by artists adapting to shifting expectations in fashion and portrait photography.