June 30, 2026

Cellotape Talks with Joel Harper-Jackson

Joel Harper-Jackson is a performer whose stories have taken him across the time line, from back in biblical times to tomorrow, and from imaginary story telling to real characters. As he swaggers onto the stage as Frank Sinatra his sartorial narrative is quickly demonstrated, from the hat to the shoes it’s all part of playing the character, of inhabiting the person, of becoming someone else. So, shooting a fashion story is for him simply exploring another facet of himself to become a “ male model” or whatever story the clothes and styling selected by the Cellotape team might communicate. It’s easy to see in the images how he fits into a scene, how he takes on a role, he could be in Guys & Dolls, or Pal Joey, it’s called acting and he’s a natural. The strength of identity needed to take on musical theatre especially, where song, dance and acting are all melded into one, offers different challenges to simply learning the lines, it’s a multi tasking and demanding area of performance. Joel has been immersed in his business from the lowliest job to centre stage, from dreams to Kinky Boots, since he was barely a teenager.It’s a pleasure to watch him and the Cellotape team pose, and perform, dress up or down and tell us a fashion story in a tight monochrome, one thing is very clear, he’s definitely got the leading role in this fashion story.

Words by Tony Glenville

Above; Suit: Pence 1979, Shirt: Basic Rights, Shoes: Grenson, Necklace: Serge DeNimes, Belt: BLOOM

Cellotape: Do you come from an acting or performing background, or a family connected to the arts?

Joel: Not at all. There’s no real performing background in my family. My dad’s a builder, very practical, and my mum’s done a bit of everything. So when I started heading towards acting, it definitely came as a surprise, and my dad in particular wasn’t sure at first.

We’re a really close family though, and even if they didn’t fully understand the world I was stepping into, they always showed up. They came to everything, they saw Kinky Boots nearly 20 times, and they’ve always wanted to know the ins and outs of what’s going on at work.

The only theatrical thread we’ve managed to find is that my grandad, while researching our family tree, discovered a great aunt who apparently ran off with the circus, so maybe there’s a bit of rogue performer energy in there somewhere after all.

Cellotape: Were you a “make believe” kind of child?

Joel: I grew up in the very hilly countryside around Staffordshire and Cheshire, so there were endless places to climb and explore. I was always drawn to action and fighting, as a lot of young boys are, and I’ve got really fond memories of me and my mates running around playing all sorts of slightly dangerous, imaginative games.

For a while my parents used to throw a big fancy dress New Year’s Eve party every year, and I absolutely loved it. I fully committed, anything from a prince to Zorro, who was a particular favourite. Looking back, that was probably my first taste of stepping into a character, even if I didn’t realise it at the time.

Cellotape: You’ve performed in Rent and Jesus Christ Superstar, spanning very different worlds. How much does costume help you step into a role?

Joel: Costume, for me, is like the cherry on top of the cake. You do all the groundwork in the rehearsal room, building the character, understanding them, experimenting, and then once the costume goes on, everything suddenly clicks into place and lifts.

In many ways it makes our job easier. Costume is such a fundamental part of storytelling in theatre. It tells the audience so much instantly, and it really informs how you move and feel on stage. For me, it’s that final, essential piece of the jigsaw.

I really noticed that when I played Harry in Standing at the Sky’s Edge at the Gillian Lynne. He ages about 20 years over the course of the show, and the costumes did a huge amount of that storytelling for me. They genuinely shaped the performance.

Above; Suit: Pence 1979, Shirt: Basic Rights, Shoes: Grenson, Necklace: Serge DeNimes, Belt: BLOOM

Cellotape: Are there any roles you’d love to play specifically because of the wardrobe?

Joel: I really love the costumes of the Emcee in the current West End production of Cabaret. They’re so bold and unpredictable. One minute it’s something quite stripped back and almost unglamorous, the next it’s completely surreal and heightened.

What I love is how closely the wardrobe is tied to the character’s inner world. It’s not just about looking striking, it actually tracks the shift in tone of the piece. As things get darker, the costumes seem to become more distorted and heightened, and that really feeds into the performance. There’s something quite unsettling about it, but also playful at the same time.

That’s the kind of role I’m really drawn to, where the costume isn’t just dressing, it actually transforms you and gives you permission to go further than you might otherwise.

Cellotape: It feels like modelling has increasingly become part of an actor’s career. What are your thoughts on that?

Joel: Yeah, I’d agree with that, it definitely feels like it’s become more part of the job. But at the same time, I think it kind of always has been. If you look back at old-school Hollywood, actors were just as much about image and presence as they were performance.

For me, it didn’t come naturally at first. It’s quite a different skill, being still and aware of the camera in that way. It’s not something you’re really trained for as an actor. But I actually think that’s a good thing. It’s forced me to step outside my comfort zone, and the more you do it, the more comfortable you become with it.

I also quite like that it adds a bit of variety. Our job can be quite intense and all-consuming, so having something slightly different to dip into is no bad thing. At the end of the day, I feel very lucky to do what I do, and if that’s part of the landscape now, I’m more than happy to embrace it.

Cellotape: Do you think it’s part of an actor’s job to always be “on show”?

Joel: No, not at all. I think anyone in the public eye is still entitled to a private life. I’ve never really had a desire to be that level of famous, having your entire life on show must be incredibly intense.

There’s something quite nice about a bit of recognition. Someone coming up to say hello because they’ve connected with your work, that’s a lovely part of it. But beyond that, I think it can become quite overwhelming. That level of constant visibility, like someone such as Brad Pitt, I imagine would be really difficult to navigate day to day.

For me, it’s about balance. I want to do the work, tell stories, and connect with people through that, but still have a life that’s my own offstage.

Above; Trousers: Percival, Jacket: Reiss

Cellotape: How would you describe your personal style?

Joel: It’s definitely evolved over the years. I think like most people, you go through phases of trying things out and figuring out what feels right.

At the moment, with the project I’m working on, it’s leaned a bit more classic, traditional, and tailored. I’ve been drawn to cleaner lines, a slightly more sophisticated feel, things that have a bit of timelessness to them.

But I wouldn’t say I’m locked into one thing. I like it to shift depending on what I’m doing and how I’m feeling. Style, for me, is a bit like acting in that sense, it changes with the role you’re in at the time.

Cellotape: Is there anything about fashion you particularly love or dislike?

Joel: The price, for a start. And how quickly everything moves. Trends come and go so fast, and it can feel like you’re constantly being encouraged to buy more and more just to keep up.

That’s why I’m much more drawn to staple pieces, things that feel timeless and that you can come back to again and again. I’d rather have a few really solid, well-made items than chase something that’s going to feel out of date in six months.

I do think a lot of the speed of fashion is driven by that cycle of consumption, and if I’m honest, I find that a bit exhausting. It’s not particularly sustainable, and it takes some of the meaning out of it. I much prefer when style feels personal and lasting, rather than something you’re constantly having to keep up with.

Cellotape: Are there any grooming, hair, or skincare rituals you prioritise?

Joel: Speaking honestly, I started to lose a bit of my hair a few years ago, mostly due to stress, so I do take care of it now, lotions, supplements, all of that. If it were completely up to me, I’d probably just shave it off and be done with it, but realistically I think it would affect the kind of roles I’m seen for, so it’s part of the job to manage it.

Skincare-wise, that was drilled into me early by my mum, and I’m glad it was. But beyond products, I think the basics are what really make the difference. Good sleep, plenty of water, exercise, and eating well. It’s not very glamorous, but it’s definitely the most effective.

Above; Trousers: Pence 1979, Shirt: Basic Rights, Necklace: Serge DeNimes, Belt: BLOOM

Cellotape: Do you enjoy shopping for clothes?

Joel: I actually hate it, if I’m honest. But I think that’s more to do with the experience than the clothes themselves, busy shops, crowds, and usually me rushing around trying to find something last minute.

I did have a personal shopper and a stylist once, and I absolutely loved that. They pulled loads of options for me, I could just try things on without the stress, and it actually became really enjoyable. So it’s not the trying on I have an issue with, it’s more the chaos of how it’s usually done.

Cellotape: Is there anyone whose style you especially admire, past or present?

Joel: I’ve always admired David Bowie’s style. When I was younger, I really leaned into that kind of boldness, not being afraid to stand out or take risks with what you wear. What I appreciate most about him is that it never felt like fashion for the sake of it, it was always tied to identity and storytelling, which obviously really speaks to me as an actor.

These days, I’ve probably shifted into something a bit more classic, and I’m not sure I’d get away with some of those looks now. But I still really admire that fearlessness. There’s something quite inspiring about someone who just fully commits to it.

Cellotape: Are there any designers or brands you’re particularly drawn to?

Joel: I tend to lean more towards pieces than specific brands, if I’m honest. I’m drawn to anything that feels well made, classic, and that will last. With the world I’m in at the moment, I’ve definitely developed more of an appreciation for tailoring and that kind of timeless elegance.

That said, I do like mixing things up. I’m not overly loyal to one label. If something feels right and fits well, that’s usually enough for me.

Above; Trousers: Percival, Jumper Vest: Levis, Shoes: Russell & Bromley, Belt: BLOOM

Cellotape: Frank Sinatra was famously stylish, and now you’re stepping into his world. How does it feel to inhabit that wardrobe?

Joel: Glorious, honestly. I remember going into my audition for Frank Sinatra and making the decision to dress like him, very smart, very traditional. Afterwards I stayed in town for a couple of hours, grabbed a coffee, met a friend, and just kept the clothes on. I have to say, I felt like a million bucks. There’s something about that level of effort. People used to really dress in their day-to-day lives, and it’s a bit of a shame we’ve lost that.

Then last week, on our first day of rehearsals, the costume designer showed me some of the pieces I’ll be wearing alongside the set, and it was honestly quite overwhelming. It felt magical. I actually welled up a bit. There’s something very special about stepping into that world. It’s not just clothes, it’s a whole identity.

Cellotape: With Bobby Darin on Broadway in Just in Time, what is it about that era and those performers that still resonates today?

Joel: I think it ties into what I was saying before. There’s a real sense of class that that generation just had down. Performers like Bobby Darin and Frank Sinatra carried themselves in a way that feels quite rare now, and I think people really respond to that.

There’s also something about the music and the style that feels quite removed from today’s world, and in a good way. It offers a kind of escape. For older generations, it brings back memories and a sense of nostalgia, and for younger audiences, it’s like getting a glimpse behind the curtain at a time they never experienced.

I think that combination of elegance, storytelling, and escapism is why it still resonates so strongly. It’s a real privilege to step into worlds like this, both on and off stage, and to keep exploring how storytelling, style, and identity all connect.