Branding the future of photography

What did the creation of FUTURES mean for Vandejong?

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Vandejong is an agency that has been passionate about photography and photographic talent for over 35 years. We’re always drawn to places where boundaries are pushed, and we position ourselves at the forefront of innovation. As an agency, we’ve played a pivotal role in developing groundbreaking photography brands like Foam and Unseen.

In that sense, FUTURES was a natural next step. Menno Liauw (then a partner at Vandejong, now director of FUTURES) envisioned a space where photographic talent could flourish and experiencing art could become more democratic. Under his leadership, FUTURES has evolved from an innovative project into a vital force within the photography world—something we’re incredibly proud of.

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‍How did Vandejong develop such a strong passion for photography?
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At Vandejong, we love it when people dream big and work to turn those dreams into reality. That’s what we do for our clients, but sometimes, it happens for one of our partners. Our passion for photography has always been a core element among our partners, especially our founder, Pjotr de Jong. The more we engage with the world of photography, the more gaps we notice. Kickstarting Foam, Unseen, and FUTURES each filled a unique gap in the field.

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‍The organisations you mention were groundbreaking brands from the start.
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Absolutely. The common thread among these photography brands is that things were always done differently from what came before. Traditional museums or institutions often feel pompous and closed off, while communities sometimes need more effective communication.

In creating these brands, we’ve always focused on breaking down those barriers – being progressive and connecting people. The goal was to create spaces where everyone could feel included and inspired by the brand.

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‍How did FUTURES establish itself?

‍Credit is due to Menno here—he’s shown incredible perseverance with this project. In its first year, FUTURES was the wildcard for the European Commission, as there was already another photography platform in place. But Menno carved out a space in the field, which is truly impressive.
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We work with many people with big dreams, but only occasionally does someone fully realise such an ambitious vision. When it doesn’t work out – because it’s tough and challenging – as a communications partner, you can often do little more than cheer from the sidelines. But how Menno pushes through, breaking barriers and making things happen, is absolutely inspiring.
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We’re incredibly proud of the team and what they’ve built. FUTURES’s success is a testament to their hard work and determination.

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‍What do you think Vandejong’s role was for FUTURES?‍

I think it’s remarkable how, as an agency, you can create something bold and impactful – and I believe we did accomplish that. In its first year, FUTURES was already highly visible. But, of course, it’s only now that it’s truly taking shape. There’s often a sense of impatience to make something immediately grand and compelling, even though the substance still needs time to develop, and you must fight for your spot. Building something meaningful just takes time; you need to take root, and people need to discover you.

The brand we created helped with that. Imagine if we’d named FUTURES something like the European Photography Platform (EPP) – it would have felt so distant and impersonal. We’ve seen many EU projects struggle with communication, but FUTURES is genuinely different in that respect.

For FUTURES, we weren’t just a design partner. We were also a strategic content partner, contributing ideas, providing direction, and co-writing grant applications. On top of that, for the past seven years, we’ve acted as an operational partner, handling everything from administrative support to EU validation. Through that, we’ve gained valuable expertise in project management and administration and ensured that everything is seamlessly organised.

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‍What’s it like to work on a project such as FUTURES?‍

FUTURES is such a rich and ambitious project; it sparks our imagination on so many levels. To do justice to everything FUTURES represents, our team and skills are constantly challenged. This pushes us to keep reinventing ourselves, and that’s truly amazing. You can see this reflected in the new website, where we bring together design, content creation and new ways to network online.

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‍How do you see the future of photography?‍

Someone other than me may be the right person to speak on this topic, but the future of photography is embedded in our DNA, so I am interested in it. The societal function of art is essential. We can hardly imagine our work without inspiring image-makers, who in turn enable us to come up with inspiring ideas.

I’m not sure if I have an evident vision of the future yet, but I find AI's rise very intriguing. A.I. builds on everything that has come before, just as we do. There’s nothing wrong with drawing from what already exists and then using your originality to take it further. Van Gogh
studied Rembrandt, too, to create his work.

I find it difficult to gauge what it means when a computer does this because I see a significant difference between the work of a computer and that of a human. However, there are two methods and two tools for creating work. I find the aversion to A.I. fascinating because it mirrors the resistance that painting once showed toward photography. Yet, by adding a new tool, there is often more space created for older tools. Without photography, there would be no abstract art. It pushes the boundaries of what creativity and art can be.

That makes this a fascinating time, although it’s hard to grasp what it all means.‍

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Where does your ambition for the art world lie?

‍I would advocate for the idea that not only the selection of artists but also the collection of art becomes much more democratic. Collecting is more than just hanging a photo above your sofa. It might start that way because you want to redecorate your apartment. But what often happens is that this sparks a shift in how you view art. And when you buy something original, something real, you truly become part of the ecosystem.

At some point, there’s a turning point where we allow creators to make work that we may not want to hang above our sofa, but that is important for this world. So please, buy something you genuinely like.

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