“This is Daniel Craig on the set of Casino Royale,” Williams says. “It was a night shoot and we were in the Bahamas, outside the hotel where the gambling scene takes place, the one where he arrives in a Ford and leaves in an Aston. This wasn’t posed; he was doing exactly what you see in the picture. There’s an old-school feel to it that resonates. It reminds me of the kind of on-set photos that made me want to become a photographer, those Magnum-style photos from back in the day.”

“I first met Ana in 2015 at the premiere of Hands Of Stone and said that I’d like to take some photos of her. It was her idea to go and get hotdogs. I love the use of red, the way the inside of the shop, the Coke and the pillars all work together. I feel like you believe this picture, and that her personality really shines through.”

“This was the very first photo I took of Brad on the set of Snatch. He’s a camera enthusiast, so we had a quick conversation about what I was shooting with. He took a sip of tea from his cup and that was the first frame. Sometimes it works out.”

“With Dakota, we drove around London in a vintage Bentley that I borrowed for the day, a really lo-fi shoot, taking photos under streetlights. We left everyone back at the hotel because I wanted it to be a sort of antithesis to a regular celebrity shoot. I suppose that’s my general goal with Hollywood Authentic, to a show another side to these big names.”

“I’ve always been inspired by the photographs of James Dean back at his family’s farm, that were taken by Dennis Stock for LIFE magazine. I’ve got a copy of that issue and that series was only three pages, and it’s one of the most famous sets of photos ever taken. When I was shooting Austin, I was seeing him as a James Dean-like character. It was just the two of us. No team, no publicist, no security, we just drove down to where he grew up and went to his old school. He styled himself. I wanted it to feel as honest as possible.”

Were there any specific references that inspired the Hollywood Authentic and N.Peal collection?

Greg Williams: It all comes back to the glory days of Hollywood through my lens, so icons like Steve McQueen were definitely there when you look at the chunky cardigan, or The Dude from The Big Lebowski. I looked at photos of Ryan O’Neal, Sean Connery and Marilyn Monroe. Then there’s the Chateau Marmont and other classic celebrity haunts.

In terms of details, we’ve included intarsia director’s chairs, cameras and film reels, all in 100 per cent organic Mongolian cashmere.

What sort of traits do you need to be a successful photographer?

GW: When I started out I assumed photographers would be quite unapproachable, but it’s their job to be the opposite. You’re dealing with people who have a lot on their plate during the few moments you spend with them, there’s often a lot of pressure on their shoulders, so you have to put people at ease. You also have to be quick. I started out as a photojournalist in the 1990s and worked on stories where you had a split second to get a picture. I still want to capture those split-second, authentic moments, away from all of the noise. You want that air of spontaneity.

Is there a specific shoot or moment that stands out over the years?

GW: Shooting the Oscars, which I’ve done three times, is always a pinch-me moment. Capturing on-set photos of James Bond feels like a dream, and I co-designed a Leica camera with Daniel Craig, which, for my inner photo geek, was special.

There was also a Russian bombardment in Chechnya, which was a mad experience early on in my career. Shooting Tom Cruise at the Cannes Film Festival, too. Sometimes you’re in a room and it hits you, “Wow, how did I get here?”

Do you have a favourite piece from the collection?

GW: The cardigan is definitely a favourite, inspired by The Dude. It works for women as well as men, it’s beautifully made and has a sense of fun about it, which is exactly what we wanted to achieve with the collaboration.

Is there anyone that you still want to photograph?

GW: I still want to photograph Barack Obama, and the royals. In terms of actors, I think I’ve shot nearly everyone. I’ve been working in Hollywood for 28 years, so I’ve seen pretty much all of it by this point.

What has kept you coming back to celebrity and Hollywood as a favourite subject?

GW: I don’t regard myself as a journalist, even though I have a magazine. I’d say I’m an insider. I don’t want to ever come across as sycophantic or to be working in a distrustful way, I’m looking for an eye-level dynamic, and a level of trust.

I have a belief that you get something unique from each interaction, being surrounded by these amazing, creative people, it rubs off on you. I may go into each shoot or meeting with an idea, but the pictures I take always end up being more of a collaboration in the end.