Memories, Light, and Movement: A Conversation with Charlotte Favré

18 Oct

October 19th, 2023

In the work of fashion photographer Charlotte Favré, themes of memory, remnants, and traces, frequently surface. Charlotte manipulates landscapes from her personal photographic archives, re-working imagery becoming an integral component of her creative approach. This is combined with the artist drawing inspiration from various visual mediums to craft her distinctive lighting and colour schemes - often looking to painting as a medium that significantly influences her aesthetic practice. To better understand the process and meaning behind her work, we sent writer Anna Prudhomme to get a sense of what it’s like behind the scenes with Charlotte and get to the heart of her creative vision.

Anna Prudhomme: Hi Charlotte, would you like to begin by introducing yourself to our readers?

Charlotte Favré: My name is Charlotte Favré. I'm currently 25 years old, with my 26th birthday just around the corner. I'm from Normandy. I did a vocational baccalaureate in photography. In 2017, I took a significant step forward thanks to the BMW scholarship and made my way to Paris to further my studies at the Ecole des Gobelins. I then graduated in 2020 as a fashion photographer.

Today, e-commerce serves as my primary income stream. But I also heavily collaborate with emerging brands, all while dedicating a substantial portion of my time to my personal creative projects. My passion lies in orchestrating those projects from their conceptual inception to the point where they are ready for the exhibition.

*Chiaroscuro: Portrait d'une Femme,* 2023

AP: Now we have the basics out of the way, I’d love to know which was the first project you did that made you particularly proud.

CF: Upon my arrival at Gobelins, I brought with me a strong technical foundation, thanks to my prior experience in Bac Pro. This foundation proved invaluable as it enabled me to fully explore and apply my skills in the world of artistry. One of the standout aspects of my time at Gobelins was the ready availability of the photo studio, which provided the ideal setting for me to embark on my first series.

The first one I was really happy with was a nude series. I had never ventured into nude photography before, so I collaborated with someone I knew very well - a close friend who shared my nervousness about it.

Having a familiar connection made the process much smoother. We engaged in extensive conversations and exchanges, recognising that the person posing is the one who truly reveals themselves through the lens. This intimate understanding, even within our friendship, unlocked something truly remarkable. The result was a collection of stunning black-and-white shots that we both felt immensely proud of.

“The person posing is the one who truly reveals themselves through the lens.”

This marked the debut of my work being showcased in an exhibition context. The venue was the Ventimille Gallery in the 17th arrondissement of Paris. At the age of 18, witnessing people coming to view my work was an incredibly gratifying experience. It was during this period that I began my journey into the world of art exhibitions, primarily collaborating with fellow artists. This phase was crucial for my immersion into the art community.

AP: With an art-photography basis how did you end up specialising in fashion portrait photography?

CF: I have a deep passion for portrait photography because it allows me to connect with people, and I thoroughly enjoy being on set, directing models to capture the perfect shot. Fashion photography demands meticulous organisation, and I find the process immensely rewarding. Coming from Normandy, the world of Parisian fashion and magazine photos was a distant dream that has now become a reality for me.

*La Promesse,* from the series *Emotional Movement*, 2020

*Le Tailleur,* from the series *Emotional Movement*, 2020

AP: What is your approach to conducting a fashion photoshoot?

CF: I often find myself working on multiple photography series simultaneously. To begin, I create mood boards that help set the visual tone. Then, I reach out to my dedicated team. I have the privilege of collaborating with a talented makeup artist with whom I share a strong aesthetic connection. We discuss my creative direction, and together, we develop a cohesive vision. It's a genuine partnership built on trust and shared artistic sensibilities.

In terms of casting, I prefer to handpick models based on the specific narrative I want to convey. This is why I sometimes even approach people on the street, inviting them to participate in one of my series. I believe that the uniqueness of each individual can add depth and authenticity to my work.

Then, of course, the clothing or collection I'm photographing serves as the major wellspring of inspiration. It consistently forms the foundation of my creative process, around which I weave intricate narratives and stories.

AP: So your work is very collaborative! As the photographer creating the images, could you share a unique technical trick that you've developed or consider your own in your photography?

CF: I draw much of my inspiration for light from landscapes, particularly from my memories and the moments I've experienced. I’ve found landscapes very emotional. I often revisit the landscapes I've captured in my photographs to harness those unique lighting perspectives. While I consider myself a grounded individual, creating dreamy images provides me with an escape from the everyday hustle and bustle.

Recounting memories was the central theme of my final year dissertation. It revolved around places that hold a special significance to me, like Brittany or the South of France. I dedicated an entire technical section to this project, crafting physical models of these cherished places and landscapes using fabric, giving them a three-dimensional texture. I then photographed these models in a studio environment and illuminated them with the light reminiscent of my memories.

“While I consider myself a grounded individual, creating dreamy images provides me with an escape from the everyday hustle and bustle.”

For instance, in Brittany, I vividly recall the memories of dark skies that almost resembled a Caravaggio painting. I draw significant inspiration from the bold contrasts between light and dark, which is commonly referred to as chiaroscuro in painting.

For that project, I also collaborated with young designers to source outfits that would complement my artistic vision. And I scouted models with childlike faces, and whose appearances could make me believe that they were my alter egos. I then meticulously combined all these elements using Photoshop to bring my creative vision to life.

*L'élan,* from *Emotional Movement*, 2020

*Le Tailleur Vert,* from *Emotional Movement*, 2020

*Les Gambettes,* from *Emotional Movement*, 2020

AP: So there is quite a process in creating the final images - How would you describe your photography aesthetic in just a few words?

CF: I believe my photos are quite poetic and generally have a soft quality. However, I still like to incorporate very vibrant colours into them.

AP: Who are the figures who currently inspire you the most?

CF: When I develop my colour palette and seek inspiration for my artistic vision, Elizaveta Porodina holds a prominent place as one of my most significant influences. Her ability to craft such distinctive images at a young age has been a true source of fascination for me over the past few years. In addition to Porodina, I also draw inspiration from the works of photographer Sarah Moon and painter Gerhard Richter.

AP: Your series Emotional Movement was recently on display at Gallery 24b in Paris, what do these pieces explore specifically?

CF: During the Covid crisis, I spent the lockdown in my family’s house in the countryside. This period of suspense and self-reflection made me want to create a sort of emotional journal. As a photographer, I had many questions about my future. And I also spent a lot of time talking with my mother and grandmother.

So, I created a 6-image series on movement that explores the concept of trace, whether it's related to my mother's stories or our family's remnants.

It's a series set against a white background where I wear the clothes of the women in my family. I'm portrayed without showing my face, and the bodies are intentionally blurred. It's the clothing itself that takes me on a journey.

The photographic result, created with a low shutter speed, gives the materials a sense of lightness and a blending of colours, I think of them as like a watercolour painting.

AP: How did producing those works differ from your latest project, Chiaroscuro: Portrait of a Woman?

CF: For my latest series, I aimed for a highly neutral approach to the scenography and staging. This was essential as I was experimenting with various camera effects. In front of the lens, I positioned a piece of glass covered with water or a greasy texture. The use of these textures placed between the lens and the model resulted in a distortion and elongation of the body, precisely the effect I was seeking to achieve.

I used the basic shutter speed, which resulted in a genuine watercolour-like effect. To clarify, shutter speed refers to the camera's aperture time being long, allowing a lot of light to enter, which in turn gives the image a slight graininess. I also exclusively utilise continuous lighting, similar to what's used in cinema. This allows me to have precise control over the direction and quality of light in my photography.

The contrasting colours in the series were inspired by stormy skies, sunsets, and the deep black of the night. For me this photographic series is really immersed between film scenes and pictorial ambience. I’m very happy about it.

AP: Thanks Charlotte, it’s been a pleasure talking with you.