Starting a career in the field of fashion photography can be an uphill climb for any young creative, but Camille Mompach is finding her footing. She has quickly developed a distinct voice, collaborating with friends and fellow local creatives to produce images that are clean yet experimental. With an eye for detail, she builds a visual theme for each of her projects by establishing a common thread between her set design and the garments she features. She explains her creative process and the inspiration behind the exclusive editorial for Coeval Magazine below.
What was your journey to becoming interested in fashion photography?
Since the age of six or seven, myself and my brother, Clément Louis, who is also now a photographer and illustrator, would have fun by taking our mother’s cloths from her closet to set up photo shoots with the disposable Kodak. My mum was astonished and touched by the photos after they were developed. When I arrived in Paris, after a few test shoots and projects, it became obvious to me that fashion photography would be my path.
This project was shot on film. How do you choose between whether to go digital or use a classic technique?
I have worked exclusively on film for four months now. This step was inevitable for me. I learned photography with a digital camera and I got use to taking tremendous quantities of pictures. Film calms me down a lot. It forces me to reflect more before capturing the photo. It allows me to gain access to a more thoughtful and masterful creative process. My aesthetic is highly influenced by vintage references and is even further strengthened by my Mamyia Rb67.
What is your creative process like from shoot planning through to completion?
Usually, a movie, a poster or even a dream inspires something in me. I work for a few hours or days on a mood board and then I contact my team (France, Anita, Rika or more recently, Vichika). I like to surround myself with people who bring their own interpretations of the subject matter to the table and come up with ideas and proposals. It’s a collaboration. The producing part is what I like least but is obviously required. Working on the casting or set design makes me visualize the picture to the last detail. Once on set, I’m very quick. I know where to go and what I want. Since I’m shooting on film, I feel more peaceful and appeased as if not being able to see the result leads me to continue fantasizing about the story even more.
In many of your past projects, the garments, makeup and the set design are clearly connected to a common visual theme. —How important is your shooting location to the success of your work?
It is super easy for me to use fabric to create backgrounds. I get excited by the idea of moving, shifting and dragging it as is convenient. The décor is present and keeps evolving throughout the photo shoot. I’m very sensitive and aware of textures generally so I find it interesting to establish a link between styling and set design. In the future, I would like the opportunity to shoot more and more in atypical and historical locations.
What was the inspiration for this feature you’ve done for Coeval Magazine?
A few days ago during a ride through Paris, I saw the trees in bloom and was inspired by them. I also wanted to put forth a character with multiples faces and attitudes obviously influenced by Japanese culture.
Where would you like to see your work displayed in the future?
I really want to do more printed projects. It would be very moving for me to see my work materialize in that way.
interview ANNA McCORRISTON
More to read