Before going into culinary design, I studied fashion and then decoration. I was young when I became interested in drawing, photography and sewing whereas I started on culinary design quite late !
RC. What are your studies and how did you discover this job?
When I was 24, I discovered my profession by coincidence, looking for photograph studios after I graduated in decoration. I thought I'd eventually discover photo design for decoration magazines, but instead I met the only Nantes culinary stylist. She was searching for an assistant to train and suggested to assist her to check if I liked this job. Despite my poor knowledge, my greediness and curiosity led me to culinary design.
In decoration, I was more interested in merchandising / events and I found in culinary design this work around short-lived projects. I think it makes my mission more fun and creative.
I am also attracted to thoroughness and diversity. The creation of a packaging or a recipe book does not require the same skills.
I do not regret my choice.
Photographers : Gildas Paré, Tara Devaud, Julien Mota, Ana Texeira, Camille Dronne, Pierre Picard, Fabrice Audio, Appelle Moi Papa
RC. What stands you apart from others ?
In this profession, we all follow trends. So it's difficult to be really original.
In fact, besides the romantic and flowery atmospheres that attract me a lot, I have noticed that I often create conceptual photos, playing with the graphic style and thoroughness. My latest project for "les Tables de Nantes" is a good example, and also my series on broken plates made with Gildas Paré. I studied this style a lot for clients who have a modern editorial line, like Sodebo.
RC. What's your phylosophy about this job?
I think it's an exciting job ! But I like to distance myself sometimes from the issues of advertising photography. On projects such as pack or advertising, there are often a lot of people involved, a lot of financial resources and sometimes a lot of stress. I'm 100% invested in satisfying my clients and helping them develop their brand, but in the end, I don't change the world… A little hindsight is not too much to continue working with pleasure and creativity. I also like working with a real team spirit. For a long time, photographers were put in the spotlight, and designers were mostly just carrying out orders. Today, it's different, design is less considered than a detail in a culinary photograph. Since 2017, we 've obtained the author status, so as the photographers. In any case, my most successful projects have been in a spirit of listening and mutual respect. A culinary photograph is 50/50 !
RC. How do you prepare yourself ?
Depending on the projects, the preparation is not the same. For technical projects such as packaging, anticipation is essential. If necessary, you should test some renderings in advance at home, make sure you have the equipment you need and the ingredients in sufficient quantity, especially, if you have to do the shots again several times or if the client does not agree with the result… For atmosphere photographs, it is also necessary to foresee all the art of the table and imaginate the scene in your head before D-Day, even if you can adjust your inspiration at the time. In general, I think that all designers spend a lot of time looking at culinary images. Like musicians, before playing or creating, they already have a musical culture. We also develop an image culture. When I look at a culinary photograph, beyond the emotion it inspires me, I immediately analyze the materials and chosen dishes, the type of light and its orientation, the colors, the composition, ... but all of this comes with experience and individual sensitivity.. Even when I go shopping, walking, or on vacation… Some projects require very specific research and preparation and it is important to charge that time, even if it seems difficult to quantify it.
RC. What's your worst experience? without mentioning names !
Several years ago, I worked for a huge studio which was more like a factory, near Paris. The photos were created for mass distribution, I did a 15-day mission. Around twenty photographers and designers were working in an not always pleasant atmosphere, not creative and the client was never satisfied. I never agreed to go back. Fortunately, it is rare and most of the time, atmosphere is good in the team and with the clients !
RC. Do you have coming plans ?
I'm currently working on a special "Bretons en cuisine" magazine, from recipe writing to photography, with photographer Julien Mota. I've got shots planned ... but current conditions leave a slight doubt about the future. Sometimes, I work with some photographers on personal créations. Even if inspiration doesn't always come easily, it's so nice to be free to express your creativity ! Result can be less successful sometimes, but it's like everything, it's a good way to learn… And in my profession, you never stop learning !
