Head of Art Direction | LA REDOUTE

French and British, I grew up on the Opal coast before going to Oxford and then London to study. After meeting with a prominent fashion show photographer, I started traveling and building a solid foundation in fashion photography at fashion weeks around the world. After four years, I built Scotch & Soda's studio in Amsterdam and became responsible for a team of in-house photographers, stylists, hair-stylists and make-up artists. In 2017, I became a mom and I decided to come back to France. Since then I am working as Art Director for Le Redoute on all communications supports with a mission to modernise and make the image coherent. I am passionate about my job, this role offers a great diversity of themes and constantly nurtures and challenges my vision. 




1.       What was your very first job? 

 My very first job was au-pair in Oxford for a year before joining the Oxford Times and then enrolling for a Journalism degree in London.


2.       Please describe, in your own words, what your job is and what work it entails.

 I am Head of Art Direction at La Redoute. This means I oversee all content creation for all media (photography, video, print). I am sole art-director on joint campaigns for our external brands and marketplace (such as Nike or Adidas for example) and work closely with a team on our internal brands (womenswear, menswear, kids, lingerie, senior, ect) from campaign to e-commerce assets. I am also leading re-brandings and innovative ways of communication (reels, tik-tok & so). On a day to day basis I work on ideas, production, and I art direct shoots.



3.       How did you discover that the creative world was right for you? Was there a time in your life that you credit to this discovery? Was there a train of events that brought you where you are today?

 I fell in love with a Tom Ford editorial in Vogue Paris of December 2010. I was just a teenager in high school, but I felt so drawn to it. It’s a jewelry editorial shot on two elderly people making out at the back of a cab. It was beautiful but raw and you wouldn’t see that in magazines at that time.


After my first year at university I was bored with journalism and reached out to a photographer to learn product photography to finance my own shoots. Little did I know he was a big shot in the catwalk photography industry and called me up one night telling me he booked a flight from Gatwick to Milan and that he’d meet me there because he needed urgent replacement of his head of post-production. I had never retouched. And I knew nothing about fashion. But I went, and I learnt, and I did all fashion weeks with him from then on, moving to his headquarters in Amsterdam and travelling to London, New York, Milan and Paris multiple times a year. He shot every single show on the calendar. So I learnt it all. And even retouched his archives going back to the 90s. It gave me a huge education in fashion and photography which I still use to this day.



4.       In your constantly growing and expanding industry, how do you find inspiration to keep your work fresh, innovative and relevant?

 It is critical to stay open-minded. And that means getting out of your comfort zone and onto all the new apps coming out. It’s understanding your current target but also the next generation. I spend hours on Instagram because I know have an interesting network of well-established and new-coming creatives that keep me on my feet creatively. They are not purposely challenging my vision, but people are more and more speaking their truth nowadays and there is a lot to learn for those who listen.



5.       If you had to pick one piece of work or project that you are most proud of, more for the creative work and innovation rather than its recognition or industry "success," what would it be?

 This is not sexy, but my proudest achievement to date is rebranding the senior brand of La Redoute. Because the challenge was monumental – no new budget, exact same team and expectations off the roof: transforming La Redoute oldest standing catalogue (and only catalogue remaining might I add) into something fresh, that won’t scare off the current client (80-90) but will be appealing to a younger one (45-65). And we succeeded in just 3 months.



6.       Which creative disciplines do you commission most, and are most interested in seeing more of and why? Which of these disciplines are you most interested in seeing at CONNECTIONS? (ie photo, film, production, social, experiential, vr, cgi, animation etc)


We currently commission mostly photography but I keep pushing for film and VR as these would bring something fresh and new to the table for La Redoute.


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