IN CONVERSATION WITH
Katy Lawrence
We caught up with film photographer Katy Lawrence to learn more about her background, creative process and campaign top tips. Katy has photographed a number of our client brands, crafting and capturing incredibly beautiful and soulful campaign shots.
Where did your career as a photographer begin?
In 2010, I came across a rail of dresses in Jigsaw by a then little-known brand called Cabbages & Roses, and I instantly fell in love with their designs. This was the era of YouTube fashion films - before Instagram and before brands fully understood the power of video for customer engagement. Having taken a film course in New York and dreaming of becoming a film director, I persuaded a friend to come to Cornwall, where I shot a short film of her walking through lanes and fields in a Cabbages & Roses dress. The film was sweet but undeniably amateur. Still, I got up the courage to send it to Cabbages & Roses. To my surprise, they replied immediately, saying how much they loved it.
I drove to London to meet the brand’s owner, Christina Strutt, who went on to hire me to direct fashion films for her collections. Around the same time, I had bought myself a film camera, and they discovered I could take photographs as well as make films. They hired me as a photographer too. I had a strong sense of aesthetic, but I lacked technical training and confidence, so I didn’t feel ready to pursue photography full-time. Instead, I chose a career in TV and film production, which paid the bills, and I continued to practice photography between projects. It wasn’t until a few years ago that I finally found the confidence to pursue photography as a career.
What’s your creative process when planning shoots?
When planning a fashion campaign, I like to walk around a shoot location in advance to see what inspires me. I’ll always look to the flowers for texture and colour, and try to find beautiful backdrops of fields, coastal paths or cliffs. I usually begin the day with a plan, but the shoot naturally evolves as the light shifts and changes across the landscape or within a space. I also love working with models who bring energy and joy to the day—especially those who see themselves as part of the creative process and aren’t afraid to suggest ideas. Shoots are always a team effort, and I’m nothing without the incredible group of stylists, hair & makeup artists, models, and photography assistants who support and collaborate with me.
How would you describe your photography style?
Happy, Peaceful, Romantic, Bucolic. My style of photography has never really changed and I don’t mind that. I am still taking the same photos I took 15 years ago.
What do you love most about film, compared to digital?
Quite simply, I love the way film looks - the way it holds light and captures a moment, committing it to something tangible. As any film photographer will tell you, there’s no better feeling than receiving your scans back from the lab. It’s a pure dopamine hit and completely addictive.
Your favourite shoot location to date?
I used to be a production coordinator working in TV & Film and I’ve been lucky enough to film in beautiful locations all over the world. I lived in Budapest for a year and fell in love with the architecture and the beautiful Hungarian countryside. Another favourite location was a Summer spent working in Corfu on ‘The Durrells’. I’ve filmed in Paris, St Petersburg, Seville, Belgrade and Venice. That was a different life, pre-covid. I can only dream of being sent to these places to photograph fashion campaigns.
What are some of your favourite e-commerce brands?
My forever favourite brand would be Dôen. Their commitment to beautiful photoshoots, mostly shot on film and their longstanding relationships with their photographers is something to be seriously admired.
Where do you find creative inspiration?
For inspiration, I often dig out scrapbooks and folders filled with images I’ve torn from magazines over the years. I watch films with beautiful cinematography and production design - Days of Heaven, The Virgin Suicides, The Secret Garden, Picnic At Hanging Rock, to name a few. I also revisit my favourite books that capture the essence of a season—the sparkling seas of the Côte d’Azur in Bonjour Tristesse or the crisp autumn days of Vermont in The Secret History.
What piece of advice would you give to someone planning their first campaign shoot?
Oh, I have lots of tips!
- Invest in a good photographer whose style specifically suits your product.
- Be clear about your vision, but allow things to flow naturally on the day. If an idea, look, or location isn’t working, move on quickly and find the next one.
- Don’t rush the day or try to fit in too many looks. Give the photographer and model time to feel their way through the shoot, finding the light and movement to tell the story organically.
- Shoots can be physically demanding and exhausting. Provide a hearty lunch and snacks—you’ll get more out of your team if they’re well nourished.
- When shooting an outdoor Spring/Summer campaign in the UK, aim for as late in the season as possible. March and April can look bare, with harsh green tones, whereas by May, the landscape starts to come alive with warmer, richer colours that are easier to photograph.
- Lastly, enjoy yourself. There’s nothing better than reaching the end of a long shoot day, having created magic with an incredible group of creatives.
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