Behind The Lens – Capturing SS26

SS26 campaign prints pinned to a studio board showing a model in a white pinstripe suit — behind the lens at Clements and Church

There is a natural connection between bespoke tailoring and film photography. Both are built on intention, patience and craft. Neither is concerned with speed or volume. They reward care, restraint and commitment to the process.

After representing Clements+Church as a model across the last four journals, stepping behind the lens felt like a natural progression. Having spent several years in front of the camera, I understand how clothes move, how they sit on the body and how confidence is often revealed through posture rather than pose. That perspective shapes my approach to photography.

Tailoring and Photography

Bespoke tailoring begins long before a finished garment exists. It starts with conversation, measurement and cloth selection, knowing each decision matters. Film photography follows the same logic. Every frame is considered before the shutter is pressed. Light is observed.

Composition is deliberate. You commit to the moment, rather than relying on correction later. Shooting on film felt instinctively right for Clements+Church. It shares the same respect for process and belief that the original capture should carry the truth.

Both crafts are grounded in material honesty. A bespoke suit reveals the character of the fabric through drape, crease and wear. Film does the same with light and texture, holding grain, tone and depth in a way that feels tactile and real. Nothing is overworked. Nothing is disguised.

Time plays an equally important role. Tailoring requires fittings, adjustments and patient handwork. Film demands waiting, development and care. That slowness isn’t a drawback; it’s what gives the final result weight and character.