The wall behind Camille Tanoh is a working surface. A football photograph sits beside a tailored silhouette; fabric rolls share space with furniture, sculpture and a single flower. These references are held together with pins. Their proximity lets the eye move from the cut of a trouser to the curve of a chair without requiring a finished explanation.
In front of it, the simple act of adjusting a white shirt brings the research back to the body. The tie, cuff and shoulder become practical questions of proportion. A moodboard earns its place when something on it changes how a garment is seen, held or worn.
Other photographs show the next stages of that conversation: a printed campaign image on the table, a coat turned to reveal its signature, a shirt waiting on a rail. The studio moves between looking and making. Paper is handled, clothes are tried on, and an image can return to the room after it has become a campaign.
This notebook remains open. The Journal will follow those movements through actual photographs from the House: the references that stay in view, the objects that move around the room, and the work that eventually leaves it.
From the House archive · The Proper Label®
