To discover her work, go on her website or on her account @rosannatutta.

Thanks Rosanna for putting in perspective weaving and photography!

Rosanna Lefeuvre offers a work at a crosswords of arts. Graduated from l’ENSAD in textile design and DUPERRE in photography, she plays with those two medium to transport us through this hybrid universe.

Weaved photography, photographic weaving, she transforms her images into textile and chooses her textures and colors such as a painter his pigments and tools. She works every weaving like a unique support and specific to each of her photography and prints her shots on it, offering a new materiality to the image. 

Through textile, the work of reproduction of the photography is re questioned and is inscribed in another temporality, the crafts’ and the hand work.This singular work questions the status of the image production in order to give it a different valor, with textile savoir-faire. 

She exhibits in London, Helsinki, Paris and is the laureate of the 2019 Picto of Fashion prize and of the scholarship of the hand intelligence and young creation of the Bettencourt Schueller fondation. She is also selected at the Montrouge Salon. Apart from her personal artistic work, she also collaborates as a fashion photographer and designer textile for fashion designers. She also regularly collaborates for the Color CARLIN trendbooks.



Sophie Chapotat (Artistic Director – 79C Carlin Group): You weave then you print your photographies, it’s a not well-know technique. Is it a technical unique innovation  or a process that belongs to a move, a school?

Rosanna Lefeuvre (Textile Designer & Photographer):The association from the textile to the image has always existed, whatsoever as support or pattern. However, there is a real desire those past few years, to question, overtake and renew the photographic medium. Many contemporain artists work on the photography on new supports, linked with other materials. As the association weaving-photography, I am not the only artist to use it, I just do it my way.

The paintbrush

Jacquard weaving . Cotton, wool and recycled polyester / 64 x 80 cm / Unique piece – private collection

The night dress

Serigraphy on satin in viscose / 120 x 89 cm / Unique piece

The coat in yellow satin

Serigraphy on satin in viscose / 113 x 87 cm / Unique piece

S.C: Your work is a hybridation between 2 techniques usually quite far away. The weaving, is a long artisanal savoir-faire and the photography, instantaneous technique. How do you work? Which is first originally, textile or image?

R.L: Textile and image are indissociable in my work, particularly in that collection, Jane. I imagine my images depending on techniques and supports textile that I want to develop and at the same time it’s the images that determine them.

The flesh-colored bra

132 x 102 cm / Unique piece


Jacquard weaving in cotton and recycled polyester / 40 x 60 cm / Unique piece

S.C: Each string is studied to receive colour, shadow or light but, some strings don’t receive anything and let appear the brut weaving like a used painting. The material remains, and transforms the image. How do you do it?

R.L: When I weave my photographies, I use many strings qualities that receive differently the color and the light: depending on their composition, their matity, their shine. I intentionally choose strings on which the image will fix less to let parts of the image empty, erased.


The white shoe

Inkjet printing/ 62 x 80 cm

This work has integrated the collection of the Palais Galliera (Museum of fashion of Paris)

Jane’s gone

Inkjet printing / 60 x 80 cm

Jane’s back

Inkjet printing / 60 x 80 cm

This work has integrated the collection of the Palais Galliera Museum of fashion of Paris)

S.C: You build pictural photos inspired by 18th century painters. Pastel palette, milky white skin and souple clothes compose each photography. But above all, the fold of fabric has a preponderant place in your expression. By the way, it is highlighted by the presentation of your hanging textiles. The fold of fabric in the painting calls to your mind, why?

R.L: The fold on fabric is a pattern particularly recurrent in the history of art, it’s a sign, an icon. He immediately inscribes in my photography in that heritage and I award them a picturality, an erotism, a certain drama.

Rosanna Lefeuvre – @takecare_magazine


Inkjet printing / 30 x 40 cm

The waiting

Jacquard weaving, cotton, wool and recycled polyester / 98 x 134 cm / Unique piece

The yellow curtain

Inkjet printing / 60 x 80 cm

S.C: The big scenes of genre in the 18th century are unveiling in the classical painting, by covering them, the bodies reliefs which fake modesty. Your framings are tight such as you only unveil some parts of the paintings.  Do the off-camera is it present in your inspiration?

R.L: The fold of fabric allows to delimit a space. He orientes and isolates the look such as my tight framings. They allow me to emphasize the body, the tissus material.


The boring

Jacquard weaving, cotton, wool and recycled polyester / 106 x 133 cm / Unique piece

Jane full face

Inkjet printing / 60 x 80 cm 

This work has integrated the collection of the Palais Galliera (Museum of fashion in Paris)


S.C: In your photographic work, the textile is very present. The tissu highlights and reveals bodies, it speaks about modesty, intimacy, even feminine sensuality. The representation of the women body since #METOO is questioned, especially by women photographers. Is it also a topic in your actuality?

R.L: I personally feel, as a women, concerned by the #metoo movement and feminism. However, I couldn’t say that it was a direct source of inspiration in my plastic work for now. But it’s no excluded for the future!

S.C: Professionally as a photographer, have you already been interrogated by brands that treat about intimacy feminine? I think for example about cosmetics or lingerie…

R.L: I recently do a campaign for a jewelry brand that was articulated around intimate and daily gestures. The artistic direction knew my work and came to me for my particular sensibility.  I stay attentive to all the proposals by brands treating of intimacy.


Rosanna Lefeuvre –  Jane’s back

Inkjet printing / 60 x 80 cm 

This work has integrated the collection of the Palais Galliera (Museum of fashion in Paris)


Flore #3

Inkjet printing / 30 x 40 cm 

S.C: You give a specific place for colour, you choose your textures and your colors such as a painter his pigments. How do you work your colors range?

R.L: It can vary depending on the collections and projects I work by experimentation, the association, especially from clothes, tissus that serve me as background. I also lay on artists piece of work that I admire. For that collection, I was particularly inspired by Kisling paintings, so I take his colors palette.

S.C: You were in charge of the Color trend book CARLIN FW2122. It’s an order that requires to elaborate coloristic color ranges very distinct and different. Your coloristic universe is particular with a strong committed stance. Personal research and professional order, how do both stick together, can you talk to us about that?

R.L: It’s an order that allows to have a global vision of the contemporary creation, from a large prospective, in fashion, design, photography, plastic art. However, my sensibility for the textile, fashion and contemporary art has very influenced the  Color trend book FW2122. I have also created many color ranges lined with the skin and cosmetics.


S.C: This CARLIN colour, what does it make you think about?

R.L: I find this green resting. It reminds me of the walls decorated by Pierre Marie during the parade design in 2019, even it was more intense I recall. I have loved very much the atmosphere coming from that space.

S.C: A color? A material? A light? Your today’s mood?

R.L: Paris and its particular light in summer.

Thank you Rosanna for this inspiring interview. 


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