Philippe Franière, a Swiss photographer who worked on campaign images for the 2019 collection <EXCAVATION> and collaborated again with <HOTOLI> this year. In addition to photographing global high-end brands, he is also a popular photographer here in Japan, presenting his artwork as an artist around the world through exhibitions and photo books. We visited SIRI SIRI SHOP and had an interview with Philip, who came to Japan.

SIRI SIRI Director Sawako Fukai (F)
The collaboration with Philip started in 2018. Originally, Mr. Philippe, who is an artist, and I have a personal relationship, and we started working together in the form of an introduction to Mr. Okamoto, a designer. In fact, Philippe and Okamoto have a common Japanese friend, and the architect (Momoko) Kudo, who designed SIRI SIRI SHOP, is also a friend, so the collaboration started in a good way. How did you feel when you first got the offer? Were you familiar with the subject of jewelry?

Philippe Franière (hereinafter: P)
I have photographed high-end Swiss jewelry and watches, but glamorous photography is not my style, and I am not particularly good at high-end brand products. SIRI SIRI jewelry is different in nature from such luxury items, so I thought I needed a different approach.

F: What was it about SIRI SIRI that got you interested?

P: I'm very attracted to craftsmanship. When I heard the presentation of SIRI SIRI, I was very attracted to that point. In working with famous brands such as Hermès and Delvaux, the most attractive thing for me is that the object is made by someone's hands, rather than the rarity and price of the product. The important part. So when I heard about the fusion of Japanese craftsmanship and modern design, I was immediately intrigued. When I see the actual product sent to me, it looks very lively. And even though it's craftsmanship, it's extremely precise. I think craft often has some kind of hand marks and roughness, but I don't see any of that. I thought it was so beautiful. I think that balance is the one and only thing.

F: Nice to hear that. Because I know Philip's usual work, I wanted SIRI SIRI's products to be approached as objects rather than jewelry. As a photographer, Philippe feels that the resolution of his line of sight is extremely high. And I think they look at the characteristics of things very carefully. When did you have that point of view? Is it something you trained as a photographer, or is it an inherent interest?

P: Good question. I'll think about it (laughs). Hmm...I spent my childhood in a very small village and spent a lot of time playing in nature. I especially like stones and collect them. That may be why I developed the ability to look at the subject. When I take pictures, I value "looking carefully". "Look closely" is not just the surface. It's kind of thick or deep...

F: Like layers?

P: Yes, the surface is not empty underneath, but is made up of layers of things that are packed inside. I try to stare at that kind of thing, such as its depth or depth. I think it's probably a habit nurtured while observing nature. Look closely at the subject, and stare firmly at its "quality". The work I put together in the zine "Balancing Act" that I presented at the SAI gallery in Tokyo last year was produced during the lockdown period, but I was able to see through the camera the materials that overflowed with everyday life. These are the works that I experimented with to become something special.

F: Why did you choose to become a photographer in the first place?

P: It's also a coincidence. When I was a teenager, I got into freestyle skiing with friends in Switzerland, and I started taking pictures to document it. Then I fell in love with it. Of course, I loved photography and collected images that stuck in my mind, but I never thought I would be the one taking the pictures.

F: It didn't start with still life (still photography)! Surprising.

P: Yes. I was filming my friends who were moving violently (laughs). After that I fell in love with the setup. Collect objects and build a small set... Even if the product is simple, if you change the ratio or the distance from the lens, it becomes like a sculpture, and if you take a picture, the installation will remain as a record. It's fun.

F: Sculptures and architectural compositions are one of the characteristics of your work.

P: I love architecture. It's the same as what I said earlier about the surface of an object, and it's more interesting to feel the space inside rather than the architecture as a mass (volume). It's very interesting how space affects our behavior.

F: Yes. In terms of spaces and buildings, Switzerland and Japan are very different, aren't they? You said it was your sixth visit to Japan. How did you come to visit so many people?

P: Actually, I've always been fascinated by Japan. It's a long story, but my grandfather had a very interesting collection of books, one from each country. Of course, Japan is also in the collection of books that are like world maps. When I was a child, I didn't even know where Japan was, but the photos of women in kimonos, trees, and houses... the color photos were really beautiful, and only the strong image remained in my head. After that, when I was 18, I read Junichiro Tanizaki's In Praise of Shadows and was shocked. One of the most important books in my life. The importance of light, especially light inside a house. I've always been very sensitive to light, and I don't like too much light or fluorescent lights... so I've always wanted to experience the light and shadows that appear in books. When I first visited, I had a strange feeling that although it was the exact opposite of my usual European life, I somehow felt at home here. The way the space is captured, the degree of perfection, etc. Everything is meticulously detailed even before the craftsmanship.

F: It's true that Japanese people, even if they're in a city full of fluorescent lights, have some kind of sensitive "In Praise of Shadows" sense and finesse in their behavior and approach to things. think. Looking at the resolution of your work, I agree with your point of sympathy. But, of course, it's also a matter of sensitivity, so it's a match.

P: I think so. The more I come here for work or sightseeing, the more fun it gets. I used to see the city from a distance as a tourist, but I gradually made friends in Tokyo and was able to observe the city from a different perspective. Tokyo, in particular, is an interesting place because despite the fact that the city is huge, there are many small pockets in its details.

F: A big city like Tokyo can't function with just a delicate aesthetic. It is dynamically reborn every day. But don't you feel the beauty in the gaps between the buildings?

P: Exactly. It is a mysterious sight where two worlds coexist.

F: Do you feel the same way about Swiss cities?

P: No, maybe that chaos and contrast doesn't exist because it's on a much smaller scale. It's also single paced. In Tokyo, in the middle of the hustle and bustle of Shibuya, there is an old wooden house that seems to be 100 years old.

F: Certainly the pace of the city could be more evenly slowed down. After being in Europe for a while, I get used to the difference in tension between weekends and weekdays, and the fact that I finish work at night. But there is also a sense of tension brought about by the unique tension.

P: I think that's what makes this city a more interesting place.

F: Do you continue to create personal works in addition to your professional photography?

P：Actually, I want to make more works, but it's difficult for me to pursue the thought process of commercial filming and personal works at the same time. However, I don't want to narrow down to just one or the other, as commercial photography can lead to new discoveries and training. Recently, the number of clients who understand artistic expression is increasing, and I would like to collaborate more without excluding commercial photography from my activities.

F: There is no doubt that more and more brands consider artistic expression to be important for branding, and the way users consume images is also changing. While digesting so many photos on a daily basis, I think you can tell how carefully the images were created.

P: I hope so. Also, I create works by myself, but collaboration is something that is created by a team, so that is also a fun aspect.

F: As you resonated, for SIRI SIRI, inspiration such as contemporary architecture and art is as important as craftsmanship. Being able to collaborate with an artist who sympathizes with that and expresses it is a great joy in doing a brand. I'm looking forward to the day when we can collaborate on image creation together again.

Philippe Fragnière

Born 1987 in the Swiss Alps. After studying photography at the Lausanne Cantonal School of Art (ECAL), he started his career as a photographer, working on artworks centered on still life. Also works as a commercial photographer in London and Paris. He regularly collaborates with publications such as Wallpaper*, Numéro and ICON, as well as Decencia, Hermès, Dior, Cartier, Patek Philippe and other brands. I am currently working on my third photo book.

http://www.philippe fragniere.ch
Instagram: @philippefragniere

Photograph by Yoshiko Netsu