Q: When did you finish at DMU?
A: I finished De Monfort (Contour Programme) last year.

Q: How long did it take?
A: The course took three years to complete. It was the best time I have had so far — meeting new people and making really good friends.

Q: What did you like most about the programme?
A: The thing I most enjoyed about the course was learning corsetry, which was one of the reasons why I decided to study at De Montfort. I don’t really have a thing that I liked the least I just had a really good time at university and I like to think I made the most of it.

Q: Did you complete a final project?
A: I researched and investigated 1920’s control underwear. I produced six individual outfits, making it into something that could be worn by modern women. I wanted the collection to have the feel of the 1920’s. I also wanted to materialize the independence and freedom that women were gaining every day in social and political venues, but keeping the line sexy.

Q: Do you keep in touch with other DMU alum?
A: Yes, not as much as I would like but we all keep in touch on facebook.

Q: Where are you working now?
A: I am currently working for a lingerie company in the UK as a fabric technologist?

Q: What does a fabric technologist do?
A: I manage critical paths, which means I sit in conference calls with the factories and members of our team discussing what is out-standing, what needs to be brought forward, and what needs to be a priority. I also work with fabrics to ensure the colour is consistent with standards that have been approved for the entire production: lab dips, bulk, pre-production garments, and gold seals (the final product). I also communicate with customers when they require colour assistance with lab dips, bulks, and test reports . I also review and approve reports for fabrics that have been undergone customer scrutiny.

Contact Claire Hughes

Photos courtesy of Katherine Jones

Q: Tell our readers about your self.
A: In terms of background info, I studied photography at college before going to Chelsea College of Art, London to study Textile Design and then onto The Fashion Institute of Technology NYC to study Fashion Design. There I fell in love with lingerie design while taking an Intimate Apparel class, so I transferred my degree to Contour Fashion at De Montfort, being the only student ever to complete the degree in one year and finishing with First Class Honours.

Q: How did you make your move into photography?
A: After graduation I worked as a freelance lingerie designer, then as Head of Design for By Caprice Lingerie, before taking a career break and reinventing myself as a fashion and lingerie photographer. I’ve been running my own business Katherine Jones Photography for two years now and have studios in South Wales and Greenwich London.

Q: For the Lingerie shoots, have you mainly worked with other DeMontfort alumni?
A: I’ve got very close links with De Montfort – I was a graduate myself, coming away with a First Class Honours degree in Contour Fashion. So it seemed a natural market for me (even though I shoot for the students at a huge discount!) as I’m providing to a wish-list that I myself would’ve created after graduating. Shooting lingerie is relatively new to me, so before moving into the wider market, the alumni gave me a proving ground from which to hone my skills in this area. To the best of my knowledge there are no other photographers working at my level who shoot for the alumni, so it’s a pleasure to be able to provide them with this kind of service.

Q: Are you accepting any new clients?
A: A new London-based contract with a magazine and media agency has seen the work increase five-fold, but I am very lucky insofar as I was able to negotiate a ‘non exclusive’ agreement to the agency. I’m still open to any client that wants me!

Q: How does the process work? Does the designer have a vision of the final picture? Do you? How much collaboration?
A: I art direct all of my shoots which puts me in a great position to work closely with the designer really getting to grips with their vision of both the collection and the final image. How much collaboration goes on depends on the designer, but most are happy for me to follow my own vision of the images. I ensure that the locations, props, models, hair and make-up emphasise the photography as much as possible, so the finished pictures really work to flatter the designs.

Q: How long is each session?
A: Including hair, make-up and lighting set-ups, an average session usually takes between 8-10 hours; a full day’s shooting. Larger collections are shot over two or more days.

Q: Does a single model changing into lots of outfits save money over a couple of models that are ready to shoot?
A: A single model changing into a number outfits can certainly save money if the collection is small enough to be shot in one day (usually up to 10 outfits). But if there’s a large number of outfits to get through it’d usually be at the cost of the final image. Models can get tired after a long day which means that their expressions can wane or they lose focus, so I wouldn’t recommend it for larger collections.

Katherine shared some of her portfolio and described each photo.

Loutka – Inspired by Tim Burton, puppets and broken dolls. Lingerie by Lucy Jackson

Brieranim – Images to launch bespoke, bridalwear and bridal lingerie company Brieranim. Lingerie by Anne Brierley

Something Blue – Images to launch debut collection by Jessie Lou Lingerie inspired by Marie Antoinette. Lingerie by Jessica Clatworthy

Sundae – Inspired by a contrasting mix of refined toile de jouy and erotic dancing. Lingerie by Holly Cavenon

Porcelain - Inspired by the emerging freedom of the 1920’s woman. Lingerie by Claire Hughes

Wisteria - Inspired by a game of ‘peeping Tom’ and lonely housewife. Lingerie by Charlotte Sparey

Contact Katherine Jones for more information.