Finalists – Prix Picto de la Mode 2025 : Anna Leonte Loron

Anna Leonte Loron is a photographer and visual artist who explores the intimate relationships between women and food. After gaining experience in advertising and design, she turned to photography, drawn by its ability to tell simple and authentic stories. Her work is marked by a search for truth and sensitivity, capturing everyday moments that are often invisible or overlooked.

In her series “Les femmes ont faim”, Anna Leonte Loron challenges stereotypes surrounding women and food. She captures women eating for their own pleasure, free from societal pressures. Through minimalist and sensual images, she invites a new perspective on food, celebrating the intimate and the right to a healthy relationship with the body and pleasure.

Biography

After several years working in advertising and design agencies,
where she was able to thrive for a time as a strategic planner,
playing with words and images,
it was in photography that she truly found herself.
For its aesthetic dimension. And its narrative power.
What drives her above all is telling stories.
Stories in images and words.
Simple stories.
In what they show, as much as in what they tell.
Because simplicity demands truth.
Intimate stories.
Because intimacy told simply, truthfully,
can resonate somewhere.
It can become universal.
It can bring us closer.
To the point of leaving no one in the dark.

Her eye often lingers on what is considered a detail.
Details of everyday life,
that we rarely pause to see,
for lack of time or out of modesty.
Yet they have the power to awaken our senses,
to stir a memory or evoke an emotion.
That, in her view, is what gives them their sensuality.
A sensuality capable of touching us.
With film camera in hand, she captures it.
She captures it to share it.

Les femmes ont faim

“Eating and cooking”
are, for me, sources of pleasure.
And yet, there were those immense deprivations
and the satisfaction of seeing oneself shrink.
There were the breakdowns, the kind that tear your stomach apart.
And the harsh returns to discipline.
“There were”—but from those repeated loops, traces remain.
Traces that will likely never disappear. That’s just how it is.
The sadness is seeing so many women around me
repeating behaviors I know all too well.
Even my own little sister.
My heart and fists clenched when I saw her that day.
Maybe it was already too late for her too.
And if we fail to ensure that our sisters have a relationship with food
based on simple need or pure pleasure,
what will it be like for our daughters?
Closing my eyes to this topic has become impossible.
In “Mangeuses”, Lauren Malka explains how we got here.
And to what extent images are to blame. In the collective imagination, women are
in the kitchen or serving others, but they don’t eat. The ones we do see eating
either follow the rules of “femininity” by nibbling on a leaf of lettuce,
or tip into the pornographic genre by devouring a plate of spaghetti.
They eat for the pleasure of the one watching.
As a photographer, a woman, a big sister, and maybe one day a mother,
I wanted to make images of women who eat.
Alone or with their sisters. But always for their own pleasure.