During his residency at the GwinZegal Art Center in Guingamp in 2012–13, Charles Fréger led a photographic project, entitled “Les Bretonnes” focusing on the uses of traditional Breton costume and more particularly on headdresses by the Celtic circles of Brittany. By engaging in the “Bretonnes” project, Charles Fréger embarked on a poetic inventory of Breton headdresses in the traditional clothing culture of women in the region. Cornette du Trégor, Coiffe le Coq, Toukenn, Capot de mourn, Queue de lobster, Coiffe Bigoudenn, Marmotte or Jenoss… all these names of headdresses come over time to enrich the vocabulary of the photographer, who has immersed himself with relish in the history of this essential element of Breton costume. To approach his shooting work, the photographer looked at the history of representations relating to the traditional costume of Brittany: compiling both the important production of postcards linked to this theme and that of painters, from Gauguin to Mathurin Méheut, via Émile Bernard, Paul Sérusier, Eugène Boudin..., Once the stereotypes and clichés have been identified, he isolates what captivates him, defines his subject and finishes by inventing its form. Charles Fréger's resolutely modern look plays on the gap between a contemporary treatment of the image and the stereotypes linked to the subjects photographed. In this way, it invites a reflection on the feeling of identity. The translucent screen of the “Les Bretonnes” series marks a semi-impermeable border between a postcard past and the Bretons of today who, although heirs to a culture and a tradition, undoubtedly belong to the modern world. This work was the subject of a series of exhibitions in Brittany during the summer of 2015 and the publication by Actes Sud of the “Bretonnes” series as well as a final glossary incorporating 3D views of the headdresses and explanatory notes.