Team Credits Art Direction: Craig Hemming Photography: Saskia Lawson Styling: Craig Hemming Assisted by: Lauren Reed, Caitlin Forbes, Lauren Scott Filmography: Gene Limbrick Sound: Calvin Sproston Edited by: Julie Schroer Set Design: Carolina Mizrahi Set Florist: Yan Skates Animal Keeper: Ally Lawson Hair: Kerine Lavine Make-Up: Lauren Alice @ Mandy Coakley Represents Model: Isobella Bowering @ The Squad Management With thanks to: Penny & David Capps Biography Craig Hemming is a stylist and art director based in London, UK.

A provocative set in a single shade

Image 2 of 14 from gallery of Lights, Camera, Architecture!: Where Set Design and Architecture Cross Over. Deutschunde / Bettina Pommer. Image © Krafft Angerer

AD100 designer David Rockwell gives the beloved 1963 musical a stylish face-lift

his third creation for the stage, the internationally-recognized architect has completed the set design for new york's first fully-staged production of richard strass's 'die liebe der danae'.

ロサンゼルスにシルク・ドゥ・ソレイユがショーを常設。その名もイリース。ハリウッド映画がテーマのショーで、ハリウッドの世界を満喫できます。ハリウッドの昔から今の映画技術とシルク・ドゥ・ソレイユのアクロバットのミックスは、素晴らしく、LAを訪れたら必ず見たいショーです。(画像)

The third edition of the London Design Biennale, which will take place from September 8th, 2020 through the 27th, will explore the theme of 'Resonance.' With Es Devlin at the helm as artistic director, the Biennale will showcase the responses of over 50 participating countries, cities and...

Saying photographer Anne Hardy has an eye for detail doesn’t adequately describe the intricacy of her work. Each one of her photographs gives the...

Antonin Dvorak – Rusalka The Royal Opera House’s article says “Rusalka is an opera about singing. Or rather, what happens when you cannot sing”. It echoes the story of The Little Mermaid. …

A vigorously researched exploration of the cultural trends set to influence design choices in the year ahead.

Salvador Dali, the great master of ludicrous, Surrealist nonsense was a huge admirer of dance. Dali began designing sets and costumes for the Ballets Russes in the late 1930s, around 10 years after the death of its original founder, Sergei Diaghilev, so sadly the pair never officially worked together. But Diaghilev’s formidable shadow still loomed...

Opening night of King Lear was as ominous as The Bard’s celebrated work; dark skies threatened a storm brewing in the distance.

How do set designers make the impossible possible? Starting with his latest project, BREATHE, we asked Ibby Njoya about his process

The director talks candidly about anxiety, movie obsessions, and his beloved terrier, Zzuni.

Our experience of the Spring '13 Haute Couture season has been strictly via Instagram, and here’s what we're thinking/feeling about the Dior couture show.

Design team David and Sandy Reynolds-Wasco give a behind the scenes look at the new movie

Marking its fifth year, INTRO / LA 2019 showcased the work of 19 up-and-coming and established brands during this year's LA Design Festival.

From the African jungle where Tarzan swings through the trees to the pea-souper skies of London where Mary Poppins floats on high, Bob Crowley's set designs have been the backdrop for some of the biggest theatrical hits to grace the West End and Broadway.

Milano Fashion Week di Milano 2019: guarda le foto delle location delle sfilate più belle, dalla passerella sull'acqua di Fendi alla clinica di Gucci.

Image 2 of 14 from gallery of Lights, Camera, Architecture!: Where Set Design and Architecture Cross Over. Deutschunde / Bettina Pommer. Image © Krafft Angerer

Before digital editing, American artist Sandy Skoglund created non-photoshopped scenes by building surreal sets, a process that took months to complete.

Hacktivists in ball pools, teenagers riding unicorns and a world powered by actors on bikes … Chloe Lamford’s playful sets take audiences by surprise. She explains how she creates them

Alan Faena and Ximena Caminos, the partners in business (and in life) behind the mammoth Faena Arts District, wanted to kick off Design Miami and Art Basel Miami Beach with a bang.

"The Red Banquet" Zhong Lin

If you love theatre, and the thought of working behind the scenes enthralls you more than the idea of acting onstage, set design may be the perfect job for you. Set designers plan, design, and oversee the construction of sets for...

A weekly Saturday recap to share with you our favorite links, discoveries, exhibitions, and more from the past seven days. This week: an all-linen lamp, new cork furniture, and a can’t-miss ceramics exhibition from Cody Hoyt.

Set high in the mountains, surrounded by the majestic Himalayas, stands the Convent of St. Faith, a rugged retreat for a group of English Angelican nuns. It was originally the Palace of Mopu, built for one of Calcutta's most extravagant generals. It was constructed solely as a housing for the general's numerous concubines. At first the nuns are happy to be given such a grand palace in order to establish their new school and hospital, but as the weeks - and then the months - slowly pass on, they find that India, and the palace in particular, reawaken their stifled passions. Black Narcissus was Michael Powell and Emeric Pressburger's stunningly beautiful psychological masterpiece. It was the eleventh collaboration the director and screenwriter had worked together on and only their third film in Technicolor. Deborah Kerr, who was featured in three roles in Powell/Pressburger's The Life and Death of Colonel Blimp, returned to the Archers studio as the lead character, Sister Clodagh, in Black Narcissus. The marvelous Kathleen Byron, an Archer regular, plays one of the most mesmerizing characters in the film - the unstable Sister Ruth. Flora Robson, David Farrer ( another favorite of Powell's ), Jean Simmons and Sabu rounded out the stellar cast. Behind the scenes we see some of Britain's top talent in their tip-top form : Jack Cardiff painted with all the colors of the rainbow in his beautiful cinematography of the film; Brian Easdale created a marvelous score; editor Reginald Mills was a wizard with the scissors; and best of all...Alfred Junge transported us to the very heart of mysterious Calcutta with his extraordinary set designs. It is Alfred Junge's work that we wish to spotlight in this post, although all of the elements in the film worked together extremely well and no one person could get credit for making Black Narcissus the masterpiece that it is. Junge was a German production designer who worked for UFA from the early-mid 1920s up until the 1930s when he moved to Britain and worked at Gaumont-British, and later for MGM on their British productions. In 1939, he went to the Archers studio to do work on Contraband, one of Powell/Pressburger's first spy thrillers and enjoyed the experience so much that he created sets for the next eight Powell/Pressburger films. Junge began work on Black Narcissus in early 1946. The war had just ended and color film was no longer in shortage, as it had been when Powell/Pressburger filmed I Know Where I'm Going ( 1945 ). Most of the following production stills and sketches were created between Feb. 23, 1946 -May 3, 1946. The scaffolding holding up the Palace of Mopu The Palace with the "Himalyan mountains" seen in the distance Junge's talent is best demonstrated in the fact that not one of the principal actors ever set foot in India. In fact, the entire Palace of Mopu was constructed and filmed at Pinewood. Junge's fleet of talented designers included six draughtsmen, three sketch artists, three set dressers, three scenic artists, and one outside buyer. Matte paintings and painted backdrops provided the views of the Himalayas and clever filming angles by Jack Cardiff helped convince the audience that the palace was high atop the mountains, perched precariously on a cliff. Matte paintings are a technique that are no longer being used in the film industry but during the 1940s-1970s were used extensively in science fiction films and "on location" movies. The technique is quite simple and just involves placing a large sheet of glass between the camera and the scene being filmed. This glass is then painted with the view needed. Huge cycloramas surrounding the Palace set at Pinewood were painted with mountain scenery and tilted at an angle in order to be lit by natural sunlight. Many of the other backdrops used in Black Narcissus were enlarged black and white photographs which the scenic artists color tinted with pastel chalks. It gave the film a marvelously exotic coloring. Jack Cardiff was a great admirer of 17th century Dutch painter Vermeer and created the color palette and lighting of Black Narcissus to evoke the sense of a fine painting. A miniature model of the convent was filmed for the opening shots to save on costs, while the interior shots and the grounds directly outside of the convent were filmed on the Palace set. Junge was a gifted sketch artist, and Michael Powell greatly appreciated his talent in bringing the atmosphere of a picture to life on paper, months before production even began. The set decorators adhered faithfully to his sketches and his detailed purchasing lists and you can see how accurately the final film resembled his initial sketches. Leonardslee gardens, once belonging to a retired colonial army officer, served as the valley below Mopu during the scenes involving Sabu, and for the closing sequences. The lush tropical gardens perfectly mimicked the kind of gardens one would expect to find in India. Today, the grounds are temporarily closed to the public but plan on being reopened in the near future. They are apart of the National Trust and are located in Horsham, West Sussex. Alfred Junge was never one to let any minute detail go by as "good enough"...each and every object and intricate carving within the convent walls was meticulously crafted according to traditional designs. Throughout the palace are many beautiful hand-painted murals as well. Alfred Junge received the Academy Award for Best Art Direction for his work on Black Narcissus which sadly was the only award he received for the film and the only Oscar he ever won. When filming wrapped on Black Narcissus, Deborah Kerr gave him an autographed photo of herself with the inscription, " To Alfred Junge, of all art directors the most brilliant ". We won't disagree with Ms. Kerr.

Image 10 of 18 from gallery of "Vardiya (the Shift)": The Turkish Pavilion at the 2018 Venice Biennale. Photograph by Emre Dorter

Liqui Contracts will debut a collection of furniture + lighting under a wooden pavilion inspired by a canopy of leaves at Design London.

De Paris à New York en passant par Milan, retour sur les meilleurs décors printemps-été 2018 de la Fashion Week.

Au festival d'Avignon, Jean Bellorini adapte Les Frères Karamazov de Dostoïevski. Un spectacle au long cours puissant et réussi

We wanted to make something different. Something people hadn't seen before. I couldn't rely on finding an existing setting that would serve our needs and the colors we were envisioning. A seamless paper backdrop wouldn't have the same effect we were going for. So I had to build a set. With pretty m

The CFDA is investing in the Garment District.