Set Designer Gerard Santos Morphs Backgrounds into Dreamscapes

If you look at a fashion image that makes you stop, the surrounding elements are just as thought out as the garment you’re being sold. When fashion extends beyond white and grey seamless backdrops, exquisitely detailed sets are the needed factor to elevate the dreamscape images of the top photographers in the world. Set designer Gerard Santos has been behind some of fashion and music’s most remarkable photos morphing historical references and fantasy into reality, with meticulous attention to detail. Santos looks back on his favorite projects, his non-linear start in the industry, and working with the biggest names in the business.

How did you get into your chosen field? Have you always been interested in set design?
I always knew I would be a designer, I just didn’t know what type of designer because I was interested in so many things. I studied interior and graphic design at school, and then I explored fashion design and photography, both of which are still the biggest passions of my life. When I accidentally discovered set design, it was exciting because it combined elements of all of those interests.

What is your creative process when working on a new job?
Everyone has their own visual vocabulary and memory and I draw on mine to find something about an upcoming job that interests me personally so I can directly relate to the concept. I aim to execute what the client wants while adding my own twist to it and adding something unexpected so it has some element of spontaneity and surprise that I think is essential. Beyond that, I have to trust my intuition and let that lead the creative process.

As you often set the stage for shoots, what inspires your work?
I have forever been inspired by the language of color. How the slightest touch of color can complete a picture in the smallest detail. I’m inspired by nature and new ways of introducing color in places where you wouldn’t expect that color to exist. I’m inspired by imperfection and the idea of creating balance while retaining just the right amount of tension in a setting. When something is a little off, it makes you consider it more deeply. This kind of “perfect imperfection” feels like an unachievable goal but it keeps me coming back to the work.

What do you love about what you do?
I have the most rewarding job in the world. I get to collaborate with some of the most talented and creative people and the opportunity to express and explore something creative in my everyday work. Sometimes work is challenging, but I feel so fortunate to be able to make a living by dreaming of fantastical places. I always thought my work as a set designer was something transitory, that it would lead me to another career because it didn’t seem like a real occupation, but I’ve come to realize that this is what I love, and I am exactly where I should be. My career has been a complete surprise, beyond my expectations.

How has the industry changed and how do you stay relevant?
The break-neck pace of the industry is challenging for everyone right now. We have to create imagery for so many different platforms at once and deliver those different products without sacrificing quality. There is a need for speed, but it requires patience. When you have worked in the industry for a long time you know when it’s important to pause and reconsider all of your options before you capture that moment in time and move on to the next. As for relevance, my work is always evolving. I’m fortunate – my work is never one thing because of the dynamic group of people I have the privilege to work with. Each collaborator satisfies a different interest of mine so my eye continues to absorb and wander. I’m always adding new imagery to the visual history in my head and I think that the range of my knowledge makes me invaluable.

What have been some of your favorite set designs?
I have several: Top Philip Lorca diCorcia for W “Stranger in Paradise “, Thomas Schenk “Lift Off” for Dutch, Steven Meisel’s “Crossview” for Vogue Italia, Mert and Marcus “What Lies Beneath” for Love Magazine, Michael-Bailey Gates “Auto Portraits” for Vogue Paris, and, of course, Beyonce’s “Black is King.”

What usually draws you to a new photographer’s work?
A sense of composition and balance in their pictures, and a knowledge of history, real or imagined. It’s important to me to be able to relate to a photographer’s concept and to them as an artist. The intangibles – an authentic connection and mutual understanding – are also important. The ideas flow more easily when you can communicate effortlessly through pictures or words. You can trust the process and each other. In an ideal partnership, you learn to speak the same language and intuitively know what value you can bring to a photographer’s work. Ultimately, I believe our work as set designers is to inspire photographers; to bring their vision to life but also to take them somewhere unexpected.

What are your goals and ambitions since you’ve already worked with so many of the best photographers in fashion?
I’ve been pursuing some personal work with still life photography and am interested in exploring that a bit further when time permits. The process is so calming and I enjoy the slower pace – it feels like another world. On a larger scale, I would like to design sets for a play or the ballet. I feel like that would be a natural fit for me. Of course, there are photographers I would still love to work with. I admire the work of Paul Kooiker and would love to work with him sometime. Pieter Hugo and I met on a shoot for Le Monde a while back and we’ve discussed shooting together again in the new year so I hope that comes along. I just did a great story with Michael Bailey Gates for Purple that I think will be striking.

What advice would you give to your younger self?
To trust my intuition. It has been the north star of my life and is still a daily practice. It took me a long time to trust my inner voice and make peace with the decisions I have made in my life. I would also remind myself to be present and trust that the rest will come when you do good work.

What has gotten you through the pandemic and how have you stayed inspired through the past year?
My dear friends at Lalaland that I’ve known in the industry for many, many years. I met Amber Janik during quarantine when I was going through a tough time, as everyone was. Throughout the months we stayed in touch, talked often, and connected as friends. Eventually, we decided to work together. I appreciate her for being an eternal optimist and my greatest supporter. She’s connected me with a new generation of photographers and stylists and she’s someone I trust implicitly. She just gave birth to a beautiful baby so a big shout out to Disco Frances Janik and a very, very happy new year to all. I’m hopeful that 2022 is going to be a great year.