Behind the Image is an ongoing MODELS.com series taking a more personal look at both established and emerging creative talent.
Olivia Aine | Image courtesy of MA + Group
Olivia Aine, Set Designer
Hometown/country: Clermont-Ferrand, France
Based: Paris, France
Representation: MA + Group
How would you describe your work? What’s your trademark?
My work is eclectic, curated, and considered. A deep sense of empathy and curiosity drives me. I’m fortunate to collaborate with a fantastic team of talented friends—artists, visual creators, music producers, and iconographers. We challenge and inspire one another, which enriches our creative process. My trademark? Without a doubt, my team.
What led you specifically into the world of set design?
My interest in set design was born from the influence of my father, an architect, and my stepfather, a carpenter. I have always been drawn to architecture and space planning. Still, it was while working on my first visual project, that I discovered how much the set can enrich a visual story, whether in film, photography, or theater.
What other jobs have you had?
Before fully diving into set design, I attended a photography school, but I quickly realized that the behind-the-scenes work interested me more. I then worked in photo production as a studio assistant. Later, I became a construction assistant in a studio workshop, which allowed me to acquire various techniques and manipulate materials while creating set elements. This last experience naturally led me to set design, which I began exploring through assisting before launching into my projects.
As you often set the stage for shoots, what inspires your work?
First and foremost, travel. I am fortunate to have traveled a lot and discovered the different architectural styles of each country. Cinema is also a source of inspiration for me, particularly its use of color and its ability to create sets anchored in a known or unknown reality. Finally, contemporary art and theater inspire me in terms of space management and the richness of composition, whether minimal or flamboyant.
What do you take into account when designing sets for different types of shoots, such as studio versus location shoots?
I particularly enjoy still life and fashion shoots because of the different scale relationships they involve. The research work done beforehand varies completely for each type of project. This allows for diverse creative approaches, which is essential for me to avoid monotony. This is also why I am increasingly interested in fashion shows, as they allow me to further broaden my creative diversity and explore new artistic grounds.
How do you approach collaborating with creative teams to ensure your set designs complement the artistic vision?
Collaboration is at the heart of my creative process. I make sure to listen carefully to the vision of the director, photographer, or art director and stylist, and I bring in my ideas based on that direction while respecting the visual coherence. Constant dialogue is crucial for adjusting elements and ensuring that my work fully serves the collective vision.
What have you watched/heard/read lately that has inspired you?
Recently, I had the opportunity to take a training course on AI, particularly with the tool Midjourney, and it completely changed my way of thinking about the creative process. What really struck me was how AI can generate unexpected visual ideas. It offers combinations of colors, textures, and shapes I would never have thought of spontaneously. Sometimes, the results are surprising, even a bit unsettling, but that’s precisely what I find inspiring. It pushes me to step out of my creative habits, explore bold associations, and push the boundaries of my imagination. It’s a new approach that encourages me to rethink certain design aspects, introduce more fluidity into my artistic choices, and stay open to more innovative aesthetics.
What have been the biggest challenges you have faced professionally?
One of the biggest challenges is balancing logistical constraints and high creative demands within tight deadlines. I often have to juggle limited budgets with ambitious artistic expectations, but this has taught me to be more resourceful in my material choices and solutions. Another challenge is reconciling set creation with an eco-responsible approach. I strive to recycle and reuse materials as much as possible for each project while maintaining high aesthetic quality. This can be a real challenge in an industry where novelty and ephemerality are often valued. However, I see it as an opportunity to innovate in my material choices and how I use them. Another solution I value is donating set elements or materials to charities or other creatives after a project rather than throwing them away. This not only reduces waste but also extends the life of these objects in new creations.
What’s one thing outside of your work that you would like people to know about you?
Outside of set design, I am passionate about cinema and architecture. I am fascinated by cinema for its ability to tell immersive visual stories, and I am particularly drawn to how sets play an essential role in that. Architecture interests me for its impact on the human experience of space and design.
Who do you think is one to watch?
Without a doubt, I would say photographer Carlijn Jacobs. I have had the chance to collaborate with her, and she is an incredibly talented artist with a unique vision in fashion photography. Working alongside her is extremely inspiring.
Selected Work
Allana Santos Brito by Marie Amélie Sauvé | Image courtesy of MA + Group
Paco Rabanne Campaign, January 2023
This campaign for Paco Rabanne in January 2023, directed by Marie-Amélie Sauvé, is a great memory. Creating an 8m x 4m pool elevated by 1m is always a bit of a challenge. The video result was superb, and the studio and team were completely soaked.
By François Coquerel | Image courtesy of MA + Group
Le Gout de M L’Accent Tonique
This image for ‘Le Gout de M L’Accent Tonique’ in September 2024 is quite recent, the result of my collaboration with photographer Francois Coquerel. The theme was Almodovar. The Formica chairs were perfect for creating something sculptural and chaotic, with vibrant colors evoking the Spanish ’80s.
By Thibault della Gaspera | Image courtesy of MA + Group
Chanel Lockers
Thibault della Gaspera created the Lockers for Chanel from 2022 to 2024. Together, we made about 60 videos with the Locker set over two and a half years! It’s a real pleasure to collaborate with them each time. The concepts with Chanel are always fun and playful, which is really enjoyable.
Maty Fall & Mumin Jangani by Jordan Hemingway | Image courtesy of MA + Group
Casablanca S/S 2024 Campaign
The Casablanca campaign, shot by Jordan Hemingway in October 2023, was one of the boldest and most complex projects I’ve worked on and the one I’m most proud of. We had 24 hours to build 8 sets.
Laetitia Casta by Carlijn Jacobs | Image courtesy of MA + Group
Vogue France Cover Story
We did a cover story with the icon Laetitia Casta for Vogue in March 2022. I love working with the duo Carlijn Jacobs and Imruh Asha; it’s always very inspiring and full of great energy.
