Behind the Image is an ongoing MODELS.com series taking a more personal look at both established and emerging creative talent.
Felix Gesnouin | Image courtesy of Total Management
Felix Gesnouin, Set Designer
Hometown: Paris, France
Based: Paris, France
Representation: Total Management
You started as a model in the industry. What made you transition into the world of set design?
I was studying industrial design throughout my studies and spent a lot of time in the workshop building things, so transitioning into set design felt like a natural next step when I wanted something more. I always loved watching the set team install their work early in the morning and thought it would be a fun direction to explore. I started assisting, and everything rolled from there.
How would you describe your work? What’s your trademark?
I love mixing different mediums and worlds, using something completely unexpected to break the sense of harmony and question the viewer. Working in this field also demands a tight collaboration and understanding of all the crew members, the photographer, stylist, makeup artist, and DOP, and I feel that my versatility is something I’d want to have as a trademark.
What other jobs have you had?
I’ve worked a few student jobs in the past to survive in Paris, haha, but mainly modeling, studying, and set design.
As you often set the stage for shoots, what inspires your work?
I like to look into different fields for inspiration—lots of movie watching, sculpture, and in situ art—but also a random picture of a weird piece of wood I took a while back or that textured door down the street.
The Charli XCX ‘Von Dutch’ music video was your second time working on set design for a music video. How was that experience for you?
It was a commando mission—we shot two nights in a row at Charles de Gaulle and Le Bourget airport, navigating all the security and logistical challenges that came with it. But I have to say, it was one of my best experiences on the job.
What do you consider when designing sets for different types of shoots, such as studio versus location shoots?
The most important factor would be the logistics, which vary quite a bit between the two. On the creative side, it really depends on the demand. Video sets are generally four times the size of photo sets, and when working on location, we have to adapt to our surroundings and find ways to transform a space so that it looks visually coherent. This usually involves removing every piece of furniture in the room and replacing it with our own.
How do you approach collaborating with creative teams to ensure your set designs complement the artistic vision?
This is my favorite part of the job—understanding where the photographer or director wants to go with their idea and offering little hints of what we could do, while also flagging what I know from experience won’t work. It’s a dialogue where I can be pushed to my limits to create something I didn’t know I was capable of, or I can introduce an idea that completely shifts the development of the project.
What have you watched/heard/read lately that has inspired you?
The Arte Povera exhibit in Paris was super interesting in terms of material use. I loved “The Substance,” obviously (a French set design team!)
Selected Work
Felice Nova Noordhoff by Kayla Connors | Image courtesy of Total Management
Contour De Force
This is from a shoot with the amazing Kayla Connors. We had a blast mixing up different textures, even using my workshop floor, which they dismantled and brought into the story. It was a really organic and exciting work process.
Mona Tougaard by Thibaut Grevet | Image courtesy of Total Management
Bling Rings
I really loved working with Thibaut Grevet on this, creating a pattern using simple but impactful set pieces.
Zelda Adams by Denis Boulze | Image courtesy of Total Management
Whispered Masquerade by Denis Boulze
I worked in collaboration with Denis Boulze, who wanted to stick to a mono-material set. It’s always a great process to be limited by the malleability of one type of fabric. Here, felt creates really unique spaces—super fun!
Vittoria Ceretti by Thibaut Grevet | Image courtesy of Total Management
Dazed Magazine Spring 2024 Covers
Here, I collaborated with Thibaut Grevet and Périmètre Studio to recreate the top of the building, which we reinserted in a 3D rendering of the skyscraper. It was a challenging and technical shoot but very interesting in terms of research and composition.
Julia Fox by Grant James Thomas | Image courtesy of Total Management
Camper F/W 2023 Campaign
This is another great composition story; all the elements in the pictures are held by chroma green rigging, an exhilarating day with Grant James-Thomas and Julia Fox.
