How Set Designer Lauren Nikrooz Builds Worlds Around Creatives’ Visions

Lauren Nikrooz, Set Designer

Hometown: North of England
Based: New York City
Representation: 11th House Agency

How would you describe your work? What’s your trademark?
I trained in theatre design at RADA in London, which really shaped how I think about building visual worlds. I love creating theatrical, immersive environments, but I’m also obsessed with the small details, things like a slightly off-colour wall outlet or a sun-faded AC unit, the kinds of touches that make a space feel lived-in and real. My work spans everything from music videos to commercials and editorial shoots, so I don’t have one defined “look.” Instead, my style is about using space, props and colour in inventive ways that bring out the personality of each artist or project.

As you often set the stage for shoots, what inspires your work?
My studio is filled with an eclectic mix of art books, each covered in post-it notes with references that inspire me. I love pulling from all kinds of sources because it helps me bring a unique vibe and a bit of alternative visual culture to my work. A lot of what I do still ties back to my beginnings, production designing hip hop videos, which were always bold and dynamic.

You’ve collaborated with Renell Medrano across multiple projects for ICE Magazine, Vogue España, and Garage Magazine. What’s your collaborative process like?
I have so much love for Renell (Medrano), working with her is really intuitive, and we’ve built a strong creative shorthand over time. She has such a clear photographic language, so my role is to create environments that feel authentic to her vision while adding subtle layers of storytelling and texture. We usually start with a shared reference or mood board and then let it evolve organically, coming up with concepts or things I find along the way. There is a lot of trust and freedom in the process, which makes the work feel fluid and always a lot of fun on set.

What non-fashion influences (art, film, literature, music, etc.) shape your creative perspective?
I get inspiration from all kinds of places outside of fashion. The art books in my studio are a constant resource, and I love everything from Nick Waplington’s documentary work to Jake and Dinos Chapman’s provocative pieces. Film is huge for me too. I’m drawn to directors who create immersive worlds where every detail tells a story. Growing up, I loved directors like Larry Clark and Jonathan Glazer, mostly Sexy Beast, for their understated realism, and I’ve been lucky enough to work with Shane Meadows and Matthew Barney, who continue to inspire me. Literature and music are also major influences, especially anything with a strong sense of mood. I’m always exploring old Iranian playlists, which spark ideas in unexpected ways. Right now, I’m reading Alan Bennett’s Smut: Two Unseemly Stories. I love how he finds humour in the quirks of everyday life. It’s the kind of wit I keep coming back to in my own work.

What other jobs have you had?
I’ve had my share of embarrassing jobs. I grew up in the North of England and mainly worked in retail while studying. My best friend and I also did various “marketing jobs” that we thought were quite glamorous at the time. One memorable one involved me going to Bradford to hand out free cat food samples in a Spar, which is similar to a Seven-Eleven.

What do you consider when designing sets for different types of shoots, such as studio versus location shoots?
It really depends on the space. In a studio, you are starting from scratch, so it becomes about building an atmosphere from the ground up, using texture, colour, and structure to create a world that feels lived-in. On location, you are responding to what is already there. I’m always inspired by the history of a place and imagining the people who might have lived or worked there, then finding ways to enhance or reframe it so it supports the story or the artist. I’m always thinking about how light interacts with the environment, how the camera will move through it, and how to make everything feel intentional but not overdesigned. Then there are the logistics, like… can we realistically carry this armoire up six flights of stairs in this tenement building?! Ha.

How do you approach collaborating with creative teams to ensure your set designs complement the artistic vision?
Collaboration is really at the centre of what set designers do. I like to start by understanding the core mood or story the director, photographer or artist wants to tell. From there, I build visual worlds that support that energy rather than compete with it. I’m big on communication, sharing references early, staying flexible and being open to improvisation on set. The best results usually come when everyone’s ideas overlap in unexpected ways.

What’s been the most challenging moment in your career, and what did you take away from it?
The hardest part of being a mum while working in the photo and commercial industry is the lack of stability. Hours are unpredictable, shoots can mean long days or travel, and there is very little support for mothers. We have had to get creative and figure out ways to make it all work. I would love to see the industry change. Things like flexible hours, parental leave, on-set childcare, and support for mums returning to work would make a huge difference. It would allow talented parents to keep doing what they love without having to choose between work and family.

Who do you think is one to watch?
There are so many exciting voices right now. To name a few whose work I love, Jasleen Kaur is an amazing artist who won the Turner Prize, and Shahram Saadat is an Iranian photographer whose work I really admire.

Selected Work

Loewe Decades Of Confusion 2024 Film
This one started off a little crazy. We had only one day at the location, and to be honest, the art department was doomed. On the morning of the shoot, the main talent fell ill with COVID-19, so we had to reschedule the entire project. Terrible news, but in the end, it was great to have the extra time to build.

Ice Studios x New Balance
This project will always be one of my favorite shoots. It was such a deeply personal story for Renell, and every detail, even the sound design, was intentional. I loved the world we were able to create through the set design, and it was extra special to have my chunky baby as one of the main talents.

Burberry Holiday 2018: Close Your Eyes and Think of Christmas
This is still one project I’m proudest of. Such a brilliant team to work with – every detail was considered at every stage. In one studio, we built it all: a forest, a subway carriage, a living room, a café, and a banquet room. It was the most mental, in the best way. I loved being part of something that felt so iconically British.

Luther music video by Kendrick Lamar & SZA
This was scheduled to shoot, and the LA fires sadly occurred. No sooner had I landed in LA, I was heading back to NYC, it was very scary. I’m glad it finally came together a month or so later. I felt incredibly lucky to shoot in such iconic locations, like this one. This set and crew gave the best energy! Every time I hear the song on the radio, it brings a smile to my face.

Sundress music video by A$AP Rocky
Frank (Lebon) is one of the most inspiring talents to work with- his storyboards are all beautifully drawn by him. The set for this one was a dream – a beautifully surreal, hypnotic environment. We hand-painted all the wall murals and used a lot of pyrography to heighten the drama.