From fibreglass taxi cabs mounted on a London storefront to a airplane produced from bread for Hermès, Shona Heath’s fantastical set and manufacturing designs are outlined by a surrealist sensibility that transforms the bizarre into the extraordinary.
A trend graduate from the College of Brighton, Heath started her profession in costume design earlier than branching out into window shows and set design for trend designers. This shift led to her long-term collaboration with British trend photographer Tim Walker, along with her bizarre creations gracing the pages of main publications and shaping exhibitions, runways and campaigns for trend powerhouses like Louis Vuitton, Prada, Dior, and Miu Miu.
Nonetheless from Eye Ear You, a brief movie by Shona Heath in collaboration with Mimbre exploring themes of notion and connection
(Picture credit score: Images by Tim Gutt)
In 2024 Heath’s star rose stratospherically: her work on Yorgos Lanthimos’ Poor Issues earned her each a BAFTA and an Academy Award for Greatest Manufacturing Design, and in December, she was named a Royal Designer for Trade (RDI). Wallpaper* caught up with Heath to mirror on these outstanding achievements, discover how she stays genuine in an more and more homogenised trade, and discover out what she has in retailer for 2025.
Set designed by Shona Heath for Tim Walker’s Bosch sequence, impressed by the fantastical and macabre imagery of Hieronymus Bosch
(Picture credit score: Copyright: Nicola Erni Assortment. Images by Tim Walker)
Wallpaper*: 2024 was a rare 12 months for you, with a BAFTA and Oscar win for Poor Issues, and being named an RDI. What do awards and recognitions like this imply to you, each personally and professionally?
Shona Heath: Till this 12 months, awards have by no means been one thing that crossed my path. I actually had no need for accolades. It’s a bit like after I obtained married – I assumed it wouldn’t change something from daily, but it surely did. There’s a feeling that’s good. Professionally, I’m excited that new initiatives are coming my manner that basically need me to point out what I do to its fullest. I really feel like I’ve been given just a little enhance of belief.
I do really feel a bit like I’m the one who simply made some inedible cupcakes, however I’ve been amazed and enlivened that so many individuals take pleasure in my work
Shona Heath
The popularity of my craft and the love, care, and vitality I put into all of the work I do does really feel incredible. I’m all the time a part of a gaggle of individuals working in numerous disciplines to supply a bit of labor – a movie, a present, {a photograph} and it’s reassuring that set design, costume, and manufacturing design are actually seen and appreciated by individuals. That does make me really feel validated, when I’ve all the time felt a bit like a charlatan, all the time doing one thing I haven’t finished earlier than.
I have to admit, the BAFTA felt simply nice on house turf, the Oscar – one of the surreal nights of my life – and the RDI made me really feel a bit older. I used to be amongst two different incredible designers who do one thing profoundly good for individuals: gardens and concrete areas for people to seek out peace inside. I do really feel a bit like I’m the one who simply made some inedible cupcakes.
However I’ve been amazed and enlivened that so many individuals take pleasure in my work on a form of ‘significance of dreaming’ degree.
A ‘baguette airplane’ designed by Shona Heath for an Hermès marketing campaign, photographed by Tim Walker
(Picture credit score: Copyright: Hermès. Images by Tim Walker)
W*: You’ve talked about that you simply now start your artistic course of with phrases moderately than photographs, as a result of overwhelming visible stimuli in as we speak’s world. Do platforms like Instagram disrupt your course of, or can they be inspiring? How do you block out the noise?
SH: I take advantage of Instagram as a portfolio. I don’t learn feedback – I used to, but it surely truly felt bizarre, even the good ones.
The web is undeniably nice for analysis. However I do discover that if I begin my artistic course of with intense thought, uncommon narratives, phrases, and authentic tales, it helps to tell my very own strategy and bounds earlier than I dive into the visuals. This course of helps with authenticity and provides me a transparent path.
The time wasted on social media is immense. I don’t like being proven issues that some algorithm assumes I might be into – it actually pisses me off, and I’m tremendous delicate to it. As quickly as I really feel like any person has labored me out, I wish to change it up.
The time wasted on social media is immense. I don’t like being proven issues that some algorithm assumes I might be into – it actually pisses me off, and I’m tremendous delicate to it.
Shona Heath
W*: Your work on ‘The Glass Hermit‘ marks your first foray into integrating AI together with your analogue artistic course of. How did this expertise problem or improve your regular strategy to design, and what potential do you see for AI as a instrument in future artistic initiatives?
SH: It each challenged and enhanced concurrently, which I feel is an efficient factor.
It doesn’t change my strategy to design, as AI doesn’t ‘design’ in any attention-grabbing manner or assume like me. I’m obsessive about craft and supplies, and these particulars in my work will all the time inform the larger image.
There’s a large quantity of bodily waste that sadly goes hand in hand with set design. I’ll all the time be grounded within the bodily. I don’t love computer systems, so I don’t wish to spend any extra time than needed inside them.
What I can think about is with the ability to inform extra bold tales with uncharted layers, the place AI may in some way assist scale back waste – each monetary and bodily. AI is simply a instrument. Everybody has entry to an iPad, and the chance to create is widespread, however except you’ve got a motive, a reality, and dedication for what it’s you’re doing, you’ll all the time get misplaced in choices, and the outcomes won’t be attention-grabbing. The identical applies with AI.
Cate Blanchett photographed by Jack Davison, with set design by Shona Heath, for the New York Occasions
(Picture credit score: Copyright: New York Occasions, Shona Heath, Jack Davison)
AI doesn’t ‘design’ in any attention-grabbing manner or assume like me. I’m obsessive about craft and supplies, and these particulars in my work will all the time inform the larger image.
Shona Heath
Shona Heath’s present set for Pimples Studios A/W 2023
(Picture credit score: Courtesy of Pimples Studios)
W*: What has been probably the most difficult undertaking or second previously 12 months, and the way has it formed your perspective or strategy?
SH: The Oscar. Seems like a joke… however I discovered the competitors side and public stage confronting, and the social facet, nevertheless enjoyable, exhausting.
I completely love what I do, and I wasn’t doing it for a very good few months – too lengthy. I discover it an vital ritual to output and physicalise my concepts; in any other case, it’s a jumble in there mentally!
Once I get my subsequent Oscar – ha ha! – I’ll get a private stylist, a therapist, public talking classes, be taught to meditate, and drink far more water. Possibly I would like all of these issues anyway!
I’ve a variety of empathy for individuals within the public eye, and I solely had the tiniest crumb of what some of us should endure. I’m actually, actually completely satisfied to remain behind the digicam.
I’ve a variety of empathy for individuals within the public eye, and I solely had the tiniest crumb of what some of us should endure. I’m actually, actually completely satisfied to remain behind the digicam.
Shona Heath
W*: When contemplating new alternatives, what components are most vital to you to decide which initiatives to tackle?
SH: I’ve to really feel like there’s a motive it’s me doing them – that I might be the very best and solely individual for this position.
Working from my studio is vital; it’s a spot of nice work and nice individuals.
To be impressed and to know you’re occurring a journey that might be fascinating, cowl new floor, and be creatively rewarding.
And a contented gang round you is the whole lot. This undertaking sounds excellent!
Heath channeled the otherworldly aesthetic of painter Hieronymus Bosch on this intricate, surreal set design for the Bosch sequence, shot by Tim Walker
(Picture credit score: Copyright: Nicola Erni Assortment. Images by Tim Walker)
W*: As you look to the 12 months forward, are there any rising themes, concepts, or initiatives you’re notably excited to discover in your work?
SH: Sure, I wish to deliver to life some surreal tales I’ve written and have enjoying in my head. They’re tremendous brief – like a movie snack, visible poems.
I’m additionally concepting a very out-there script for somebody for the time being that I’m completely into, so I’m enthusiastic about that. It’s protecting my mind very busy.
I might like to weave music and dance into my world in an unknown visible manner.
Annually the RSA places out an open name for RDI nominations. For updates on 2025 nominations, comply with @therdifaculty on Instagram. The RSA additionally hosts a sequence of open Summer time Periods – intergenerational gatherings the place RDIs, rising designers, scientists and engineers. can share, encourage and problem.
royaldesignersforindustry.org
shonaheath.com
Supply: Wallpaper
