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 JESSE
NEMETH
SET DESIGNER
NEW YORK, UNITED STATES
Jesse is a
talented set designer with over 15 years of experience.
Being a set designer is one of the key positions of
putting the whole puzzle together in creating a visual;
photo-shoots, commercials, television, and film.
Jesse is, if not one of the most, sought after set
designers in the industry. His work extends from
commercials, events and visuals, video, stage design,
television, and film. With clients; Television;
MTV, The Daily Show, Video; Avril Lavigne, Commericals;
Lifetime (Devil Wears Prada), Showtime, HBO, Time
Warner, Events; C.F.D.A. (Council of Fashion Designers
of America), Sephora, and Neiman Marcus, Editorial;
Vogue, O Magazine, Marie Clare, Vibe, Trace, Flare,
Allure, Essence, Cosmopolitan, and Dansk.
Exclusively Fashion Magazine:
Can you tell me how your career as a set designer came
to be?
Jesse Nemeth:
As far back as I can remember I was always making
things. My family didn't have much money so my
creativity was born out of necessity. I grew up
during the 70's and the 80's an hour drive from NYC.
I developed a fascination with graffiti, hip-hop
culture, music and early music videos. I went on
to study painting at The School of Visual Arts and
during the summer months I worked with a sculptor and
furniture designer, creating my own line of decorative
objects that were displayed and sold in local galleries.
I met a Production Manager at MTV who persuaded me to
show my portfolio to an Art Director there. Soon
after, I started working as a Art Assistant on different
shows, which led me to become a prop stylist, and then a
freelance Art Director in the production industry,
creating visuals for music videos, commercials and
films. Much later in my career, and as part of a
natural evolution, I began focusing on the fashion
industry.
EFM: What made you choose this career
choice?
JN:
Not to sound
cliché, but I believe my career chose me. At
an early age I had a rough idea of what I wanted in
life and the choices and relationships I made have
guided me to this point. Despite all the hard
work it took I still consider myself lucky.
EFM: Where
do you reside?
JN:
A few years ago my wife and I
moved to Williamsburg, Brooklyn. I was skeptical
at first, after living in Manhattan my entire adult
life, but driving home over the bridge at the end of a
long day has a very relaxing effect. My
neighborhood has a young, creative buzz and hosts some
of NYC's best shops, bars, and restaurants. My
studio is located in nearby Bed-Stuy.
EFM: Set designers play a 'big'
part in the fashion industry, for editorials, video
shoots, and fashion. Can you tell me the process
of prepping for a fashion shoot?
JN:
Depending on the
client, sometimes the direction is clear and at other
times it's open to interpretation. It all starts
with visual references, images from books, magazines,
and movies stills. Once the budget and story is
established I submit my own detailed boards illustration
everything from wall finishes to furniture, or sometimes
it's as simple as sourcing a few unique props.
Knowledge of what has been done in the past is always
helpful. The process can be rush, and everything
happens extremely fast, so you need to have the
vocabulary and resources to verbally and visually
communicate your ideas clearly to the client. The
client's needs are usually ever-changing so I try to
think of everything that can go wrong and work backwards
from there.
EFM: Do you think that there is
much competition out there as a set designer?
JN:
I try not to concern myself too
much with competition, but I do think there are a lot of
very talented people in the industry and it's good to
know who you're up against. What sets me apart is
that I'm very hands-on and I have a deep understanding
of the fabrication process. Much of what I do is a
collaborative effort, but without being involved in some
aspect of bringing my designs to fruition I have a
difficult time calling the work my own.
EFM: How important is it to have
an agent?
JN:
I worked without an agent for most
of my career, relying heavily on strong client relations
and word-of-mouth referrals. However, the network
a good agency provides is invaluable and can give an
edge over others when reaching out to new clients.
Partnering with The Wall Group has also created a buffer
between my clients and me, allowing me to focus solely
on the creative process and not worry about negotiating
fees and budgets. There is a lot of trust involved
by inviting another entity to help intimately guide the
course of your career so it is important to choose
wisely.
EFM: How long have you been a set
designer?
JN:
I started working in TV/film
production around 1995. The producers and
production managers I met early in my career became my
first clients.
EFM:
How often do you travel?
JN:
I have worked all over the states.
Although NYC and LA keep me busy, I would love to work
more often in Europe, especially Paris.
EFM:
Can you name a few clients that you have worked for?
JNL:
Some clients include Esquire, GQ,
InStyle, Victoria's Secret, and FOX Television.
I've worked with almost every major fashion publication
over the years. From corporate advertising to
Vogue, my client list is very eclectic.
EFM: What is the best thing you
love about being a set designer?
JN:
I love the freedom that
comes with being an Artist. As projects end I go
through a kind of withdrawal, an anxious feeling in
anticipation for the next big rush of creativity.
I can't imagine doing anything else. I get to work
with some amazingly talented people. Each project
presents new and unique challenges, I'm constantly
learning.
EFM: If you were not a set
designer what other career choice would you have chosen?
JN:
If I had to choose another career
it might be food related. The pace and stress of a
professional kitchen is probably very similar to being
on set the day of a shoot. Food is an incredible
medium; I find cooking to be very therapeutic in my
downtime. I could also see myself as an
environmental superhero, like a member of the Sea
Shepherd crew or something similar.
EFM: What advice can you give to
aspiring set designers?
JN:
I believe that hard work and
perseverance create opportunity. Looks and
personality may open doors to some in this industry, but
eventually you have to prove yourself. Don't come
with a sense of entitlement, be prepared to put in the
hours and pay attention to detail. Beneath the
surface production can be a very humbling experience
that requires a thick skin while remaining sensitive to
the creative process. Speaking the language of
furniture, color, and architectural elements is only
part if it. I think common sense, resourcefulness,
organization, and communication is just as fundamental.
Self-promotion is also important; you need to make an
impression.
Interview by Rochell “E” James
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