TAITTINGER, Around the World in Eighty Days

" It's a team effort. The customer and the photographic team draw up a creative brief and detail their intentions. Then I come in to study the budget, feasibility and finalize the writing with the photographer." In fact, the head set designer, usually called in to work on film sets, is involved by the photographers from the very first exchanges in preparation for the shoot. After several readings of the script, she proposed several set concepts. Although several universes were initially planned, the creative team settled on a timeless symbol of the art of travel: the train. " We designed only one large, more accomplished set, because it was in the train that we projected ourselves the most. " This is where the mastery of the head decorator comes in, to create the setting for this campaign. Once the artistic line has been defined, Florence Mauduech is responsible for its execution and implementation. To this end, she recruits and coordinates the foremen responsible for manufacturing the decor elements in the workshop. " Using our mood board as a starting point, we intelligently design each element in the workshop so that the lights and other photo stands can be integrated into it. " Every detail is thought through: the luggage rack, the shelf, the curtains. "Where we would normally have played on decorative strings and flirted with a more dreamlike universe, the choice was to stick to great realism, which in a train means using metal and lacquer, shiny materials not usually used in photography. This was an ambitious choice on the part of the photographers.The benches were the main constraint. We looked everywhere, almost all over France, but the benches were too old or too damaged... In the end, we decided to make them ourselves