Matthew Betmaleck owns a full-service set-design and art-direction studio, specializing in both commercial and editorial fashion photography. He brings a unique architectural sensibility to each of his commissions, whether designing a full-blown multi-set production or resourcing a specific prop element. After receiving a Bachelor of Architecture from the University of Southern California, Betmaleck practiced with internationally-acclaimed design firms Pei Cobb Freed and Partners, Alexander Gorlin Architects, Kohn Pedersen Fox, and Pritzker-prize-winning Alvaro Siza Vieira.
Matthew Betmaleck Studio’s recent projects have included ad campaigns for A/X Armani Exchange, Vogue and Hotkiss, editorial features for Elle (Italy; Germany), Out and Cargo magazines, as well as commercial work for Neiman Marcus, Bergdorf Goodman, DKNY and Macy’s West.
Shannon: How did you first learn about set design?
Matthew Betmaleck: My first introduction to set design and art direction for print/fashion photography goes back about 12 years; I had my first summer share in Fire Island in ‘96 and, through friends, met an inspired new friend who was starting his own foray into set design.
Shannon: When did you have that a-ha moment that this is what you knew you wanted to pursue as a career?
Matthew Betmaleck: Not until many years later… I received a Bachelor of Architecture (BArch) from USC in ’91, moved to New York later that year and practiced architecture for 6 years with a couple large corporate design firms, www.kpf.com and www.pcfandp.com; in early ’97 I jumped ship into the burgeoning internet scene, as so many of my friends and colleagues were, and ran the biz dev/marketing/sales division of a recently launched health information delivery website, www.thebody.com. I had a small equity position in that business, was bought out, made a little money and was trying to determine what I want to do next.
It was late ‘03/early ’04 and I had also entered into a new relationship with an amazing man/old social acquaintance who is a fashion photographer, www.deanisidro.com; I was doing a whole host of different consulting gigs at the time, in the pharmaceutical space, for a large outdoor media company, a boutique real estate development outfit… you name, I did it.
I was craving a creative outlet and intent on melding that desire with making a living. I was about a year into my relationship, when Dean was optioned to do a fashion editorial for OUT Magazine --- a beautiful painter’s story and to this day still one of my all-time favorites. He asked me if I’d be interested in helping out with the art direction and propping, and I LEPT at the opportunity.
Shannon: What made you choose fashion set design over film?
Matthew: That wasn’t a conscious or intentional choice. The flow was totally organic. It just happened the way it did. I’ve been approached to do television, but haven’t yet seen the right fit for me. I am open to anything, TV, film, theater: I would welcome any creative opportunity that has the right cast of characters.
Shannon: For each of the prize wining firms you practiced with, did you walk away with learning something different from each of them?
Matthew: Absolutely. For me, KPF was much about the art of global relationship marketing of design services and exquisite architectural detailing, in particular that of a building’s curtain wall and public spaces. With Alvaro Siza Viera, I learned about contextualism and how truly relevant and deft architectural design must always take significant cues from its context --- country, culture, inhabitants, location, siting, and the like.
Shannon: Is there anyone who has influenced or inspired your style?
Matthew: Without question: so many people, places, things. The design and architecture of Alvaro Siza Viera, Frank Lloyd Wright, Mies Van Der Rohe, Le Corbusier, Donald Judd, James Turrell, Michael Heizer; Films like Dark City, In the Mood for Love, Nuovomondo; travel, art, reading, nature…
Shannon: When development of the initial concept is discussed, does it ever evolve into something different than what the client initially thought they wanted?
Matthew: Yes, sometimes. The creative process is dynamic. Some clients are very clear about their concepts and proposed methods of execution; others not so much. The concept development ebbs and flows depending on a whole host of factors: vision, direction, time, budget, casting, fashion/looks, etc. One has to have a clear point-of-view whilst remaining optimally flexible/open-minded.
Shannon: When a client discusses a concept with you, do you immediately begin envisioning elements of the set in your head or is there a certain process you go through to create the vision of that concept?
Matthew: Yes. I think spatially and my training and practice as an architect emphasizes and supports that process. I love construction as well, so I also think about HOW I’ll put things together.
Shannon: How do you keep yourself from falling into a creative rut?
Matthew: It’s important to work hard, but play --- travel, taking in art, music, theater, culture --- keeps me inspired. Life in New York is fast-paced enough --- I average about 42 unique projects a year, from 1-day shoots with a couple days prep, to week-long location jobs with lots of travel and weeks of prep in advance --- it is important to slow down, take time to see new things, observe, get inspired and re-charge. It takes saying “no” every now and again, which I am learning is ok/good/healthy. Balance, as fleeting as it seems at times, is inspiring to me.
Shannon: Is there a certain element of set design that you love more than others? (ie. Formulating the concept, actually piecing the concept together, execution of the concept, etc.)
Matthew: I almost always draw/draft/sketch for my clients which is pretty non-traditional in this area of practice: I and they enjoy that very much, seeing an idea take form. I love building: I am actively involved in engineering and building my environments when/where time allows. I love shopping which is huge part of the business. And it’s most satisfying to see it all come together: to see a gorgeous final selected image in a magazine or advert and understand everything that led up to it.
Shannon: How do you envision the future for Matthew Betmaleck Studio, LLC?
Matthew: That’s the multi-million dollar question (I hope!). My goal is to continue putting one foot in front of the other, and hopefully in doing so to continue to grow and evolve the business forward. I want to continue being creative, meeting and working with inspired people all over the world, making beautiful pictures. I think about a developing a furniture line or very cool little store with well-designed and well-traveled objects I’ve collected along the way. I’m open to whatever comes my way. More will be revealed.
You can learn more about the very talented Matthew Betmaleck and see his incredible portfolio at www.betmaleck.com.
Posted by Shannon Nelson on February 8, 2008 5:21 AM
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