Building it better: behind the scenes of sustainable set design

What inspired you to make sustainability a priority in set design and production at Experience? 

For me, it has always made sense that creativity should come with a sense of responsibility. We work in an industry that produces a lot of temporary environments, and there is a clear environmental cost to that. I started thinking more seriously about how we could reduce our footprint without compromising on the creative. It is not about being perfect, it’s about making progress and embedding better decisions early in the process. 

 It is not about being perfect, it’s about making progress and embedding better decisions early in the process.

How have client expectations around sustainability evolved in recent years, particularly with big brands?

There has definitely been a shift, especially with the bigger, global brands. A few years ago, sustainability felt more like a bolt on or a tickbox exercise. Now, it is starting to appear in the briefs. Some clients are further ahead than others, but even when it is not a formal requirement, we often raise it as part of the conversation. There is more interest and curiosity, and it is slowly becoming a normal part of how we work.

Above: Roula Khalaf (Editor of the Financial Times) Stands in front of one Experience's scenic designs. The set was built from recycled sea plastics, FSC Certified timber, donated plants and old copies of the FT.

What are some of the key sustainable practices you implement during the set design and construction process? 

We try to bring sustainable thinking in from the very beginning. That can include using modular designs that can be reconfigured or reused, selecting FSC certified timber, using recycled materials, and reducing the amount of waste we generate during build and breakdown. We also prioritise working with local suppliers and fabricators where possible to cut down on transport and emissions. 

There are some really exciting materials out there now. We have been looking at recycled plastics, biodegradable boards, and fabric graphics made from plastic bottles.

Can you give examples of innovative materials or techniques that have made a significant difference? 

There are some really exciting materials out there now. We have been looking at recycled plastics, biodegradable boards, and fabric graphics made from plastic bottles. We have also used modular scenic systems that slot together, which avoids the need for adhesives and makes the structures easier to take apart and reuse. These innovations are helping us achieve both sustainability and strong design outcomes, which is the sweet spot. 

Above: An award winning stand design for Biffa, showcasing a feature wall created from products that are notoriously hard to recycle. The stand also had a gamified spin the wheel experience to draw crowds in.

Can materials be reused from one project to another? Are clients open to it, or do they expect everything to be custom made and brand new? 

It really depends on the client. Some are completely on board with reuse, especially if sustainability is part of their brand strategy. Others still expect everything to be created from scratch. We try to reuse where we can, even if that is just the structural framework or elements that sit behind the scenes. Often, the client does not even realise a component has had a previous life, which is ideal. We want reuse to feel seamless, not second best. 

We try to frame sustainability as good design and good business, not just a moral obligation. It is about smarter ways of working that benefit everyone in the long run.

One common perception is that sustainable set design comes with higher costs. How do you make the business case for sustainability to clients? 

There can be an upfront cost difference, but it is important to look at the bigger picture. A set designed to be reused across multiple events can actually bring down the cost per use. There are also savings to be made by generating less waste or working more efficiently. We try to frame sustainability as good design and good business, not just a moral obligation. It is about smarter ways of working that benefit everyone in the long run. 

Above: The image shows a LED wall circa 100m x 4m (400m²). This design uses up to 400kWh/day, generating around 120kg CO₂e/day, but it’s fully reusable with no print waste. 

Are there certain types of brands or campaigns that are more willing to invest in sustainable set practices than others? Why do you think that is? 

Yes, without a doubt. Brands with strong ESG commitments tend to take sustainability more seriously across all touch points, including live experiences. Beauty, tech, and lifestyle brands often lead the way, partly because their audiences care about this stuff and expect to see those values reflected. Challenger brands are also often more progressive because they build sustainability into their DNA from day one. It is not yet standard across the board, but we are seeing clear momentum. 

The ability to prototype and solve problems virtually before anything is physically built means we can save on materials, time, and waste.

What innovations in sustainable set production are you most excited about right now? 

Circular systems really interest me, the idea that materials and structures can be designed to live multiple lives across different events. I am also excited about the role digital design can play. The ability to prototype and solve problems virtually before anything is physically built means we can save on materials, time, and waste. And then there are the small but meaningful changes; eco-friendly paints, compostable graphics, smarter fixings. Every bit helps when you scale it across a busy production calendar.