Set Designer Kogan Graduates from Music Videos with Millions of Views to International Corporate Brands & Dazzling Scenographic Windows
“Working with Manu implies tranquility, inspiration, innovation and excellent results. He always exceeds our expectations. He takes care of absolutely everything, from the proposal, design, creation, management of permits and execution. He’s also responsible for compliance deadlines. And, he has never failed us, even when problems have arisen due to lack of materials or time. Manu manages to resolve the situations, complying with everything agreed upon. For all these reasons, it is a pleasure to work with him campaign after campaign.” — Commercial manager Sebastian Vivona of Kosiuko, the #1 brand of women’s clothing in Argentina
Push boundaries. Exceed expectations. Deliver exceptional results. And, add significant value.
That’s the winning formula for Argentina-born set designer Manuel “Manu” Kogan, who over the last ten years, has delivered those exceptional results on visually dynamic projects for music artists, fashion clothing companies and major international brands. Moreover, as noted by the Kosiuko management, Kogan aims to add significant value to every collaboration he works on.
The diversely artistic Kogan, who has a background in design from the University of Palermo in Argentina, explains how his varied work experience has evolved: “I initially began set design work in videos by Argentine ‘Trap’ artists such as Cazzu, Duki, Khea, among others. Then I started with bigger productions with artists like Bizarrap, Alan Gomez and Abel Pintos. And, also Tini, the Argentinian pop singer and actress, who found international fame as a teen in the title role of Disney Channel’s Violetta, and now whose videos are earning millions of views. Awhile later, I had the opportunity to work in the world of advertising, collaborating with highly recognized brands such as Alcorta, Paramount+, Cosecha Tardía, El Espartano, Mastercard, TikTok and Juleriaque, one of the largest perfumery chains in Argentina.”
With his strengths being “combining problem-solving and creativity to bring ideas to life in three dimensions,” Kogan has been further diversifying his client list, explaining, “More recently, I have been expanding my collaborations to work with renowned clothing brands such as Kosiuko, Levis, Baby Cotton, Ginebra, Furzai, etc. specializing in making unique sets (often) for multimillion dollar campaigns.”
Moreover, Kogan’s passion for creativity and attention to detail, sets him apart, allowing him to enhance brand identity and value for clients. He strives to translate concepts into functional designs, saying, “My experience creating sets for clothing brands, artists, and music videos has given me insight into creating visually striking environments that also convey a story and enhance a brand’s identity. By combining design, lighting, and spatial elements, I ensure that each set meets aesthetic expectations and is efficient to construct. My technical and creative skills, project management abilities, and collaboration with multidisciplinary teams allow me to provide innovative, customized solutions that exceed traditional standards, and add even more value.”
In so many ways, Kogan is a storyteller, a visual artist who has been inspired by one of the greatest storytellers of all-time, Disney, as he enthuses: “I find a great source of inspiration in Disney parks. Having visited them multiple times, I consistently discover amazing details in their structures and designs. For someone like me, who focuses meticulously on details and the filmmaking process, Disney is an invaluable place to explore and learn. I constantly try to emulate their astounding history of storytelling.”
Yet, another area of storytelling in which he excels, is the trend of “scenographics.” For a little background, scenographic windows are geared to convey a brand’s sensation or image. In Buenos Aires, the trend of scenographic windows is revolutionizing how high-end fashion brands promote their products. Instead of traditional window displays involving mannequins, store facades are now decorated with conceptual design, transforming into true works of art that captivate customers on a conceptual level.
Indeed, Kogan excitedly suggests, “Companies no longer need to show their products directly in the windows to sell them.”
Ultimately, it would be a dream for set designer Manuel Kogan to bring his scenographic creativity to venues like the famous high-fashion windows on Fifth Avenue in New York. But in the meantime, Kogan, who was inspired by the physical not digitally produced sets on the blockbuster movie, Barbie, talks about what he brings to the table for name brands, superstar musical artists and high-fashion sets.
— How do you work with big name brands like Paramount+, TikTok, Mastercard, Natura, and Juleriaque?
— My “brand” type of clients usually engage a creative studio to develop an idea and then liaise with us, the creators, to bring form, color, texture, and other features to the idea/proposal. We also play a part in the creative process because there are occasions when the original idea is not feasible due to logistical or budgetary constraints. This is when my creativity comes into play, as I propose alternatives that are similar but better suited to the client’s needs, in this case, Juleriaque. As I am a problem-solver, I welcome the challenges that may arise.
— How did you and the director create the concept for artist Tini’s video “Duele” which now has over 40 million views?
— During this cool project, I was responsible for creating the sets based on the art director’s vision. I needed to consider the director’s and lighting department’s requirements as well, since the sets were quite large. Typically, directors and art directors have initial ideas that may need adjustments after discussions due to limitations in building or materials. This project presented several construction challenges, but my team and I were able to overcome them and fulfill the requirements. We had to bring in additional team members, experiment with new materials, and work quickly to assemble the three sets within a tight two-day deadline.
— Overall, where does your artistic inspiration come from?
— Often, my inspiration comes from other brand proposals, from everyday situations, and from Nature. I believe that the use of scenic windows is growing rapidly. If I had the resources and a brand that was willing, I would like to see the scenery extend beyond the window and for the consumer to not only be a spectator but also participate in these window displays. What do I mean? Well, by intervening in the hallways and sidewalks of the stores, as well as their interiors, spectators can experience sensations by touching elements and feeling part of the experience. We were able to encourage consumers to participate in one of the Kosiuko windows, taking on the role of mannequins. This created a lot of buzz on the brand’s social media networks, with thousands of spectators sharing photos of themselves inside the brand’s window
— How are fashion store window spaces efficiently evolving beyond traditional props?
— Scenographic windows represent an innovative and artistic way to attract customers in a nouvelle way, offering a visual experience that goes beyond the simple display of products and prices. Although Kosiuko wasn’t the first brand for which I designed stage campaigns, it was the first to trust me enough to suggest removing the mannequins and focusing solely on the stage design in their windows. So, I brought the proposal to Kosiuko three years ago to remove the mannequins and make the scenery the main focus of the windows. From my perspective, incorporating hologram screens and other digital technologies doesn’t bring anything new to the windows. I believe that the human eye is already accustomed to advanced technology in daily life, and therefore, it does not attract much attention. As a result, all my creations do not include any digital technology, but I add movement through motorized elements or innovative materials.
— How has your scenographic work contributed to this visually stunning sea change?
— In an effort to bring a different proposal to the world of fashion campaigns, I developed the concept of movement and life to digital campaigns. This resulted in making windows that reflected the campaign proposals in a 3D format and with a more scenic appearance, eliminating classic elements such as banners, graphics and screens. Replacing these elements with different types of scenery, playing with materials, textures and colors, which attract the client from another perspective. As a result, all my creations do not include any digital technology, but I bring them to life through motorized elements or innovative materials. For example, I am the sole supplier and designer of the set design for more than 60 windows for Kosiuko and related clothing brands. I am currently working on multiple projects for fashion brands, one of which involves replacing the windows in 50 Kosiuko stores. It’s a very exciting time to create.
— What are some key tips that you have about creating set design for clients?
— I believe it’s important to always listen to the client. However, if I disagree with their request or believe that there’s a more efficient or better way to accomplish it, I shouldn’t hesitate to mention it. In my experience, 99% of the time the client is receptive to such feedback. Ultimately, the set designer is the one who understands the materials, their costs, and how they can be implemented. That has been my experience in every situation.
Check out Manuel Kogan’s conceptual set design on his website.
