Julio Himede, originally from El Salvador, trained in Australia and now based in New York, has elevated stage design to a universal form of emotional expression. Founder of Yellow Studio, he is a leading figure in the world of production and stage design for major television events and global tours, from the Eurovision Song Contest to the GRAMMY Awards, the VMAs and the most iconic live productions.
In this interview, Himede shares his artistic vision of light and structure, illustrating how elements of intimacy and connection can permeate even large-scale productions. The creative journey of a professional who translates space and symbolism into an emotional experience shared between artist and spectator.
Gaia V. Marraffa: When did space, light, and structure transition from neutral surfaces to a form of expression?
Julio Himede: I trained as a set and costume designer. Early in my career, when I started working with actors and directors in theatre, I realized the important value of space & form, scale & dimensionality and light & structure as a way to express and enhance emotions from the protagonist to the viewer.
GM: Large-scale productions, such as award ceremonies, global tours, and major televised events, ask for instant impact. How is intimacy, vulnerability, and nuance maintained within these parameters?
JH: Being true to yourself and questioning your own designs, in any given design process embraces the path to a more sincere, and venerable outcome.
GM: In collaborative projects with artists and performers, whose perspective guides the overall direction: yours, the artist’s, or a shared aesthetic emerging from the integration of space, time, and movement?
JH: It varies from project to project. My studio has a rule to always show up to the first initial conversation with two or three concepts. This helps to steer the conversation forward in discovering what we like and dislike. I believe that a successful collaboration is when the artist feels like they own the design as much as I do.
GM: When you imagine the audience in the spaces you design, what do you hope they feel first?
JH: First and foremost a great level of curiosity and excitement, followed by elegance and connection.
GM: Looking back, what remains for you after the stage is dismantled? What lasting impression would you like the audience to keep?
JH: I usually feel humble and gracious for the opportunity, and thankful for the team behind me. The lasting impression is usually something to do with beauty, which I take very seriously in any design.
GM: When initiating the world-building process for an artist or event, such as Shakira, the VMAs, or Eurovision, what is the first question you ask yourself?
JH: The reoccurring question I asked the most to myself and my team is what does it all mean? What is the purpose and symbolism behind every decision we make in the environment we create.
GM: What is one dream project, whether currently feasible or aspirational, that you hope to undertake in the future?
JH: An Olympic Opening Ceremony
