How We Made It

Each makeover followed a three-phase model I ran end to end. During pre-production, I hired the photographer, stylist, and art team, coordinated floorplans and product approvals with each celebrity's team, and built the delivery, construction, and shoot schedules; the room build itself; and the photoshoot. Because our art director worked remotely, I ran point on set, routing every frame to the AD over Slack and translating creative feedback to the photographer and stylists in real time, a role closer to assistant art director than traditional producer.

The Naomi Osaka shoot was the most ambitious, and the highest-stakes, anchoring a national registry push and the Baby2Baby diaper campaign. I commissioned a muralist to hand-paint two custom murals across two sixteen-foot walls over three days, and added an exclusive image to our deliverables for Vogue's story on Osaka's path to motherhood. Every shoot carried its own build challenge. For Rumer Willis, I sourced a specialty L.A. crew to install notoriously difficult grass-cloth wallpaper and brought in a contractor to rebuild a closet into an arched doorway. Across all three, crews of seven to nine delivered fifteen-plus publishable images per shoot on two-to-three-day timelines.