Gwen Grossman’s passion for lighting design was sparked at a young age, when she first encountered the transformative power of theatrical lighting. This early fascination laid the foundation for a dynamic career—one that took her through top-tier universities specializing in theatrical design, up the ranks of the industry, and ultimately to founding her own firm, Gwen Grossman Lighting Design, based in Chicago.
Gwen leads a talented and collaborative team, guiding a wide range of projects with creativity and precision. Her ideal work blends architectural lighting, hospitality design, and a touch of theatricality—creating environments that are both visually compelling and deeply human-centric. At the heart of her practice is a commitment to mentorship and education, as she actively nurtures the next generation of lighting designers.
How did you get into lighting design? What drew you to it, and what was your path to where you are now?
I fell in love with theatrical lighting when I was 13 years old, standing on a catwalk above the stage—it was magic. Throughout high school, I immersed myself in lighting, theater, and art. I went on to specialize in lighting at the University of Cincinnati, and after graduation, I returned to Chicago to work for a few years before heading to San Diego to pursue my MFA in lighting design at UC San Diego.
After grad school, I moved to New York and began working in theatrical lighting. It was exciting but incredibly demanding—I started to wonder if there was a more balanced path. That curiosity led me to start reaching out to architecture firms. Eventually, I landed some freelance work. I didn’t know much about architectural lighting fixtures at the time, but I knew how to draw and tell a story with light. I was hired by Focus Lighting as an architectural lighting designer. It was a humbling transition—going from top-level theatrical work to an assistant role in architecture—but it was the right move. I learned so much and spent four formative years there.
Eventually, I returned to Chicago and joined a local firm until the recession hit. At that point, I took a leap and started my own practice—Gwen Grossman Lighting Design—which is now proudly celebrating its 15th anniversary!
How would you describe your design process?
In theater and film, everything begins with the director’s vision—and architectural lighting design follows a similar philosophy. In our world, the architect sets the tone, and our role is to support and enhance that vision. I always start by building personal relationships with the architect and interior designers. Before diving into tools or technical details, I focus on understanding the emotional and experiential goals for the space—what they truly want people to feel.
Lighting should never be the star of the show—it’s part of a larger collaboration. It’s like dining at a great restaurant: the food, service, lighting, music, and tableware all work together to create a memorable experience. Lighting plays a crucial role, but it has to harmonize with every other element.
Our job is to deeply understand the vision and bring thoughtful options to the table. Budget is always a factor, so we balance creativity with practicality. After initial conversations, we begin developing sketches, renderings, and models—while keeping the technical aspects largely behind the scenes. Over time, you learn when to advocate for something that will truly elevate the project, and when it’s okay to let something go. That’s part of the art of collaboration.
What are the biggest challenges?
Tariffs have definitely been a challenge, but budget is almost always one of the biggest hurdles we face. Beyond that, the business side—especially branding, marketing, and social media—adds another layer of complexity. There are so many lighting design firms out there now, so it’s essential that we continually use these tools to differentiate ourselves and demonstrate the value we bring to a project.
What would you say is your primary differentiator?
Our team is the strongest it’s ever been, and one of our biggest differentiators is how intentionally we stay aligned with our vision. We revisit our mission and values every week, which keeps us grounded and united. Mentorship is also a core part of our culture—my mother was a teacher, and I’ve always believed in the importance of passing down knowledge.
At the same time, my team is constantly teaching me new things. That spirit of mutual learning and support really shines through in client meetings; people notice the collaboration and respect we have for one another.
What are your must-haves or non-negotiables in lighting fixtures?
For me, vertical surface lighting is a must—whether it’s perimeter lighting, wall washes, or linear fixtures alongside walls. Our whole team is passionate about minimizing overhead lighting in favor of a softer, more ambient effect. It creates a more inviting and human-centered atmosphere, which is at the core of our design philosophy.
What do you look for in terms of hiring for your team?
Of course, talent is important—but just as critical is being a true team player and leaving ego at the door. At GGLD, we all wear many hats. I may steer the ship, but I’m just as involved in selecting fixtures and pulling inspiration images. I look for people who can see the big picture, connect well with clients, and contribute to a collaborative environment. You can be a brilliant artist, but if you struggle to communicate, that creates challenges. Ultimately, I want each team member to feel supported and have the space to truly flourish in their role.
What would be your ultimate dream project?
For me, the dream project isn’t just about the space—it’s about the people I get to work with. My roots are in hospitality, and thanks to my theatrical background, I’m especially drawn to restaurants. They feel the most like theater: the curtain goes up whether you’re ready or not, and it’s full of energy, emotion, and intensity—a live performance every night.
I also have a real love for educational projects. Our work at Columbia College is a great example. The budget wasn’t huge, but it still feels relevant eight years later. I’ve even gone back twice to speak with students about the design process, which was incredibly meaningful. Another favorite is Malcolm X College—I still reflect on that project and feel proud of the choices we made.
And of course, I have to mention the corporate interiors we’ve done over the years. Some of them are so beautiful and thoughtfully designed, I’ve joked that I could move right in—just give me a bed!
What are you most excited about related to what’s currently happening in lighting trends and innovation, or what’s on the horizon?
Lighting controls have evolved tremendously over the three decades I’ve been in the industry—it can be hard to keep up! But that’s also what makes it so exciting. From voice-activated systems to sensor technology that can track foot traffic in retail environments, the possibilities keep expanding. With all of these innovations, I think it’s more important than ever to have a lighting designer on board. My hope is that people begin to see lighting design not as a luxury, but as a necessity. Between wellness considerations, energy codes, and increasingly complex technologies, it’s simply too much to navigate without a dedicated expert.
PROJECT BY GWEN GROSSMAN
GGP, Chicago
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