Kadri Hirvesaar
Estonian set desginer living in Milan, Italy
I was introduced to Kadri by my friend Martin, and whom I had worked with at VURR agency while living in Tallinn. Intrigued by her experiences as an Estonian working abroad with globally renowned brands, I was eager to learn more about her life. We had a brief chat in her vibrant and creative Milan home, followed by a short walk to the rental studio that day
at the set design rent studio in Milan
How did you discover Italy?
I studied architecture at EKA and wanted to do an Erasmus exchange, so I randomly chose Milan as my destination. I wanted to go further away so that I wouldn't have to come home every weekend, and I found an interesting school in Milan. Meanwhile, I switched my major to product service system design because there were more English-language courses available.
How moving to Italy affected your career?
Finding work here isn't easy, especially when you're young and a foreigner, but I was very lucky because I found a photo studio just a few weeks after arriving, where I could apply my knowledge. Having a great portfolio is important, but if nobody knows you and you have no contacts, it's quite challenging to establish yourself in the city. In reality, this industry, especially in advertising and commercial photography, operates on a completely different scale compared to Estonia.
What drew you to moving abroad?
I've always been interested in creating temporary installations. I couldn't have imagined it could become a job, but coming here made me realize it's possible. I wanted to give myself the opportunity to see how far I could go and challenge myself. The creative landscape here offers so many more challenges and opportunities. I've been working here for 10 years now, and I still feel there are plenty of opportunities for growth. There are quite a few people in this field here, and there's also a lot of work available.
Do you often come across other Estonians in your line of work?
I once ended up on a Gucci children's collection photoshoot a few years ago. I was invited by an acquaintance, and on the same shoot, there was an Estonian photographer, Katrina Tang, who was shooting the children's campaign. It was so cool to randomly see another Estonian on set. She even joked that it's amazing to work in such a big production and to have three assistants here, while in Estonia, sometimes you'd be carrying all the tripods and equipment alone.
How have you managed to stand out?
It mostly comes down to your work. Sometimes people call you because they've seen your portfolio, but more often than not, it's through introductions. If you do good work, the same clients or employers will invite you back or recommend you.
What is the job that you're most proud of?
Some of the work we did in the photo studio agency was quite interesting. For example, we needed a sunflower field, so we bought a bunch of sunflowers and had to create it. Because at this time of the year, there were no sunflower fields. That other time we built a 4x4 meter wall out of grape bunches, which seemed ridiculously large, and sometimes you wonder why it's necessary, but it’s also fun! Another thing I really enjoy is photographing furniture, given my background in interior architecture. That's actually the direction I'd like to move towards.
What's something you've learned while working in Milano?
One thing I've learned is that everything must be possible. If something is requested, you can't say no. For instance, we recently did a shoot for an American brand in the French mountains, and it was 25 degrees Celsius in September, so we had to cover a small house with artificial snow. We had specially ordered artificial snow from a London-based company. The budget for such a campaign is around 100,000 euros. There were also thousands of items rented and transported. It's one of the coolest and biggest projects, and it's amazing to see how you can completely transform any location into another world. I admit that sometimes it feels like a bit of a waste, but at the same time, it's so cool to see how you can totally change a place without altering the environment.
What's important on shoots to ensure everything goes smoothly?
The team is definitely crucial. I often work closely with my flatmate. Good communication and a strong relationship with the producer and photographer are also essential, allowing you to work in peace. Some clients want to approve every little step and order, which often means I have to send pictures of every little detail for approval. That can be time-consuming. Organization and thorough pre-work are also vital. The photographer must also be skilled so that they don't spend hours on a single photo.
Do you see yourself working in Estonia as well?
I would really like to collaborate with Estonia, but I haven't had the time to pursue it recently. It doesn't even have to be commercial work; I'd also like to do set design for films or music videos.
Can you tell a bit more about your project Chromiogals.com?
A few years ago, my friend had a catering company, and she invited me to be involved in the design aspect. When it comes to catering, it's a 360-degree approach, considering how the presentation looks, how the food itself looks, and what the servers wear. We talk about the brand through food, values, and how to convey it through food while aligning it with the identity. For some events, we've even set up pop-up cafes. Sometimes food presentations can turn into a show. We try to think about every little detail.
What is Estonia like?
Estonia is and will always be home. I've been away for a little over 10 years, and I always think that the work I do here would be much easier to do in Estonia. Although I have many contacts here, everything is much simpler and more reliable in Estonia. For example, I still go to the dentist in Estonia, and I handle a lot of bureaucratic matters through Estonia because it's much easier and more secure.
And if someone asks you to describe Estonia, how would you do it?
Actually, Estonia is quite well known, but sometimes people still ask if it's a country, although they generally know where it is. People often ask if the capital of Estonia is Riga, haha. I always speak honestly about what I think. Young people live very well; they tend to start families early and have a calmer lifestyle. On weekends, people often go to their summer cottages or into the woods. Somehow, I feel that there's less enthusiasm for outdoor activities here compared to Estonia. Estonia is small and charming, and people live well and peacefully.
Do you see yourself going back to Estonia?
I often think about it. One thing that has always held me back is that if I were to return to Estonia, it would feel like Italian life is slipping away. On the other hand, when I'm in Italy, I feel like I'm experiencing both countries. Although I'm mostly in Italy, I still feel a strong connection to Estonia and visit often. I always imagine that when I'm old, I'll definitely be in Estonia.
What would you wish for Estonia in the next hundred years?
I think Estonia is moving in the right direction. I'm not worried about Estonia, and it seems that young Estonians are very entrepreneurial and smart. There's a strong desire to do things in Estonia, especially among young people, and they are the future of Estonia. I hope that this momentum continues in the same direction.
