The film, presented at the Salone del Mobile, constructs a sensory and contemporary narrative in which products and users mirror each other: colours, everyday gestures and material details become the language used to show that every design choice is personal and at the same time shared within a community of design lovers, but not only.
The concept: the community as part of the design
Hiro involves people in all stages of creation and production. The consumer is not a spectator, but a co-author: Hiro’s identity lives in the relationship between individual character and product.
This is the starting point for the concept of the video: to present Hiro not only as a furniture catalogue, but as a creative journey in which each user makes a difference with their own personality. Colour is the central metaphor for this participation: each person brings a tone, a passion, a gesture, and each product becomes a coherent extension of their identity.
Script and production: a choral story made up of choices
The script translates the concept into a scene-by-scene narrative that brings people and products into dialogue, showing how design takes shape through different identities, lifestyles and personal desires.
Pre-production defined an essential and contemporary visual framework, constructed to clearly highlight the relationship between the protagonists and the furnishings, always keeping the idea of choice as a shared creative act at the centre.
The film works by subtraction and rhythm: it starts with material and sensory details to introduce the world of Hiro in an intimate way, then broadens its gaze to people and their daily actions. The editing intertwines gestures and products until they coexist in the same narrative space, making it clear that each choice is individual, but at the same time building a community that shares aesthetic values, design culture and the desire to express itself through what it inhabits.
Controlled set and colour direction
Production took place in the studio to ensure strict control over colours and lighting, ensuring maximum consistency with the brand’s colour palette. The set, lighting and camera angles were designed to enhance the shapes, surfaces and finishes of the products, alternating close-ups and wider compositions with human presence.
Colour is therefore a key element of the concept, which becomes the visual structure of the film: not simply an aesthetic backdrop, but a language that unites people’s identities and the character of the furnishings in a single recognisable system.
