Making of Wigiwama's Terrazzo Campaign Meet Our Creative Director

Last autumn, we launched the Terrazzo collection – not simply a design, but a story woven with inspiration, heritage and creativity. The stunning visuals of this Mediterranean-inspired campaign were brought to life by Madara Ellere, Wigiwama's Creative Director, who oversees the creative direction of all brand materials. We spoke to her about the experience of shooting the campaign and discovered how intuition, organisation, and passion drive her creative process in developing Wigiwama’s signature aesthetic.

Madara, if you had to describe the whole Terrazzo shoot experience in three words, what would they be?

Expansive, warm and entertaining.

How did the visual concept for the Terrazzo collection come about?

As terrazzo patterns have been popular for hundreds of years, we wanted to celebrate their heritage by capturing the essence of where terrazzo originates and what it represents in interior design. As part of this tribute, we decided to set our campaign in Portugal, where our founders live. Although Portugal isn't technically a Mediterranean country, its warm weather and beautiful landscapes create a Mediterranean atmosphere. With this in mind, we looked for a location that would combine Wigiwama's core style – cosy, inviting and homely – with the story of our Terrazzo collection. And we found the perfect match.

Were there any challenges you faced along the way?

This was our first international project, so the biggest challenge was organising everything remotely and planning every detail using only photos of the location. But with a clear vision, I trusted my instincts and stayed flexible for any changes that were needed.

One of the biggest surprises came just a day before the shoot. We had ordered clothes from the United States, but the shipping took much longer than expected. It wasn't until the final checklist review that we realised the outfits wouldn't arrive in time. There was no time to panic – we rushed to Lisbon and quickly found some basic shirts to complement the rest of the outfits.

How did you work with the kid models to achieve the natural, relaxed vibe we see in the Terrazzo campaign?

The fun (and challenge!) of working with kids is that you never quite know what mood they'll be in. Sometimes they're shy, then cranky, and other times full of energy. In my experience, every shoot has three phases: first, you help them open up; then there's the sweet spot, when they're relaxed and happy to join in; and finally, the "too comfortable" phase, where things get a little wild! It all happens within about an hour, so you have to work fast.

The key is to make the whole shoot feel like play – when it's fun, kids are much more open and cooperative. In that sense, working with adult models is easier. They know what to expect, understand the process, and (thankfully) don't run off when they get bored! This shoot was no exception. We had to show the kids that filming and taking photos could be fun. The only problem was that they only spoke Portuguese! So I got creative, using hand gestures and the few Portuguese words I knew: "Muito bem" and "Perfeito".

How does an idea become a finished campaign?

It all starts with a question, "What story do I want to tell?" and then, "How can I show it to viewers?" Inspiration often comes from everyday experiences and exploration, sometimes in the most unexpected ways. Once I have a clear vision, I create mood boards detailing the models, products and overall setting I want. The next step is to share this vision with the team, explaining it in such a way that they can bring it as close to life as possible and we're all on the same page. Finding the right props and styling elements is also crucial, although sometimes what you imagine isn't always available. Ultimately, good organisation and backup plans are key to a successful photoshoot – always be prepared.

When creating materials for Wigiwama, what is your favourite part of the process? And what do you find most challenging?

The most exciting part for me is seeing my ideas come to life, especially when it comes to children's furniture. There’s more freedom and fewer boundaries, which creates a sense of playfulness and allows you to have more fun. It’s about creating a world that sparks the imagination of not just kids, but parents too. The biggest challenge is keeping track of everything because managing the whole process means juggling and processing a lot of information from different sources.

As a creative, do you find it easy to balance imaginative freedom with staying grounded?

We always dream big, but sometimes we have to shape those grand ideas to fit within a realistic campaign budget. It’s all about finding the right balance – which is a challenge, but also a skill. Having worked in this field for a while, I’ve learned to sense that balance intuitively. And as a perfectionist, I’m naturally driven to stay organised, plan carefully, and ensure every detail is just right. That’s what keeps me prepared, even in unpredictable moments.

How do you keep your creativity flowing on difficult or uninspired days?

You can't force creative ideas. If it doesn't feel like the right day, I step away, do something else and come back with a fresh perspective. It's important for me not to rush the creative process – I like to take my time, sleep on the idea and explore it from different angles.

Looking back on the Terrazzo campaign, what is the most rewarding part of seeing it all come together?

Seeing the final visuals reflect exactly what we envisioned makes it all worthwhile. I also really enjoyed the experience of working in Portugal – it was a great backdrop that suited our concept perfectly. And of course it wouldn't have been possible without the team. Everyone put in a lot of effort to bring the idea to life and I appreciate their dedication throughout the process!