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After originally starting out as motion designer in advertising, I came to AFTRS two years ago to study production design.
My former industry was fast-paced and creatively demanding, but over time I found myself drawn to storytelling that was more intentional, layered, and collaborative. Production design provided that shift—allowing me to think more critically about how visual details shape narrative, build immersive worlds, and reflect broader social realities.
AFTRS lecturer and production designer Virginia Mesiti emphasises that often the most successful film design is invisible, as we discuss how the industry has changed in her two-decade long career.
Why did you decide to study at AFTRS?
I studied at AFTRS in the early 2000s and was drawn to the hands-on approach and industry connection. I found the film world alluring, fascinated by how designed environments could shape storytelling, and I wanted to learn how to create worlds that could evoke emotional responses from audiences.
What appealed to me most was the intersection of art, architecture, and narrative. Production design felt like the perfect marriage of my creative interests with tangible craft skills.
What are some of the most crucial lessons you gained from your first jobs in the industry?
Working with limited resources taught me invaluable lessons about creative problem-solving and the importance of clear communication. When you’re in remote locations and something goes wrong, you can’t just pop out to a prop house. Some of the most rewarding — albeit hectic — experiences involved improvising set dressings from natural materials found on location, which enhanced the project’s authentic feel. I learnt that limitations often become your greatest creative advantages.
How has the production design discipline evolved with rapidly changing visualisation technologies?
When I started in the industry it was common practice to use analogue techniques; physical models and lead pencil drawings on trace paper were standard practice. I remember the first independent feature film I worked on, the location photos were still taken on 35mm film cameras, and the runner would have to get them developed before anyone could see them.
Today’s production designers need fluency in modelling software, VR previsualisation and can use photogrammetry to 3D print prototypes. These tools allow us to plan spaces more accurately before construction.
However, while the tools have changed, the foundation skills remain constant. I’ve found that a hybrid approach works best – starting with hand sketches to capture the emotional essence before moving to digital tools for precision and communication.
What’s been a career highlight for you?
Working on George Miller’s Three Thousand Years of Longing with Roger Ford and Lisa Thompson was truly a dream job for me. The project presented extraordinary creative challenges, requiring the art department to create different time periods and fantastical realms. What made it significant was how design elements became active storytelling tools rather than just backdrops. Seeing Tilda Swinton respond to environments I helped create was incredibly rewarding, and reminded me why I chose this path.
Beyond specific productions, there is fulfilment in my dual role as both a working production designer and educator at AFTRS. Teaching has made me a better designer, by forcing me to articulate processes that had become intuitive.
Good design often feels invisible — it seamlessly serves the fictional world while resonating with the audience in a way that feels natural. How do you achieve that balance?
Yes, that’s the funny paradox — if our job is done well, nobody notices it! I’m always conscious that viewers should be focused on the story, not thinking ‘oh, what a beautiful set.’ When I’m designing, I start with the emotional core of the story and the characters’ experiences, then build outward with details that feel authentic.
I love thinking about the lived history of spaces. What would actually accumulate in this character’s home? What would show wear and tear? Those small touches might never get a close-up, but they create a feeling of truth that supports the performances.
What excites you the most about the work you do?
What continues to excite me after two decades in the industry is the alchemy that happens when all elements come together — when you see actors inhabit a space you’ve designed, and it genuinely affects their performance. That moment when a set comes to life under lighting for the first time still feels like magic.
Teaching has added another dimension of excitement. That moment when a student finds their unique design voice is as energising as seeing one of my own designs come to life.
What’s the best piece of professional advice you’ve ever been given?
Something that stayed with me early on was to ‘collect experiences, not just references’ — meaning that my best design ideas should come from lived experiences and observations, rather than simply scrolling through online image searches. This is something I’ve found invaluable throughout my career.
In our digital age, there’s a temptation to design from references rather than from understanding. The most compelling production design emerges from emotional and intellectual engagement with the story rather than visual sampling.
What advice do you have for those of us stepping into the industry now?
Develop your observational skills, cultivate a design process that balances intuition with intellectual rigour, and become a generous collaborator — understand that the best ideas can come from anywhere and that your role is to enhance the overall storytelling, not just your department.
Finally, maintain curiosity throughout your career – the designers who thrive are those who continue learning, adapting, and finding fresh inspiration. This industry evolves constantly, but the fundamental ability to create meaningful visual narratives remains at its heart.
Oh, and document everything! Your process work is often more valuable than the final product when it comes to developing your craft.
Learn more about studying Production Design at AFTRS and its educational courses here.
