Creative Talks - Léa Zeroil

CREATIVE TALKS

Léa Zeroil

The creative force behind our debut edited collection Solstice, shaped by fluid gestures and a deep appreciation for material.

Raised in the South and shaped by the rugged landscapes of her Corsican childhood as well as summers spent in Morocco, Léa Zeroil is the creative force behind Solstice, the debut collection released by our design house, Modern Metier. This inaugural series comprises six pieces she describes as “jewelled creations” — conceived by the French multidisciplinary designer, who is also the co-founder of Oasis gallery alongside Robin Costes. Each creation reflects the meeting of two defining influences: her fascination with Egyptian iconography and her nuanced appreciation of materiality. Her sensitivity to objects was shaped by a family deeply rooted in the world of interiors and decoration, as well as by a childhood marked by travel. Moorish architecture and Indian craftsmanship are among the influences that continue to inform her work, their ornamental motifs subtly reinterpreted throughout her designs. In this edition of Creative Talks, she reflects on a practice that moves seamlessly between object design and scenography, underpinned by a lasting interest in craftsmanship and the stories embedded within it. From this fertile ground emerge immersive worlds and deeply resonant pieces, conceived to endure, gathering meaning over time and passing from one generation to the next.

Léa, could you introduce yourself?

I’m a designer and interior decorator, originally trained in textile design at the Duperré and Olivier de Serres schools of applied arts in Paris. After several formative years working within architecture and interior design studios, I launched my own practice in 2022. I first collaborated with India Mahdavi, working across object design and interiors, before joining Laura Gonzalez, where I contributed to a number of retail projects. Those experiences nurtured my appreciation for distinctive environments and immersive design narratives. Following the passing of my father, I felt a strong need to fully embrace my creative ambitions. It prompted me to seek greater freedom and develop a more personal approach to design. Today, alongside Robin Costes, I create decorative journeys through Galerie Oasis, while continuing my work as a designer with furniture, textile and rug publishers. The very first design piece I created was the Primo stool. Its generous, sculptural form later inspired the Gamma chair, now published by Modern Metier.

You grew up in a Corsican village and spent your summers in Morocco. How has this multicultural background shaped your perspective and your approach to design?

I grew up in Pigna, a small hilltop village in the Balagne region of Corsica. Built entirely from stone and surrounded by nature, it sits between the sea and the mountains and remains untouched by cars. It’s a remarkably preserved microcosm, far removed from urban life, and a place I return to whenever I can. I was raised in a family immersed in the decorative arts. My mother run an interiors boutique, while my grandmother produced furniture in India. My father, meanwhile, imported furniture from Morocco. From an early age, I was surrounded by objects, materials and craftsmanship. The summers I spent in Morocco with my father’s family also played a significant role in shaping my imagination. There, I discovered the richness of colour, pottery, sculpted decoration, artisanal techniques and the beauty of Arab-Andalusian and Moorish architecture. Those influences continue to inform my work today — in the environments I create, my attraction to ornament, and the objects I design. Vibrant colours, carved surfaces, mother-of-pearl marquetry and exceptional craftsmanship all form part of my visual vocabulary. That said, my intention is never to replicate or romanticise these cultures. Instead, I try to translate the memories, emotions and sensations they evoke into a more contemporary language.

" From an early age, I was surrounded by objects, materials and craftsmanship. The summers I spent in Morocco with my father’s family also played a significant role in shaping my imagination." - Léa Zeroil

What words best embody your world today?

It’s always difficult to define a style when you’re still at the beginning of your journey. I think of my pieces as sensory objects. I’m not interested in building a concept around an object; rather, the object speaks for itself and leaves room for personal interpretation. I approach each creation as an entity in its own right, rather than as part of a wider, overarching collection. I value the freedom to create when a genuine desire or intuition emerges, and to follow those impulses wherever they lead.

Following several exhibitions imbued with spirituality, “Lune Rousse” at Maestria Gallery for Paris Design Week 2023, and installations with a wandering spirit, such as “Mirage” presented at the Galerie Oasis in 2024, you joined forces with Modern Metier the same year to create “Solstice”, the publishing house’s first collection. Tell us the story of how you met our founder, Minh Ngo.

I initially met Minh through Modern Metier’s platform, which showcases collectible design. Rather than simply becoming one of the featured designers, our conversations quickly evolved into the idea of creating an edited collection together — a first for the brand. From the outset, we imagined a collection built around fluid, hand-drawn curves, a visual language that runs throughout my work. We combined our references to create pieces with a strong presence, while avoiding anything overly divisive or eccentric. The collection is crafted by artisans in Portugal and France, combining the rigour and quality associated with luxury manufacturing while remaining accessible to a younger generation of collectors.

You place great emphasis on the narrative aspect of the object. What stories does the Solstice collection tell?

We wanted to create pieces that felt immediately alluring. The Libra wall light, for instance, emerged from a trip to Egypt in 2022, where I immersed myself in Egyptian iconography. Its form references ancient solar discs, reinterpreted through the luminosity of ceramic and the texture of wild silk. Throughout the collection, materiality follows the drawing. With the Vague wall light — a brass piece cast in a sand mould — we deliberately retained the irregularities left by the process. As a result, every piece is unique and carries a sense of authenticity. There’s a tangible quality to these objects that is often absent from newly manufactured pieces. We wanted the hand of the maker and the evidence of craftsmanship to remain visible. Although there are no decorative patterns as such, each object contains its own graphic expression. When the Serpentine mirror is installed, it creates a strong visual presence. Likewise, the metalwork details cast subtle motifs onto the surrounding surfaces, echoing the effect created by the stems of the Vigne pendants.

Which artisans and crafts have you drawn upon to create these pieces?

We collaborated with artisans I already enjoy working with on a regular basis, particularly in Portugal, where the Gamma chairs are produced, as well as my own Primo stools. In France, we manufacture the lampshades for the Vigne pendants. The ceramic components of the Libra wall lights are crafted by Normandie Ceramics, a company recognised with the Entreprise du Patrimoine Vivant (Living Heritage Company) label.

Is there a piece you particularly enjoyed developing and which has found a place in your own home?

The Vague wall light has that jewellery-like, treasure-like quality that I really love. It’s a bit like earrings for the walls. Robin and I have installed it in Galerie Oasis ourselves. Interestingly, it was originally conceived in fabric before evolving into brass, which gave it a greater sense of permanence and preciousness within the home. The Gamma chairs are also part of our daily environment, as we use them in our studio.

How do you see the Solstice collection evolving?

We presented the collection at 3daysofdesign in Copenhagen with Modern Metier, alongside new finishes and an entirely new piece. The chairs were reimagined in high-gloss lacquered wood and upholstered in enveloping velvet, two materials that brought a different perspective and aesthetic to the design. I always conceive a piece in white first, focusing purely on its form. Materials come later; they are what ultimately bring the silhouette to life. Seeing an object evolve through new finishes, colours, textures and mediums long after its creation is something I find particularly exciting.

Copywriter : Juliette Bruneau

Photographers : Armin Tehrani, Adel Slimane Fecih, Alice Mesguich, Christophe Idéal, Elvis Rulio

Selected Projects: “The Jewellery Box” by Modern Metier & Léa Zeroil for 3daysofdesign 2026 in Copenhagen; “Le Perchoir” scenography by Léa Zeroil for the Silva Paris showroom during Paris Design Week 2026; “Sirocco” exhibition by Léa Zeroil for Paris Design Week 2025; Solstice collection by Modern Metier × Léa Zeroil for Paris Design Week 2024; “Lune Rousse” exhibition by Léa Zeroil for Paris Design Week 2023 at Galerie Maestria.