This series, COLLECTIBLE In-Depth, unveils the backstage of contemporary creation. Tackling various topics from personal designer processes to the position of collectible design on the global design market, COLLECTIBLE In-Depth offers different views to suit all tastes. Today we speak with Zoé Wolker.

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C: Why do you focus on contemporary collectible design? What does it mean  to you? 

Zoé Wolker: For me, collectible design is about creating objects that evoke emotion, spark curiosity, and  transform space—going beyond function. I see furniture not just as something we use, but  as something we experience. Light, material, and form come together to create a piece that  feels alive, changing with its surroundings and the viewer’s perspective. 

In collectible design, every detail matters—there are no compromises, no need for mass  production constraints. Each piece has its own presence, its own story. It’s about crafting  something truly unique, something that resonates on a deeper, almost instinctive level. 

C: How do you see the relationship between late 20th-century design and  contemporary design? How does one feed one another? 

ZW: The late 20th century was a turning point—design finally broke free! Forms became less  strictly utilitarian, introducing new volumes, asymmetry, and dynamic compositions.  Materials also became part of the idea, with light, reflections, and textures shaping  perception. 

Contemporary collectible design continues this path but takes it further. Today, we work not  just with form but with how an object “speaks” to its environment. Light, shadows, and  reflections transform a static object into something alive, changing right before your eyes. 

C: What dialogue are you bringing this year to COLLECTIBLE? 

ZW: This year, I bring a conversation about light and form. The Ame Collection is an exploration  of how light brings objects to life— it is more than just furniture. Though the pieces are solid,  weighty, and architectural, their interaction with light creates a sense of lightness and  movement.  

The collection exists in two distinct materials—glossy lacquered and brushed steel—each  offering a different interpretation of the same form. One reflects light dynamically, while the  other interacts with it in a more subdued, atmospheric way. The result is movement within  minimalism, where static geometry suddenly shifts depending on the angle of view.

C: How did you get into collectible design? Why did you focus your practice on  this type of design rather than industrial design?  

ZW: My background is in architecture, and this shapes my approach to design. Architecture is not  only about form but also about space, light, and how objects interact with their surroundings.

I wanted to bring this perspective into object design, preserving sculptural qualities while  allowing pieces to exist as standalone works of art. 

Industrial design is driven by mass production and constraints, whereas collectible design  allows me to focus on uniqueness, craftsmanship, and conceptual depth. I work with  materials that shift and transform depending on lighting and environment, making each piece  truly one of a kind. 

C: What inspired you to create this collection? 

ZW: When I was an architect student, we had a classic architectural "ritual"—sketching the  Houdon’s head cutting sculpture. It was the perfect object to study light: every plane  caught shadows differently, constantly shifting in appearance. 

That effect captivated me. I wanted to create pieces that behave the same way—simple yet  alive, transforming with the light. The Ame Collection is my way of capturing that fleeting  moment, making light an integral part of the design and allowing form to feel fluid and  expressive. 

C: Can you discuss a specific cultural or historical reference that has inspired  you? 

ZW: Last fall, I visited the Donald Judd Foundation in New York, and it was a profound  experience. His minimalist spaces, precise proportions, and interaction with light struck  me with their clarity and intentionality. 

His light-based works at Dia Beacon left a lasting impression, reminding me how crucial it is  to see not only form but also how it interacts with its surroundings. In AME, I have always  sought this effect—not just to highlight an object but to make light an active part of it,  shifting perception and creating a sense of movement.