Cover Daum’s Zigzag collection by Victoria Wilmotte, each produced in a limited edition of 300
Daum’s Zigzag collection by Victoria Wilmotte, each produced in a limited edition of 300
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A celebration of sculptural precision and modern French craftsmanship, we chatted with Paris-based designer Victoria Wilmotte on the story behind Daum’s Zigzag collection, the architectural crystal pieces reimagined as trophies for the Tatler Homes Design Awards 2025
The royal blue trophies of the Tatler Homes Design Awards 2025 came with a playful warning on gala night: handle with care, they’re heavy. Each trophy stands 30 centimetres tall and weighs a substantial 6.3 kilograms, a weighty representation of the accolade it holds.
Officially known in the portfolio of French crystal maison Daum as the large Zigzag vase in blue, the piece has an unmistakable presence in a collection comprising three sizes in cobalt blue, lime green and anthracite grey, each in a limited edition of 300.
Architect René Tan, winner of Best Architectural Concept 2025, likened its shape to a Corinthian column and admired its sculptural strength. In the world of crystal, geometric and architectural forms are among the most complex to achieve.
Closing the month of October, in which Tatler Homes focuses on craftsmanship and collaboration, we spoke to Paris-born and -raised designer Victoria Wilmotte, the woman behind the creation, to learn more about the story behind this design.
Above French designer Victoria Wilmotte, the creative behind Tatler Homes Design Awards 2025’s Daum trophies
French designer Victoria Wilmotte, the creative behind Tatler Homes Design Awards 2025’s Daum trophies
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Tell us a little bit about yourself and your practice.
I was born in Paris into a family closely connected to art and architecture. After school, I studied at the École Camondo for three years. Over time, the curriculum became increasingly focused on interior architecture, and I realised I wanted to become a designer instead.
I then entered the Royal College of Art (RCA) in London, where I spent two of the best years of my life. In a way, Camondo taught me how to think, and RCA taught me how to make. My practice today wouldn’t be what it is without the RCA. The workshop approach inspired me to continue working hands-on.
After graduating in 2008, I started my own practice in a small workshop at home. In 2015, I found a space I now call the VW Factory, where most of my designs are made. My practice sits somewhere between art and design. I think about the object through its techniques and making.
Above Victoria Wilmotte’s studio, the VW Factory, focuses on small-batch artisanal home items
Above Victoria Wilmotte playful eponymous brand’s logo expresses her industrial design background
Victoria Wilmotte’s studio, the VW Factory, focuses on small-batch artisanal home items
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Above Victoria Wilmotte at her studio workshop, named the VW Factory
Victoria Wilmotte at her studio workshop, named the VW Factory
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Have you always been interested in architectural shapes?
My education certainly shaped my mindset. Since childhood, I have been visiting places, workshops, building sites and exhibitions, always surrounded by art and architecture. I never imagined doing anything else. I am drawn to sculptural and architectural shapes for that reason. My workshop reflects this passion. I wanted to magnify the image of a workshop and make it look like a museum. Every machine is a sculpture in itself. That’s what inspires me.
Above Prototype shelves at Victoria Wilmotte’s Studio workshop
Above Faceted metallic stool and coffe table by Victoria Wilmotte
Prototype shelves at Victoria Wilmotte’s Studio workshop
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Above Victoria Wilmotte’s working desk in her Paris studio, Janury 2021
Victoria Wilmotte’s working desk in her Paris studio, Janury 2021
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Your work often plays with geometry, rhythm and repetition. Do you see your pieces more as functional design, sculpture, or somewhere in between?
I see my work as “sculptural design”. I love making functional pieces, even though I sometimes find it difficult to respond to briefs. Still, I usually have something in mind that fits perfectly. I love when a piece can be used and live its own life.
Above A sculptural table with bases that echo the geometry of Daum’s Zigzag collection
Above A close-up view of the cobal blue finish
A sculptural table with bases that echo the geometry of Daum’s Zigzag collection
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What’s a typical day at work for you?
There is no typical day. As I manage everything except the final making, I organise all aspects, from ordering materials to drawing and overseeing every stage of production in the workshop. This is one of the reasons I wanted my own workshop, to be able to adjust details along the way.
Above A geometric mirror featuring the same Zigzag-inspired accents in cobalt blue
Above A close-up of the mirror’s cobalt blue zigzag element
A geometric mirror featuring the same Zigzag-inspired accents in cobalt blue
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What are your favourite materials to work with and why?
In my workshop, I focus on metal. I find it the most malleable material. It can be shaped in any direction, rolled, folded, welded and finished in countless ways. I also love working with marble, which I first learned about as a child. I enjoy travelling to factories in Italy and Portugal to work with it.
Above A mirror distinguished by a three-tiered cobalt blue finish on its metal frame
Above A closer look at the cascading blue hues
A mirror distinguished by a three-tiered cobalt blue finish on its metal frame
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Tell us the lore on your collaboration with Daum.
The collaboration began in 2016. I met Vanessa from Daum at an exhibition called 30 Talents Under 30, which celebrated the 30th anniversary of Paris Première TV channel.
Above Statement pieces by Victoria Wilmotte that straddle the realms of design and art displayed in gallery-like setting
Statement pieces by Victoria Wilmotte that straddle the realms of design and art displayed in gallery-like setting
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What were some of the ideas and inspirations that shaped the final design?
The Zigzag collection was born slightly earlier, when I began making metal vases inspired by the folding process of the material. It quickly became a sort of signature in my work. My inspiration comes from process and experimentation in the atelier.
The name comes literally from the visual aspect of the object. It’s a graphic name for a graphic piece. The three colours were chosen to match my general aesthetic. Cobalt blue is one I often use in powder coating with a lacquered, shiny finish. The yellow-green is a nearly fluorescent tone that I love, while the grey is more refined and calm.
Above Daum Grey Vase Zigzag
Above Daum Green Vase Zigzag
Daum Grey Vase Zigzag
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Above Daum Blue Large Vase Zigzag by Victoria Wilmotte is Tatler Homes Design Awards 2025’s chosen trophy
Daum Blue Large Vase Zigzag by Victoria Wilmotte is Tatler Homes Design Awards 2025’s chosen trophy
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Were there any constraints from Daum’s side that shaped your design in unexpected ways?
The only constraint was maintaining a certain wall thickness so the vases would be strong and consistent. I like that; constraints often make the final piece stronger. The thickness also enhances the beauty of light passing through the crystal.
Above A sculptural collection in varying shades of blue, each piece defined by its distinctive Zigzag element,w hich inspires the Daum collection
A sculptural collection in varying shades of blue, each piece defined by its distinctive Zigzag element,w hich inspires the Daum collection
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What was the most challenging aspect of conceptualising and producing the piece?
The process of crystal-glass fusion is highly complex and unique. The object appears simple, but the making is intricate.
Above Models and working prototypes of Daum’s Zigzag collection at Victoria Wilmotte’s studio
Models and working prototypes of Daum’s Zigzag collection at Victoria Wilmotte’s studio
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Daum has worked with many artists across generations. How do you see yourself fitting into that lineage?
I was deeply honoured to design for such a historically recognised French brand. It was my first time working with crystal, and the experience was stimulating.
Visiting the Daum factory in Nancy to see the prototypes, select colours and observe the process was unforgettable. From this collaboration, we continued to work together on projects for Haviland, a porcelain brand from the same group. I loved working with porcelain too.
Above Victoria Wilmotte’s working desk and material library at the VW Factory
Victoria Wilmotte’s working desk and material library at the VW Factory
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What makes a good object, in your opinion?
It’s a combination of all these elements. A beautiful object has a sense of inevitability, a natural rightness that feels self-evident. I am delighted that the vase was chosen as a trophy; it gives the piece a meaningful life beyond design.
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Credits
Photography: Courtesy of Daum and Victoria Wilmotte
Jakarta-born, Bandung-raised and Singapore-based, Asih Jenie trained in Visual Communication Design at Bandung Institute of Technology and Architecture at Parahyangan Catholic University. She brings both rigour and heart to design journalism, infused with a distinct Southeast Asian voice.
As a child, she doodled on the edges of her schoolbooks and never outgrew her fascination with all things well-made and well-told. Her 15-year career spans editorial roles and bylines in Singapore, Indonesia, Hong Kong and Australia, across spatial design titles such as Dwell Asia, Cubes, Design Anthology, Habitus Living, and Home & Decor.
After a brief stint in public relations, she returned to publishing in 2023 to lead Tatler Homes Singapore, where she continues to tell stories about how we shape the spaces that shape us.
