Fanny Serouart
About the Resident
French Resident
May 1 – June 30, 2025
Industrial Designer
Design resident Fanny Serouart is a French industrial designer with over a decade of experience in product development and material exploration. Rooted in the cultural contrasts of northern France and Brittany, she studied at Ecole Boulle and L’ENSCI-Les Ateliers, specializing in Colors, Materials, and Finishes (CMF).
Her work bridges craftsmanship and industry, blending expertise from sectors like automotive, electronics, and luxury goods. This diverse background inspired Léclisse, her personal design project, alongside her consultancy as a product and CMF specialist. Across all her endeavors, Fanny emphasizes materials, processes, and sustainability as central to her design approach.
As part of Villa Albertine residency program, with the support of Bettencourt Schueller Foundation
LÉCLISSE
Éclisser is a technical term that designates the act of linking two elements, and L’éclisse the piece that ensures the cohesion of this hybrid construction. Léclisse accessories embody this dialogue where leather goods meet materials and know-how that draw on the history of design.
Fanny Serouart is a designer who draws on her experience of industry and craftsmanship to create contemporary accessories in her Paris workshop, with exacting designs and long-lasting manufacturing. Each piece is an “Objet-à-porter” imagined to singularize a minimalist silhouette.
The factories and know-how used are French or European. Materials are sustainable and environmentally friendly. Each order is hand-assembled in Paris on request.
With Léclisse, Fanny Serouart aims to revisit the accessory by creating objects that are as beautiful to contemplate as they are to (em)wear; pieces that combine the world of leather goods with rare or little-known know-how and materials, drawing on the history of industrial design and the decorative arts, craftsmanship, architecture and art. This approach is strongly rooted in the local area.
Residency Project
Fanny Serouart is a product designer specializing in Colors, Materials, and Finishes (CMF). With her brand-studio Léclisse, she creates objets-à-porter that bridge industrial design, craftsmanship, and the decorative arts.
During her Villa Albertine residency in New York, she will explore the city’s industrial and cultural heritage, investigating materials, architectural influences, and urban landscapes. This research will inform the creation of new pieces inspired by the unique identity of the East Coast, extending her exploration of how objects can embody a sense of place.
Fanny’s Experience
What drew you to apply for this residency in New York, and what did you hope to gain from the experience?
FS: I was drawn by the chance to have two months dedicated entirely to creative work, away from my usual projects — the very essence of a creative residency. I specifically chose New York and this time of year because the Villa Albertine residency, withWantedDesign as sponsor, coincided with NYCxDesign, offering a unique opportunity to connect with the city’s design ecosystem, meet key players, and absorb the energy of a city known for its openness, “just do it” mindset, and cross-disciplinary culture.
Can you tell us about a day in your life during the residency? What did your research or creative process look like in the city?
FS: A typical day mixed local immersion and creation: waking up below Chinatown, just steps from Soho, Tribeca, the Hudson and East River, and Brooklyn. Starting with an americano and setting out to explore — the neighborhoods, the dynamism, the local life— was already part of the inspiration. My days were split between gathering input — from galleries, museums, showrooms, and the city itself— meeting designers, craftspeople, and artists, and reflecting or sketching ideas, whether at Industry City or in my apartment. Even my choice of apartment — the identity of the place, the objects, the books present — contributed to my creativity and inspiration. Every morning, I also kept a personal journal, writing down thoughts, impressions, and reflections — a practice that helped ground my creative process and capture the richness of the experience day by day.
You came with a focus on CMF (colors, materials, finishes). Were there any places, people, or materials in New York that sparked new ideas or directions?
FS: Absolutely. Soho’s cast-iron architecture, the rhythm of façades, glass blocks, iron grids — these clichés became living sources of inspiration. The city’s color palette struck me too: reds, blacks, beiges, blue-greys, greens — colors we simply don’t have in Paris. Working with glass —first at Corning, then at UrbanGlass — was an extraordinary and unique experience that I want to keep pushing. Meeting the sports ball manufacturer in New Jersey was also inspiring in terms of savoir-faire. Other sparks came from the raw materials found across the city— from architecture to subway textures, from Native American objects at the MET to Shaker artifacts at Hancock Village. I was also struck by New Yorkers’ fearless relationship to the body, clothing, and vintage — bold yet unselfconscious, unlike Paris. And in CMF terms, I noticed the strong “à la carte” approach: studios highlight variations and finishes, and there’s a boldness in working with raw materials like glass, wood, and metal.
Are you planning to develop a project, material library, or any new work based on your time here?
FS: Yes, indeed, I plan to continue developing the glass handles and leather accessories, but beyond that, I see glass itself as a true material encounter, and I want to explore it more widely: mirrors, metallic finishes I’m also exploring, and other typologies and designs. I am developing a partnership capsule collection with MycoWorks, creating accessories and objects that bridge theU.S. and Europe. For instance, I have already prototyped an artificial flower in NYC to test the moldability of mycelium, which was a success. I already have designs, ideas, and drawings, but I need to start directly from their materials and leftover stocks to confirm, refine, and move forward with the designs. We are currently in conversation and discussion about this partnership.
Did you have any memorable encounters (a person, a place, ora practice) that stayed with you or shifted your perspective?
FS: Yes, of course : the work in glass at Corning and later at Keep was absolutely thrilling, a starting point that gave me creative momentum from the very first days of the residency, and that carried through the two months. The people I met were not only talented, but incredibly welcoming, positive, and generous.Meeting Xevi Galego, COO of MycoWorks, was also unforgettable — his journey, mindset, and storytelling were deeply inspiring. And I can’t finish this section without mentioning you, WantedDesign. Without your partnership, this residency would have been without question a completely different experience. You placed me in the energy of networking, encouraged me to step out of my reserve, move forward, and generously opened your network to me. That’s what I call true mentorship —something I’ve rarely had the chance to experience in my career