The Material World
of Héctor Esrawe

(Mexico Special) Mexico City’s design lineage is as dynamic and layered as the sprawling metropolis itself. Its streets and ateliers carry centuries of artistry—from Aztec ruins and the radiant modernist architecture of Luis Barragán to the Bauhaus-inflected work of émigrés such as Klaus Grabe and Clara Porset. After decades in which international trends often eclipsed local heritage, a new generation of Mexico City designers is turning inward, drawing on their country’s rich artisanal and artistic legacy to shape a contemporary design identity that is multifaceted, expansive in its possibilities, and deeply rooted in place.

At the forefront of this wave is Héctor Esrawe, a multidisciplinary designer and architect who has built a prolific practice that continues to shape the new generation’s creative momentum. From his Roma Norte studio, he leads a practice that flows effortlessly across architecture, furniture, and fragrance—cultivating a dialogue between craft, culture, and innovation that honors heritage without nostalgia.

Within and beyond his studio team, collaboration lies at the heart of Esrawe’s work. In addition to co-founding design hubs like EWE Studio, MASA Galeria, and the glass collective VISSIO, he established Xinú in 2016 with Verónica Peña and Ignacio Cadena—a fragrance house inspired by the botanical diversity of the Americas and that opens new territory by treating scent as a material that shapes space and experience.

In all its many facets, Esrawe’s work reveals Mexican design’s depth beyond familiar symbols, unveiling layered narratives and sophisticated materiality. He spoke with Maison Ë about the driving questions behind his practice, the transformative power of materials, and how he introduces visitors to Mexico City’s creative essence.

Maison Ë To begin at the start, you studied industrial design at the Ibero-American University in Mexico City and later returned as a professor. Looking back, which of the questions you explored as a student continue to guide your design work today?

Héctor Esrawe
From the very beginning, I was fascinated by the emotional and cultural value of objects—how they relate to their context, how they are built, and who builds them. As a student, I questioned how design could transcend utility to become a bridge between art, architecture, and culture—a tool for transformation, memory, and storytelling. That question still drives my work today. Every project we create, whether furniture or a large-scale installation, begins with a narrative and a strong sense of place.

M.Ë After teaching at the university, you founded Esrawe Studio in 2003. What drove that transition from academia to running your own multidisciplinary practice?

H.E. I loved teaching, but I felt the need to establish my practice in a more solid and independent way. I continue to maintain a relationship with academia through workshops, lectures, and studio visits because I value the reflective nature of teaching. Founding Esrawe Studio allowed me to create a laboratory where multiple disciplines—architecture, furniture, and objects—could coexist and evolve into real projects, always in dialogue with artisans, clients, and spaces. It gave me the freedom to build my own narrative and explore every terrain that fascinated me. I still miss academia, and I hope to create a space for it again in the near future.

M.Ë Esrawe Studio has become known for moving fluidly between architecture, furniture, and product design. How have you set up the studio so ideas can move easily between disciplines?

H.E. Our studio functions as a horizontal ecosystem rather than divided departments. A narrative developed for a piece of furniture can organically trigger an architectural possibility, and a spatial concept can inspire a sculptural object. The transition between scales and materials is part of our philosophy. Material experimentation and collaborative workshops with artisans create a shared ground where ideas migrate naturally between disciplines.

M.Ë Materiality plays a central role in your work, and you’ve described materials as having a language of their own. Which ones have you explored the most to reveal their expressive potential?

H.E. Bronze and glass have become my alchemical explorations. Their transformation captivates me—they require technical mastery, patience, and respect for process. Fire, time, and craft can turn them into objects that feel both timeless and alive. These materials have been mastered by artisans for generations; they are capable of capturing a gesture, a vibration, or a rhythm and making it tangible.

M.Ë Your Signature Editions—limited pieces that distil your design language into collectible pieces—often reinterpret ancestral craft through contemporary forms. Which traditional techniques do you continue to approach with particular respect?

H.E. Wood carving and stonework hold a special reverence for me. These crafts carry centuries of knowledge and demand humility. They resist haste and impose their own rhythm. Collaborating with artisans in these mediums feels like entering a dialogue with history rather than simply producing an object.

M.Ë In 2016, you collaborated with Verónica Peña and Ignacio Cadena to launch the Mexican fragrance house Xinú, beginning with the architecture of its first boutique. What was your starting point for designing that space?

H.E. Verónica, Ignacio, and I had collaborated on many brand projects before, but Xinú was rooted in Verónica’s lifelong passion. Our first impulse was to create the first true niche fragrance brand from Mexico—one that celebrates the biodiversity of our country and the botanical richness of our continent, which now extends to botanicals from around the world. We wanted the brand to feel like a sanctuary, a holistic experience where scent could guide the visitor, revealing the vastness and richness of our culture, and share it with the world.

M.Ë Xinú’s first boutique, set within lush greenery in Mexico City’s Polanco neighborhood, replaced an auto repair shop with a circular pavilion. How did that form arise from the design brief?

H.E. The circle emerged as a symbol of continuity and ritual—an honest expression that allowed guests to be surrounded by nature. We wanted the space to be a gift to the city, one that created a connection with the street. Transforming an anonymous, utilitarian space into a pavilion was about creating a pause—a spatial experience that prepares visitors to engage with our universe. The brief was simple: craft an atmosphere that celebrates the intangible and honors nature.

M.Ë At Xinú, scent is the main medium shaping the experience. How did designing a space without a visible primary material alter your process?

H.E. Normally, after narrative, materiality is our primary tool for defining experience. At Xinú, nature became the protagonist. The architecture became a silent yet powerful stage, framing the garden and allowing the atmosphere—and the scents—to fully inhabit the space.

M.Ë Mexico has more than 8,000 native plant species. How did this biodiversity influence the architecture for Xinú?

H.E. We wanted the architecture to echo the richness of our natural heritage without being literal. The circular pavilion, the sustainable construction process, the soft light, and the organic flow of spaces were all designed to allow guests to walk through a living landscape—a sensory journey rather than a conventional display.

M.Ë How did you conceive the display elements, and what did you want them to communicate beyond the perfumes themselves?


H.E. The displays were conceived as fragments of a larger story—a landscape captured in objects. They invite visitors to slow down, to learn, to explore. The perfume is not presented as a product, but as an experience—a cultural and natural expression.

M.Ë In what ways does designing a perfume bottle differ from shaping a space—and where do these worlds converge?

H.E. They overlap in methodology. Whether creating an object or a space, the process begins with understanding context, needs, materials, feasibility, and narrative. After thorough research and diagnosis, the design evolves along similar paths. The main difference is scale and use, but the intention—to create an object or space that speaks before it functions—is the same.

M.Ë You’ve played a role in shaping the perception of Mexican design internationally. What do you feel is still misunderstood or overlooked?

H.E. There has long been a tendency to see Mexican design through stereotypes or simplified cultural symbols—expectations that persist until people encounter the true diversity of our creative landscape. While heritage is vital, contemporary Mexican design is also about conceptual depth, material innovation, and the dialogue between tradition and modernity. It is as much about reflection as it is about celebration.

M.Ë To what extent does geography influence how design is understood?

H.E. In Mexico, the cultural layers and inner codes are often understood intuitively. Abroad, the work becomes more of a discovery—a window into Mexico. Exhibiting internationally has reinforced my belief that design is storytelling: context shapes how that story is read, and often reveals aspects of the work that I haven’t fully seen before.

M.Ë Mexico City is known for its independent design scene. Where do you see the most original work emerging now?

H.E The most original work emerges at the intersection of disciplines—where architects, designers, and artists collaborate with artisans, using local materials and ancestral techniques. Small, independent studios and workshops are creating work that is both deeply rooted and forward-looking. We have stopped looking outward for inspiration and now anchor our explorations in heritage, narrative, and craft.

M.Ë If you were to guide someone through Mexico City’s creative present, how would you start?

H.E. I would begin with a culinary experience. In the last fifteen years, Mexico’s gastronomic scene has become a cultural ambassador, shaping perceptions and nurturing global interest in our heritage. From there, I would explore the art scene, which has expanded exponentially alongside design and architecture. Mexico City today offers an endless source of inspiration—a creative renaissance that connects life, culture, and design in every corner.