For decades, the idea of the iconic object shaped the way we understood design. A single chair, lamp, or table could crystallize an era—instantly recognizable, endlessly reproduced, and elevated to symbolic status. Today, that paradigm feels increasingly distant. Not because designers have lost ambition, but because the cultural conditions that once sustained the icon no longer exist.

We live in a time of constant exposure, accelerated consumption, and visual saturation. Images circulate faster than objects themselves, and meaning is flattened by repetition. In this environment, the iconic object struggles to survive: it requires time, shared references, and a certain collective patience—qualities that contemporary culture rarely affords. When everything is visible at once, nothing can truly stand out. 

“We live in a world where there is more and more information, and less and less meaning.”

— Jean Baudrillard

Yet the decline of the icon does not signal a crisis for design. On the contrary, it opens a new field of possibilities. Freed from the pressure to produce the next instantly recognizable symbol, designers can shift their focus toward experience, material intelligence, and quieter forms of presence. Objects no longer need to shout to exist; they can speak through weight, texture, use, and longevity. It is within this cultural transition that LESORR, Les Objets Raymond Raymond, finds its voice.

Founded in early 2023 by David Raymond, LESORR is not concerned with producing icons for a museum-ready canon. Instead, the studio operates in the space that emerges after the icon: where objects are designed to be lived with, not just looked at; to age, not to freeze in time. The brand’s catalog, ranging from collectible pieces to commercial products and custom creations, is unified by a reverence for raw materials and a design language that foregrounds the physical and graphic identity of matter itself.

LESORR’s approach reflects a broader cultural shift: from symbolic value to experiential value. The studio takes inspiration from everyday surroundings, not to romanticize the ordinary, but to refine it—optimizing how objects function, feel, and coexist with daily life.

This philosophy is clearly articulated in the Rounded Edges Collection, where controlled curves and substantial volumes replace sharp minimalism and visual austerity. Rather than aiming for visual disruption, the collection proposes a different kind of presence—one rooted in tactility, balance, and restraint. The forthcoming Rounded Edges Lounge Chair extends this logic into seating, transforming a familiar typology into a sculptural yet approachable object, designed to be used rather than idealized.

Here, form is not reduced to an image, and softness is not decorative. Rounded edges slow down perception, soften interaction, and subtly resist the aggressive pace that defines much of contemporary life. In a culture obsessed with immediacy, these objects invite pause.

To better understand the thinking behind LESORR, we spoke with founder David Raymond about his background, his critical view of contemporary design culture, and the future of the studio.

Simone Lorusso: David, LESORR was founded in 2023, at a moment of global uncertainty and cultural fatigue. What felt necessary—or missing—in design when you decided to start the studio?

David Raymond: In all honesty, there were simply no job opportunities in Montreal’s design scene at the time, so I had to create one for myself. The plan was always to have my own studio, I just didn’t think it would happen so soon after graduating.
 
Many brands had to reposition themselves during that period, and I was no exception. Most of LESORR’s early designs were pieces I created for myself, based on immediate needs I had. The original goal was to furnish my own space as a way of building a catalog. In that sense, LESORR began out of necessity.

"My designs are reinterpretations of my surroundings, inspired by things I see in the city or in nature."

SL: Was LESORR born from a specific object, a material obsession, or a broader critique of how design was operating at the time?

DR: LESORR was born from my take on everyday objects. My designs are reinterpretations of my surroundings, inspired by things I see in the city or in nature. Each object is a reflection of an assembly system, a natural phenomenon, or a broader concept. Ultimately, LESORR is a direct reflection of me and how I see the world.

SL: What do you think contemporary design is for today? Is it meant to solve problems, create desire, provoke reflection—or something else entirely?

DR: I think contemporary design finds itself somewhere in between collectible design and mass-produced objects. The collectible realm has seen somewhat of a peak in recent years; it often felt like there was a race toward that market. Meanwhile, there was renewed interest in mass-produced “classics”, through trends like Instagram-driven vintage furniture resale. I think design today exists in that tension, between object-as-art and object-as-product.

SL: Is it still meaningful to talk about “innovation” in design, or has the term lost its substance?

DR:  I think innovation has lost its substance. Everything has been made and remade. I think a designer’s role in today's world is to reinterpret what has been made before and offer new solutions to existing forms. Innovation still exists, but not necessarily in the forms of objects. Refined assembly systems and material development is where it happens now.

SL: The design market is increasingly polarized between collectible design and mass production. Where do you see LESORR positioning itself within this spectrum?

DR: LESORR would be somewhere in the middle. I like to approach my designs with scalability in mind. I don’t see them as limited edition works but works that are constantly evolving to better themselves. Some pieces are closer to the collectible items, especially the ones that experiment with different materials or deformation, but overall, my focus is on scalability and offering options within that framework.

"Independent studios have to offer what they are supposed to offer: locally sourced and thoughtfully designed pieces."

SL: Do you think the design industry produces too much? And if so, what responsibility does an independent studio have in addressing this?

DR: Yes, I believe it does. Design has become somewhat saturated with options, often meaningless iterations of better solutions. Independent studios have to offer what they are supposed to offer: locally sourced and thoughtfully designed pieces. In many ways, we represent a contemporary form of craftsmanship, a slower, more personal and more meaningful alternative. I’m not saying we shouldn’t try to expand, I’m all in for growth, but I believe in having more small, boutique-type businesses rather than only big corporations.

SL: How does the city you’re based in influence the way you work—materially, culturally, or rhythmically? Do you see the city as a source of inspiration, friction, or both?

DR:  Living in Montreal definitely creates opportunities for both inspiration and friction. It’s a culturally driven city, so there’s always something happening here. The seasons are intense, just like the people’s passion and belief in what they do.
 
At the same time, the market is still developing and is relatively small, which means many designers and creatives have to branch out their offer to include other services or expand beyond the local scene. It’s a great place to begin, but it can be limiting in terms of growth.

"I’m looking to create less, but better. Collections with more depth to them."

SL: Looking ahead, do you see LESORR expanding through more objects, fewer objects, or different types of projects altogether? 

DR:  When I first started LESORR, I wanted to release two collections a year: each of around three objects. Coming in on the brand’s third year, I want to slow things down. Object design takes time and effort, and having too many options dilutes the overall offer and brand in my opinion. I’m looking to create less, but better. Collections with more depth to them. At the end of the day, I’m doing this for myself as much as for anyone else, and I want LESORR to last.

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Words: Simone Lorusso
Photo: Samuel Pasquier