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Translating erosion into object and material

Before moving into product design, she worked in womenswear, where each season begins not with shape but with fabric: how it drapes, holds, resists. That way of working has stayed with her. Rather than imposing form, she tests the limits of a material—learning through making, allowing structure and surface to emerge in the process.

Her entry to the Muuto Design Contest, Erosion Container, began not in the studio but on a journey through India. Traveling by car from Jaipur to Jodhpur, Mozo noticed a series of mysterious rock formations scattered across the landscape—boulders shaped into smooth, concave depressions. Forms that looked almost intentional, but weren’t.

“I imagined there must have been water there,” she explains. “Some kind of erosion shaping the stone.”

Later, she learned that these formations—namas (sp. gnammas)—are created gradually, as rainwater wears away the surface. A slow process, almost imperceptible in real time, but precise in its outcome. That image stayed with her. Not as something to replicate, but as something to translate.

Working with unpredictability and material behaviour

There is a shift that happens here—from something expansive and geological to something held in the hand. Rather than simplifying the form, Mozo focused on retaining its logic: smooth transitions, sinuous curves, a sense of pressure applied over time. The result is a container that feels less designed than formed—its surface shaped by forces rather than intention.

Glass became the natural medium. “It transitions from liquid to solid,” she says. “That softness, that ability to melt and settle—it creates a more fluid form.”

The material allows the object to hold onto that sense of movement. Even in its final state, it carries a memory of change. The piece is, at its most basic level, a container. A place to hold small, personal items—jewelry, objects, fragments of everyday life. But the addition of a lid shifts its role. It becomes something closer to a vitrine. A boundary that doesn’t conceal, but frames. Transparency allows the contents to remain visible, turning what is held into part of the object itself.

“I wanted it to feel like a small window,” Mozo explains. “Something that contains, but still lets you see inside. The lid acts as a boundary, yet its concave form also offers a moment of display.”

Containment here is not just functional. It’s a way of giving value to what is placed within—holding it in view, rather than putting it away.

A material-led practice shaped through process

Across her practice, Mozo returns to the idea of understanding a material on its own terms. She often begins with direct experimentation—testing, breaking, observing. Allowing unexpected results to guide the process rather than correcting them. “Unpredictability is a source of inspiration for me. When I don’t know exactly how something will unfold, it forces me to stay open and uncover ideas that feel more authentic and original.”

In a domestic setting, Erosion Container moves between roles. It functions as a vessel, but also as a standalone object—something closer to a fragment of landscape brought indoors. When empty, it still holds presence. Mozo is drawn to this duality. Objects that don’t rely on use to justify themselves, but can shift between function and something more atmospheric.

“I like the idea that it can stand on its own,” she says. “Almost like a small landscape in the home.”

Her work aligns closely with Muuto’s focus on tactile, everyday objects—pieces that invite interaction through material and surface. Erosion Container sits within that context not as a statement piece, but as something to be handled, used, and lived with. An object where touch, transparency, and subtle variation shape the experience over time.

As a runner-up to Muuto Design Contest 002, Mozo feels affirmed that her material-led approach—one rooted in experimentation and a willingness to work with uncertainty—is one that continues to produce something not only beautiful, but necessary. “It is an encouraging moment, one that celebrates a way of working that prioritises process as much as outcome.”

That sensitivity to material—and to the processes that shape it—continues to guide her work. From textile-based composites to cast metal, she is interested in how different materials can intersect. How softness can become structure, or rigid materials can take on more fluid qualities.