A Chat with Lea Woo

We’re so excited to share our conversation with Lea Woo, a Shanghai-born illustrator whose work feels like a soft breeze of color and emotion. With a master’s degree from Edinburgh College of Art and collaborations with Burberry, Chanel, and more, Lea’s art weaves together femininity, nature, and quiet introspection. Dive in to learn about her first spark of inspiration, her playful studio rituals, and the subtle moments that bring her illustrations to life.

Could you share a glimpse into your creative beginnings - what first drew you toward illustration and how did that journey unfold?

I’ve been deeply interested in visual art and fashion since childhood. When I was young, I loved watching all kinds of animated films, especially the classic ones produced by the Shanghai Animation Film Studio. That’s when I realized I had a strong sensitivity to lines, colors, and composition.

I also enjoy studying traditional painting and contemporary illustration, as well as exploring fashion - particularly 90s vintage styles. It was this passion that eventually inspired me to start creating my own work.

Your work carries a quiet, emotional depth. If you had to put your artistic voice into words, how would you describe its essence?

I think the essence of my artistic voice lies in the quiet harmony between femininity, nature, and introspection. I aim to create a space where emotions can flow gently, without being loud or imposed — more like a subtle whisper that invites viewers to pause and feel. My work is rooted in personal memory and observation of the world around me, yet it also carries a timeless poetry — especially in how women and nature reflect each other’s beauty and strength. It’s about soft power, inner depth, and the delicate balance between tradition and modernity.

 

Women and nature often appear in your illustrations like recurring whispers - what stories or sensations inspire these themes in your art?

As a woman, I feel an innate connection and affinity towards the female community. I’ve noticed that there is a remarkable similarity between the allure of women and the beauty of nature: feminine beauty, much like the natural world, is rich and multi-layered, capable of harmonious coexistence while each shines in its unique way. Women possess a blend of softness and strength, growing freely and vigorously, just like plants full of life and vitality. They exude a poetic beauty and depth, transcending time and space, much like nature itself. This beauty is not only reflected in their appearance but also in their inner strength and wisdom.

How does an idea come to life in your studio? Could you walk us through your creative ritual - from first inspiration to the final piece?

As I’ve mentioned before, for me, the creative process feels a bit like putting together a collage. Inspiration comes from many moments in daily life — I draw from nature, like the color of the sky, flowers in botanical gardens, trees around my neighborhood, or even small shops on the street. I often take photos or sketch quick drafts to capture these ideas for future use.

When I begin a piece, I usually start with a general mood and color palette in mind. From there, I arrange elements freely, adjusting and reworking them as I go. During this process, new ideas often emerge, which I then incorporate into the work. That’s why, more often than not, the final piece ends up looking quite different from the original sketch.

I don’t like following a strict plan from start to finish. Instead, I really enjoy the act of creating as a journey of discovery — exploring and evolving the piece as I go along.

 

You've worked with some of the world’s most iconic fashion houses. How do you stay true to your personal artistic language while navigating commercial collaborations?

I believe there’s a difference between how I approach commercial collaborations and personal projects. For me, the first question is always: why did the brand choose me? What part of my work do they connect with? That helps me identify what to focus on and preserve in the creative process - my personal style and visual language.

At the same time, I also take into account the brand’s identity and product characteristics, aiming to strike a balance between my own artistic voice and their brand tone. Fortunately, most of the brands I’ve worked with have been very respectful of my creative space and given me a lot of freedom.

Because of that, collaborating with different kinds of brands has allowed me to discover new aspects of my creativity and continuously push my own boundaries.

 

What role does the city of Shanghai play in your imagination? Do its rhythms and atmosphere find their way into your work?

Although I don’t deliberately emphasize the identity or cultural background of the women in my work, I do incorporate subtle Eastern elements. Interestingly, many viewers have told me that they see echoes of Shanghai’s culture in these characters - even though that wasn’t my intention. I think it’s because Shanghai, the city where I grew up, has such a unique blend of modernity and tradition, and that atmosphere must have quietly influenced my creative process.

Shanghai is a vibrant, diverse city,  deeply rooted in traditional culture while also embracing the pulse of modern life. In my work, I strive to find a balance between the old and the new, and I hope this becomes a defining characteristic of my artistic voice.

 

Are there particular materials, tools, or textures you find yourself returning to - perhaps ones that feel like extensions of your thoughts?

My main medium right now is digital illustration, which allows me to experiment freely with colors and compositions, and makes it easy to revise and adapt my work - even turning it into animations or applying it to various products. I find this direction really exciting and hope to keep exploring it further.

At the same time, I also love the texture of hand-drawn brushstrokes, paper surfaces, and different traditional paints. So I also enjoy working with more conventional mediums. I think combining digital and traditional approaches could lead to some interesting results. To me, the medium is just a bridge for expressing ideas - what matters most is constantly trying new concepts and ways of expression.

When someone encounters your illustration for the first time, what would you hope lingers with them - a mood, a memory, a pause?

As I mentioned earlier, I hope that when people view my work, they can experience a sense of inner peace and feel the spirit of femininity, modernity, and natural beauty that I aim to convey. If viewers can relax and fully immerse themselves in this artistic space I’ve created - without needing words, but simply by feeling the ebb and flow of emotions - then that would be my greatest wish.

Your artwork now lives within DAE’s collection here in Georgia. What drew you to this collaboration, and how did it resonate with you?

First of all, I’m truly grateful to DAE for reaching out and collaborating with me. Georgia is a country I’ve always loved from afar, and I really hope to visit one day - especially now that my work has made its way there. Seeing my art appear in stores and homes around the world is always exciting and deeply fulfilling.

I also find it fascinating to see how DAE has brought my work to life in different formats - whether through beautiful furniture or posters and scarves. It’s such a fun and meaningful way to extend the reach of my creations. Maybe, in the end, that’s what art is all about?

 

Among the works you've created for DAE, is there one that holds special meaning or tells a story you’d like to share?

Among the works I created for this collaboration with DAE, I especially love Grasshopper, Flower Feast, and Balcony. These pieces reflect different stages of my creative journey - you can really see how my style has evolved over time.

Balcony was the very first piece where I began exploring this vintage-inspired, fashion-focused female theme. At that time, I was still in the experimental phase. Then came Flower Feast, which marked a more mature stage of my work. It’s one of my most representative and well-recognized pieces. In it, a woman wears a bold red vintage cape and exudes confidence and strength - a piece I personally adore.

Grasshopper is one of my more recent works, and it places greater emphasis on the playful interaction between women and nature. In this imagined natural paradise, insects are enlarged while fashionably dressed girls are miniaturized, freely playing among the foliage. I think this image would translate beautifully into a scarf design.

 

In today’s fast-moving visual world, what do you believe illustration still has the power to do - or say - that words cannot?

In today's fast-paced world, where short videos and AI developments make everything change rapidly, people's attention spans have become incredibly fleeting. Sometimes, I too find myself drawn to the noise and distractions, even though I've made a conscious effort not to download TikTok -  though it's tempting, haha. However, I've found that painting allows me to immerse myself deeply in my own artistic world, offering a sense of inner peace amidst the chaos. Whether it's my own work or that of other artists, I can spend hours lost in the details, as if time and space around me come to a standstill. Painting provides me with this immersive space for reflection and relaxation.

Through my creations, I connect with my audience, transcending language and cultural barriers. In the world I build through my art, emotions and thoughts intersect. I hope my work brings a moment of calm and joy to those who view it.

 

Are there any dreams, upcoming projects, or personal explorations you’d like to share with those who admire your work?

I’ve been fortunate to gain experience and collaborate with some of the world’s top fashion and luxury brands. But there are still many others I admire - whether in lifestyle, home décor, music, or film - that I hope to work with in the future. I’m excited about the possibility of exploring more diverse and interesting projects across different fields.

As for personal projects, I also want to dedicate more time and attention to my own creative practice. I already have a few initial ideas and hope to continue experimenting with new possibilities within my existing body of work, to see what fresh and unexpected directions might emerge.