Out East With Zach Motl
This summer, we shot our Noah FW24 campaign and lookbook at the Brookhaven Hamlet residence of interior designer Zach Motl that was originally built in 1860. His country abode is a place where it’s hard to distinguish where work, play, and respite begin and end.
Zach world-builds through his interiors, infusing every nook with his personality and interests. A compass, Rubik's cube, shell, tide chart, candlestick, and an Omersa Baby Hippo can sit side by side and feel perfectly at home with one another. Never forced, Zach’s interiors are perpetually in flux, with the arrangement of his home changing by the minute, hour, or after an estate sale he happens to stumble upon. Everything (except for his bed), is sourced second-hand, and each item evokes a comforting feeling. Upon entering, a calm washes over you, and it is that which makes you feel like you probably don’t want to leave anytime soon.
Zach has created what some would call a compound, with a one-story home, a miniature beach shack, a pool, and a detached studio with a guest bedroom, all within a stone's throw of each other on his property.
This interview was conducted with Zach as he rowed us out in a dinghy to his 1961 Hinckley Sou’Wester Junior Sloop, which he moors on the Great South Bay. We set sail and took in the beauty of the afternoon light as the sails filled with a steady breeze out of the northwest. The sun set, and soon we were under a crescent moon as the boat gently glided through the calm waters.
What experiences do you draw from to inspire your interiors?
Well, traveling and hotels often evoke a sense of luxury and special experiences. So, if you're able to bring that kind of feeling into your home, it creates a space where you’ll want to spend time. If you’ve had a really great, memorable sleep in a hotel, you might want to recreate that at home. Personally, I love the ambiance and comfort hotels provide, and I think a lot of people feel the same.
How have you incorporated that hotel experience into your own home?
I iron my sheets religiously.
What is it about ironing sheets that is so meaningful to you?
It makes them feel really crisp. There’s something luxurious about getting into a bed with clean, freshly ironed sheets.
What's your process for making a proper bed?
Comfortable pillows are key—definitely down pillows. I’m not a big fan of synthetic ones. You want a flat sheet, a fitted sheet, and maybe a light blanket. Pretty standard, nothing outrageous, it’s the quality of the fabrics that really make the difference. I usually fold a blanket at the foot of the bed, just in case you get cold in the middle of the night.
Is making your bed the first thing you do in the morning?
Yeah, 100%. I hate leaving the house with an unmade bed. Like today, when I came home and was doing laundry, I thought, "Why didn’t I do this earlier?"
Do you have a morning routine?
Yeah, I usually lie in bed for about five minutes to mentally prepare for the day. People tell me I should meditate, and I probably should—it’s a good habit. But after that, I get up, turn on the shower, and sometimes make coffee.
Cold or hot shower?
Not cold. I’ll finish with cooler water, but I’m not one for starting with a cold shower.
How soon do you start work after your morning routine?
Probably about an hour later. I give myself time in the morning to ease into the day. I’m not a huge morning person, but I feel most productive around 10 a.m. That’s when I really come alive.
What drew you to interiors?
I think of it as interactive sculpture. You can walk through a space and have it influence your mood—it’s like livable art.
What was the first space that had a real impact on you?
Probably a church, actually. There’s something so peaceful about being in a large, open space. I spent a lot of time in churches as a kid since I went to Emmanuel Lutheran.
Is there anything from that experience you’ve incorporated into your own home?
I’d say light. I generally avoid dark colors in my home, preferring shades of white.
What do you like about white?
It’s clean and crisp—like freshly pressed sheets. White adds a sense of refinement, kind of like how cloth napkins at a nice restaurant feel more elevated than paper ones.
What experiences do you draw from to inspire your interiors?
Well, traveling and hotels often evoke a sense of luxury and special experiences. So, if you're able to bring that kind of feeling into your home, it creates a space where you’ll want to spend time. If you’ve had a really great, memorable sleep in a hotel, you might want to recreate that at home. Personally, I love the ambiance and comfort hotels provide, and I think a lot of people feel the same.
How have you incorporated that hotel experience into your own home?
I iron my sheets religiously.
What is it about ironing sheets that is so meaningful to you?
It makes them feel really crisp. There’s something luxurious about getting into a bed with clean, freshly ironed sheets.
What's your process for making a proper bed?
Comfortable pillows are key—definitely down pillows. I’m not a big fan of synthetic ones. You want a flat sheet, a fitted sheet, and maybe a light blanket. Pretty standard, nothing outrageous, it’s the quality of the fabrics that really make the difference. I usually fold a blanket at the foot of the bed, just in case you get cold in the middle of the night.
Is making your bed the first thing you do in the morning?
Yeah, 100%. I hate leaving the house with an unmade bed. Like today, when I came home and was doing laundry, I thought, "Why didn’t I do this earlier?"
Do you have a morning routine?
Yeah, I usually lie in bed for about five minutes to mentally prepare for the day. People tell me I should meditate, and I probably should—it’s a good habit. But after that, I get up, turn on the shower, and sometimes make coffee.
Cold or hot shower?
Not cold. I’ll finish with cooler water, but I’m not one for starting with a cold shower.
How soon do you start work after your morning routine?
Probably about an hour later. I give myself time in the morning to ease into the day. I’m not a huge morning person, but I feel most productive around 10 a.m. That’s when I really come alive.
What drew you to interiors?
I think of it as interactive sculpture. You can walk through a space and have it influence your mood—it’s like livable art.
What was the first space that had a real impact on you?
Probably a church, actually. There’s something so peaceful about being in a large, open space. I spent a lot of time in churches as a kid since I went to Emmanuel Lutheran.
Is there anything from that experience you’ve incorporated into your own home?
I’d say light. I generally avoid dark colors in my home, preferring shades of white.
What do you like about white?
It’s clean and crisp—like freshly pressed sheets. White adds a sense of refinement, kind of like how cloth napkins at a nice restaurant feel more elevated than paper ones.
What's a must-have for you in a space?
I like items with stories behind them. I want my space to feel unique, not filled with new, store-bought things.
So, you're strictly into vintage?
For the most part, yes. I prefer vintage aesthetics, but of course, some things, like a mattress or sofa, need to be new. You definitely don’t get a mattress off the street.
What characteristics of vintage draw you to it?
The stories and exclusivity. There's something luxurious about owning something unique that you can’t just go out and buy. It feels special. I also enjoy the hunt—thrift stores, flea markets—all of that excites me.
When you’re out searching for items, do you have something specific in mind, or do you go with the flow?
I usually have a mental list, but you never know what you'll find. Sometimes, something will just jump out at you, and you’ll think, "This would be perfect for a specific space." It’s all about what speaks to you in the moment.
Do you prefer estate sales or fairs for hunting?
Estate sales are better for prices. At fairs, someone’s already found the object and marked it up. But at estate sales—like at grandma’s house—you can find the real deals because she probably doesn’t care how much it’s worth (laughs).
How do you decide what to bring into your own home?
Since I downsized from the city to here, I’ve had to be more selective. I ask myself, “What’s going to leave if I bring something new in?” I also avoid duplicates unless they’re replacements. I don’t like waste. It’s like fashion—fast fashion is terrible for the environment. I prefer to own things I love and take care of them.
Do you think sentimentality helps preserve an object?
Absolutely. I’m a sentimental person. When my mom moved, I found all this stuff from my childhood and thought, “Why did I keep this?” But clearly, it meant something to me at the time. I didn’t keep everything, though—I had to edit.
And what about your surroundings? Does where you live influence your interiors?
I wouldn’t say I decorate with seashells just because I live near the beach, but I do have shells I’ve picked up on walks. They’re like subtle reminders of where I am without being too obvious.
Any patterns you particularly like?
Every project I work on seems to include stripes. I’m a big fan of rugby stripes (laughs). Thin stripes can feel elegant, like a pinstripe suit, but they can also be bold and graphic. Stripes are part of plaids, too, which adds complexity.
Professionally, what are you most known for?
I think my interiors have a lot of personality. I’ve worked with many clients who have young children, so I understand that not everything can be too precious. Performance fabrics have come a long way—they used to look like marine canvas, but now they’re luxurious and practical.
Last book you read?
A Gentleman in Moscow by Amor Towles.
What music do you listen to while working?
I don’t usually have music on in my studio. I like the quiet—it’s therapeutic. But I do enjoy NPR, although it’s exhausting now with the election coming up.
What’s one piece of furniture you couldn’t live without?
I love my coffee table and my bed. Both were auction finds. The coffee table is a Regency-style piece with antique mirrored glass, and my bed is a funky four-poster bamboo canopy bed. I’m a big fan of bamboo; it gives off beach vibes (laughs).
You can see more of Zach’s work over at Zach Motl Interiors.
Do you think sentimentality helps preserve an object?
Absolutely. I’m a sentimental person. When my mom moved, I found all this stuff from my childhood and thought, “Why did I keep this?” But clearly, it meant something to me at the time. I didn’t keep everything, though—I had to edit.
And what about your surroundings? Does where you live influence your interiors?
I wouldn’t say I decorate with seashells just because I live near the beach, but I do have shells I’ve picked up on walks. They’re like subtle reminders of where I am without being too obvious.
Any patterns you particularly like?
Every project I work on seems to include stripes. I’m a big fan of rugby stripes (laughs). Thin stripes can feel elegant, like a pinstripe suit, but they can also be bold and graphic. Stripes are part of plaids, too, which adds complexity.
Professionally, what are you most known for?
I think my interiors have a lot of personality. I’ve worked with many clients who have young children, so I understand that not everything can be too precious. Performance fabrics have come a long way—they used to look like marine canvas, but now they’re luxurious and practical.
Last book you read?
A Gentleman in Moscow by Amor Towles.
What music do you listen to while working?
I don’t usually have music on in my studio. I like the quiet—it’s therapeutic. But I do enjoy NPR, although it’s exhausting now with the election coming up.
What’s one piece of furniture you couldn’t live without?
I love my coffee table and my bed. Both were auction finds. The coffee table is a Regency-style piece with antique mirrored glass, and my bed is a funky four-poster bamboo canopy bed. I’m a big fan of bamboo; it gives off beach vibes (laughs).
You can see more of Zach’s work over at Zach Motl Interiors.
thoughts on the bowline knot
“It’s probably the most useful and versatile knot you could know and renowned for its virtues of being both easy to tie and untie even after being subjected to being under load. Whether I am out on the water securing a sail or or strapping my latest estate sale find to the roof of my car it is a knot that is dependable and essential. ”
"Lay the bight to make a hole, then under the back and around the pole, over the top and through the eye, clinch it tight and let it lie"
