For many people starting out their career in product design, the future can seem daunting. So, we sat down with some of the industry’s movers and shakers to get their advice on how to become a product designer.
Read on to find more about how to make it.
Should aspiring furniture designers stick to one material?
Of course, if you’ve been working with one material throughout your studies then you may feel more comfortable with it. However, you should still have your finger on the pulse when it comes to other materials. Designer William Warren advises that “it’s useful to have great depth of knowledge in one material, but if everyone was to do that then you’d miss out on a lot of interesting crossovers.”
Celebrated designer Terence Woodgate also suggests not creating any form of material manifesto too early on in your career. To him you shouldn’t “create a manifesto and then create work. I think that’s the wrong way round. I think you’ve got to be flexible.” So, whilst developing a style and purpose is beneficial, not tying yourself to a material can mean more creative design.
Furniture designer David Steiner agrees, “it’s great to be a specialist in the one thing but I think you should aspire to be a specialist in many different materials. I’ve discovered lots of new materials and processes recently. I think the more the better really.”
Are new materials as important as wood and metal for product designers?
When it comes to materials, new ones are released daily. From sustainable upholstery fabrics to resins used to create unique textures, it can be hard to keep up. David keeps up with the latest trends by visiting material libraries. For him, they’re great because you can “have a visit and look at things you wouldn’t know about any other way”. If you’re interested in finding out about the latest materials in product design, head to the Institute of Making’s library.
But just because there are new materials popping up left, right and centre, that shouldn’t mean you ignore existing materials. “You can never overlook some of the most beautiful natural materials too,” says Terence.
“You really have to get to grips with materials. You have to hold them and understand them, stress them, break them, work them. I think it’s very important to understand your materials. If you don’t understand materials, you can’t create something really fantastic. And neither should you be fearful of failure. Every prototype is a route to a potentially great design.”
Are apprenticeships as good as university degrees in product design?
One popular route into furniture and product design is via an apprenticeship. Woodworking and design apprenticeships are offered by brands and workshops across the UK and are a great way to learn practical skills. We asked our experts for their thoughts on apprenticeships.
To Jay Blades, an apprenticeship can help young people do more than just develop life skills. He says that apprenticeships help “them to see that education or employment are viable options. Some young people we work with are third-generation unemployed, so they don’t really see the importance of it. The apprenticeship side of things is just getting them used to design, furniture and selling things. Then, hopefully they’ll go into design or employment.”
William Warren has worked with students in the Art, Architecture and Design department of London Metropolitan University. His students all come with different experiences: “Some people have done training in construction or woodwork or building work and are looking for more design skills. And the other way, lots of people come as designers but need to understand the materials and process.”
Many university courses in design run live projects with companies like Heal’s. To William, “that gives students a very good understanding of how the industry works, much like an apprenticeship would.”
Can I be a product designer without a degree?
You can definitely be a product designer without a degree. There are plenty of designers who didn’t go to university and are huge successes. For example, Tom Dixon is completely self-taught and one of Britain’s most well-known designers. Similarly, Terence did not go to university and has forged an impressive career. Morgan Hamilton-Griffin, founder of The Holborn, says “university is important for a lot of people but not for all.”
Do aspiring product designers need technical skills?
For Terence Woodgate, “the idea really is fundamental to the piece and how it’s going to end up”. Often, he’ll work on non-commissioned speculative pieces where he creates an object because nothing else is available that fits the brief. In those situations, Terence has no doubt that “the idea has to come first”.
However, that isn’t to say technical skills aren’t important. It’s a huge strength for product designers to be familiar with a material’s properties, how it bends when it’s being worked and how flexible it is. When you know this, you’ll be able to create even more exciting designs. This knowledge tends to come from time spent working with different materials and in workshops.
So, whilst the design may come first, a good understanding of technical skills is also paramount.
Can you still become a product designer if you can’t draw?
When we asked our experts this question, the answer was a wholehearted “absolutely”. Terence, for example, can’t draw. Instead, he uses technology to draw with. “I would rather spend hours on a computer and create a photo-realistic rendering than show someone my drawings,” he says.
William agrees, “you don’t need to be an expert draftsman to draw. I think you need to get ideas out of your head and onto paper.” Whatever method you use, the process of transferring your ideas from your brain to paper is essential.
Terence says, “You’re having a conversation yourself when you’re sketching. You put down shapes and eventually something starts to talk to you.” Plus, there’s the added benefit that once your ideas are on paper, you can return to them time and time again.
What do furniture brands look for in good design?
When the team at Heal’s look for up-and-coming designers and new designs there are some criteria they have in mind. The main thing they look for is an antique of the future. If there’s a design that will stand the test of time and doesn’t simply follow a fleeting trend, you can bet our buyers will spot it.
Equally, if a design really stands out for its ingenuity and unique approach to design, then it will catch their eyes. To avoid fast furniture buying habits, brands like Heal’s will look for designs that are well made, sustainable and will last a lifetime. So, when designing furniture consider the materials you’re using, how it will fit into homes and if it’s necessary.
Want to hear their advice for yourself? Check out the full interview here.
[ INSPIRATION ]
Behind the design
For over 50 years, Italian lighting specialists Flos has continued to pioneer new styles, with the collection offering a range of modern lamps and chandeliers from some of the leading cutting-edge designers. Today we’re sharing an interview with Edward Barber & Jay Osgerby – designers of the Bellhop collection for Flos.
Based in London, yet truly international, the Barber & Osgerby studio is home to many lighting projects from the Olympic Torch in 2012 to the 2016 Bellhop (and its 2020 Floor version) lamp for Flos. With an outlook focused on longevity, they have navigated the pandemic by having an adaptable, multi-floor studio space.
Over Zoom, they shine a light on their story of three decades while sitting inside their east London studio, surrounded by their works. They tell tales of the Japanese bowl that inspired Bellhop, compare colour choice to naming children and explain turning up their design game for historic companies.
Your studio has had multiple London locations over the years, how has this informed your practice to date?
EDWARD BARBER: After our flat in Notting Hill we moved to Trellick Tower – it was on the 22nd floor, we had an incredible view. I lived there for about six years, we had the studio there for three. Then we moved to the Isokon workshops (in Chiswick). That was really great because we were close to the wood workshops, we learned a lot about furniture making there, and particularly about plywood.
A lot of the early pieces that we designed were plywood because we were right there by the workshops. We were doing small architectural projects at the time and for one of them we designed some restaurant furniture. One of the pieces was a low table ,the Loop Table, which is in birch plywood. That table was really a stepping stone into the furniture world because the table was seen by Giulio Cappellini in 1997.
At the time Cappellini was the most interesting furniture company working with both young designers and established designers, and said he wanted to produce it. So we got a leg-up right from the first piece we designed. I think that was the moment when we changed our focus, when we realised that we were much more interested in designing furniture than architecture.
JAY OSGERBY: Partly because it’s a faster process. When you’re doing an architectural project, you only ever make a prototype. You never actually get to produce. You don’t get successive opportunities to change, develop and iterate an idea, whereas in furniture and product design, you do.
There must be a connection to the material straight away that you don’t get with architecture.
JAY OSGERBY: You rarely get it at all with architecture, at least not in the same way.
EDWARD BARBER: You get a lot more control than with architecture, where there are so many unknowns…
JAY OSGERBY: Furniture is the layer that goes between the body and the building. Humans in buildings are just rattling around, and it’s actually furniture scale objects that act to bridge the scales: Building to Human.
EDWARD BARBER: If you take a blank white room, it doesn’t really say as much until you have an object in it. A beautiful chair and table will completely transform that space. Furniture helps to define spaces.
JAY OSGERBY: Otherwise you’re in a situation where there is an amazing space with natural light, then it gets cloudy, there is no light, and nowhere to sit.
Bellhop LED Floor Lamp
Speaking of light, how did you get into designing it?
JAY OSGERBY: Back in the early 2000s, we had four or five ideas for lights and we knew at the time there was only one manufacturer that we wanted to talk to, and that was Flos. So we spent a great deal of time getting a series of projects to propose. We’ve always had the idea that we set our sights on the best manufacturer in each field, and that’s how we approached it with Flos.
EDWARD BARBER: We launched our first project with Flos in 2007, which is the Tab lamp. We both have it in our homes and studio, it is a good little work lamp. That was a good success, and then it was almost 10 years until we did another really successful lamp which was the Bellhop.
JAY OSGERBY: I think we’ve always preferred the light from lamps. One of the things that tends to happen a lot in architecture is that the architects and lighting designer do the very best to make the space look as dramatic as possible. They don’t necessarily think about creating the intimate environments, which is what you get with lamps. On the whole you get a better lighting quality from a lamp – again, it’s more human.
What is a day in the studio like for you?
JAY OSGERBY: Before lockdown, we spent half the time here, and half the time overseas . It’s a constant thing, swinging between looking at prototypes, sketching ideas, talking about things, sitting on things, trying to break things, try things out. Until recently, we did quite a lot of talks and lectures too.
EDWARD BARBER: When you launch a new product, depending on the company and their ambition for the project, they will often send you off around the world to promote it… whilst that can be fun it’s nice to be at home more with the family now. I’ve been coming into the studio since May, pretty much every day. The studio hasn’t been full since February, so we haven’t had that team feel for quite a while actually, which is a shame.
Flos Lighting
Tell me a bit more about the Bellhop lamp. When was it first designed?
EDWARD BARBER: Originally we created it for the restaurant in the London Design Museum in 2016. Flos really liked it, and decided to produce it. Then we launched it in 2017 at EuroLuce. The idea was that the restaurant could charge them during the day, and at night they put them on the tables. But, once we designed it we realised it was such a nice object to have around the house. You can walk around with it, and it’s like a little friend that you take with you. It’s basically like having a candle that you move with you from room to room.
JAY OSGERBY: They were originally metal, and just a small batch production.
What was the initial inspiration around the shape?
JAY OSGERBY: When we were talking to Flos about the Design Museum project we happened to have a really beautiful Japanese bowl in the studio. We simply dimmed the lights and shone a torch into the underside of this bowl. The reflected light that bounced from the porcelain was really beautiful. So we thought, how could we recreate that? That was the starting point, as abstract as it sounds.
EDWARD BARBER: In a restaurant, you want to have reflected light off the table. You don’t want to have a glaring light on a table between people who are facing each other. So this lamp was always focused around having light coming down and bouncing up off the table surface.
Let’s talk about the rechargeable element of this lamp. What is the studio’s relationship with technology?
EDWARD BARBER: What’s interesting is that 10 years ago it would not have been possible to make this lamp, because the battery life was so poor, it would have lasted maybe an hour or so. Whereas now, if you have it on its lowest setting (it has four settings) it lasts about 24 hours and in time it’ll get better and better. If Flos are making this lamp in 10 years time, you’ll only need to charge it once a month!
JAY OSGERBY: I think technology works when it’s invisible, it’s not something that we want to really show off. It comes as more of a surprise, in the way that you use the objects rather than something that’s actually overtly tech-driven. Even the Tab lamp used a halogen light bulb at first, then it needed to be swapped to LED – that was weird for us, that transition from replacing a bulb, to where the technology is baked into the product itself.
Tab and Bellhop are ornamental objects, as much as a light.
EDWARD BARBER: People don’t just buy lighting for the home because they give a good light, they have to feel great in the home. I think that is why people are drawn to the Tab lamp and the Bellhop. Especially the Bellhop I think they feel like it’s like a friend.
Bellhop LED Floor Lamp
What about Bellhop Floor, how did that come about?
EDWARD BARBER: We suggested to Flos that we should make an uplighter as part of the Bellhop collection. So we flipped the top upside-down, but we needed a bit more character for such a large scale lamp. We did this by making the top in glass, which gives a really lovely glow.
The colours of the Bellhop Floor include white, cioko brown, green and brick red. How did you choose them?
EDWARD BARBER: It is always pretty intuitive. The thing about colour is that it is very transient in relation to design. You pick what feels right at the time.
JAY OSGERBY: It’s a bit like naming children. When you think you’ve got a new colour, or a new name, you actually get it out there and you think, it’s a new challenging thing. Before you know it, everybody is doing it.
We can’t talk about lighting without mentioning your 2008 commission of the Olympic torch.
JAY OSGERBY: That was a great project. It was quite stressful, but very enjoyable.
EDWARD BARBER: At the Olympic opening ceremony, about 3 billion people are watching on television from around the world so you don’t want the flame going out at that moment! When we got the job we did think this is either going to be the best thing we ever did, or the very worst.
I know you haven’t been able to travel there for a while, but what is it like going to Flos’ factory?
EDWARD BARBER: Flos is always fun. They have a really lovely design studio where everything’s all set up perfectly for lighting. They have got all these channels cut into the floor so you can’t trip over the mass of cables. There are different rooms set up so you can test and measure the light levels with automated blinds on the windows. It is highly efficient.
JAY OSGERBY: When you are there, you feel part of the history of the company. You know the people that have been there from the past 50 years, working on projects. You feel quite fortunate. It’s quite common actually in Italy to be in the same place that the great Italian design heroes used to work. It is inspiring.
EDWARD BARBER: When you work for companies that have got an incredible design history, you almost feel that you owe it to them and yourself to up your game, and come up with something really great that doesn’t let the side down.
Here at Heal’s, we’re passionate about championing women in everything we do and over the years we’ve collaborated with countless talented female designers. These designers helped to shape and influence the Heal’s collection you see before you now.
To celebrate International Women’s Day 2021, we’re shining a spotlight on a few of our favourite female designers and showcasing a selection of their brilliant designs.
Handwoven storage basket by AAKS
Handwoven Storage Basket
A A K S is a Ghana-based design company that was founded by Akosua Afriyie-Kumi in 2014 to showcase her favourite weaving techniques and support the creation of the sustainable jobs in Africa. All of her baskets are hand-woven by artisans in small villages, using exactly the same methods and practices as their ancestors.
Woven entirely from straw, this basket comes in a choice of three exuberant colours to make laundry fun again. It also comes with a complementing lid which adds effortless style to utility rooms.
Isola sofa by Lucy Kurrein
Isola 3 Seater Sofa
Let us introduce you to the striking elegance of the Isola sofa, created by the incredible and award-winning designer, Lucy Kurrein. Inspired by floating islands, this highly contemporary collection is one of our most forward-thinking ranges and would be right at home in the modern design shows of Milan and Paris.
Oudh geranium diffuser by Urban Apothecary
Oudh Geranium Diffuser
Transport yourself to the Middle East with the sweet and smoky Oudh Geranium diffuser by Urban Apothecary, founded by Tajinder Banwait. Majestic, mysterious, and magical, the Oudh Geranium diffuser plays with your senses and elevates your mood with this precious, ancient ingredient.
One of the most highly valued ingredients in a perfumer’s palette, Oudh is a rare wood and appreciated for its smoky and aromatic profile. Flood your home with this spicy and sweet aroma, accented by the sweet notes of geranium, amber, vetiver, patchouli and decadent praline.
Sgraffito bed linen by Eleanor Pritchard
Sgraffito Bed Linen
Exclusive to Heal's, Eleanor Pritchard's iconic lines and contrasting textures are seen in the distinctive and unique Sgraffito linen. Made with a beautiful blend of cotton and linen in petrol blue the beautiful and complex Jacquard weave design is incorporated into the weave using a special loom, instead of being printed.
Tra-ra clothes rail by Tomoko Azumi
Tra-Ra Natural Beech Clothes Rail
Lightweight and elegant, Tomoko Azumi’s Tra-Ra exploits the natural flexibility and strength of beech wood to create a stunning contemporary silhouette, While seemingly delicate in its balance of slender beech wood, this angular framed clothes rail has been beautifully crafted for durability to produce a versatile piece of open storage.
Circuit natural dye cushions by Ceres
Ceres Natural Dye Cushion Circuit Pattern
London-based design studio Ceres designed the Circuit Natural Dye cushions exclusively for the Heal’s SS21 collection. Inspired by modern architecture, Circuit is a bold composition of shapes and pastels that brings the light and vibrancy of summer into the home.
Hand-printed in Brixton using all-natural dyes, the colours are derived entirely from locally collected plants and bio-waste. Delightful and entrancing, the pastels look great alone of mixed with other cushions.
Sky storm marbled dinner plate by Bisila Noha
Sky Storm Marbled Dinner Plate
Bisila Noha’s sea and storm dinnerware collection is hand thrown and hand finished in her studio in London. Her marbling technique gives both depth to the surface and personality to all of her pieces, while her distinctive brushstrokes mean that no two pieces are identical. This collection is perfect to serve food and drinks as well as pure decorative centre pieces.
Woman collection by One Nine Eight Five
Woman Throw
The Woman collection by Eleanor Nadimi, founder of One Nine Eight Five, was introduced to help raise awareness about the pressures of growing up in a society that obsesses over unrealistic concepts of what is beautiful and what is not – in particular, the young women who are growing up under the often-distorted gaze of social media.
The line drawing of the female form was made to celebrate the beauty found in every woman, with 15% of all profits being donated to the UK's eating disorder charity, Beat.
Tim Rundle is the designer behind our new and exclusive Marlow Four-Poster Bed. For over two centuries, the four-poster bed has been a symbol of Heal’s. Now, the London-based designer has cleverly reimagined it for modern homes.
We sat down with Tim Rundle to discover more about the Marlow Bed, his process and what inspired it.
How did the collaboration with Heal's for the new AW20 collection come about?
We'd had a couple of discussions about working together previously. But, for one reason or another, we hadn’t struck the perfect project to collaborate on. When this one came along however, I jumped at the opportunity. A four-poster bed isn’t something I’d be likely to get the chance to work on with my other. Plus, the link with the Heal’s history made it a great brief.
What was your inspiration for the Marlow bed?
It always starts with a search for simplicity. I wanted to create something formally reduced so that it was instantly recognisable as a representation of its typology. A simple, almost architectural frame; with a nod to Heal’s reputation for craft showing through the details and finishing.
How did it feel to design a piece of furniture that is so intrinsically linked to the brand's heritage?
The word 'icon' gets thrown around lots in design these days, often before a product is even on the market. However, a product can’t be an icon until it has gained meaning for people who identify with it. Given that the four-poster bed was the Heal’s logo, and that the Tottenham Court Road sign bearing it was a meeting place for Londoners of a certain era (not to mention the commemorative Royal Mail stamp) it really was like designing something that already had an element of the iconic. This was more than a little daunting, especially given that it would be Heal’s first four-poster for many years. It had to be just right.
What is it about the Marlow Bed that makes it such a special piece?
While overall it’s a relatively minimal piece, the way the junctions blend into each other in an organic way really elevates it. The joinery highlights the combination of machine and hand craft that goes into producing the frame. We are launching it in walnut, a beautiful timber that brings warmth and understated quality to any space.
What was the design process behind the Marlow Bed?
It started in a fairly typical way. I began researching the history of the typology – in medieval times four-poster beds allowed for curtains to be drawn around it. This lent extra warmth in draughty castles as well as privacy from your chamber staff.
I then thought about the contemporary context. Not many of us live in vast castles these days, so I didn’t want it to be imposing. Using circular profile uprights meant we were able to achieve a visual lightness in the frame while maintaining necessary strength.
After spending a bit of time sketching, we went straight into technical drawings. Normally I would produce prototypes in the studio, but with a product of this scale, that wasn’t possible. So, we started prototyping with the factory in Portugal from a relatively early stage in the process. We managed one trip to the factory to make some minor refinements before the world shut down. Luckily the next revision was perfect.
Why do you feel that your design ethos is a good fit with Heal's?
Heal’s has always struck a balance between quality and accessibility. I’m not so interested in creating products that hold such little value that they feel disposable after one season. I also feel most comfortable working within commercial constraints, creating products that are relatively accessible to a wider group of consumers.
What would you say are the key trends for AW20?
I think the obvious one will be people being more aware of the spaces they live in, after spending so much more time in them. I think that this will mean people will make more considered purchases, and invest in pieces that really improve the experience of being in the spaces they live their lives in.
Like what you see? Shop the Marlow Four-Poster Bed here.
As part of our new series focusing on careers in design, we sat down with Spanish furniture designer Jamie Hayon. Since Jaime has collaborated with brands like Fritz Hansen, &Tradition and Cassina, he is perfectly poised to discuss how to become a furniture designer.
Read on to discover some of Jaime Hayon’s top pieces of advice and what his role involves.
How did you get your first job in design?
I gained a role as part of the Fabrica design team – it was initially an internship and then I became head of their design department. As a creative agency we worked for all sorts of big clients there.
Was there a pivotal moment where you realised you wanted to be a designer?
I was into skateboarding and the creativity around it was very inspirational for me. Thanks to skateboarding, I met lots of interesting people that explored creativity through very personal languages. I started making board designs and drawings, then I eventually found my way to studying design.
At what point did you decide to found your own design studio?
In 2000 I started working on my own personal projects. Then, in 2003, I left Fabrica and set up my own studio.
What does your average workday involve?
I don’t do average because I normally travel a lot. Any day will also involve a lot of sketching and thinking.
Do you need to have a degree to be a furniture designer?
I have a degree in Industrial Design, yes, but it’s not a necessary starting point for everyone.
What is your favourite thing you’ve designed?
I love creating art pieces. So, my art installations and work really inspires a lot of my more commercial designs.
What tip would you give someone looking to become a designer?
Find a real voice and always do what you love.
Like what you see? Shop Jaime Hayon here.
In the fifth instalment of Designers on Lockdown, we spoke to Eleanor Nadimi, founder of One Nine Eight Five. Lockdown has affected everyone and all our brands and designers have dealt with it differently. As an independent maker, Eleanor had to adapt quickly to lockdown, read on to discover more.
Hi Eleanor, tell us a little bit about you and One Nine Eight Five…
Hello, my name is Eleanor Nadimi and I’m the founder of One Nine Eight Five. One Nine Eight Five is an ethical British homeware brand that specialises in really bold, colourful printed velvet cushions, tassel cushions and recycled fibre throws.
How is lockdown treating you?
I have to say, it has been a tricky time as I’m sure it has been for many others. For example, adapting to new ways of living and working. The work life balance and trying to get that right took quite a lot of time. I’m living with my family who are all on furlough and in the meantime I’ve been trying continue trading and that took a bit of time to get in place. But it has actually been an extremely positive experience. I’m a big believer in needing to go through certain hurdles and challenges to move forward and grow. This has definitely been the time for that.
It is also a time of reflection that highlighted certain areas of the business that needed attention or tweaking. Luckily, I’ve now had the luxury of time to be able to address these areas. Being able to slow down and do this has been great.
How has your business adapted to social distancing measures?
As an independent maker I run the business completely on my own. When it comes to routine there isn’t one, every day is different. So, I could be designing for a few hours, followed by some PR, accounts and packing orders. There are so many different things within a day so to have that slow down a little was really helpful.
It has also allowed me to work on all the ideas I’ve had in my head for the longest time. I’ve been painting, I’ve been drawing, I’ve been researching. One thing I have really missed is being able to go to galleries. I’m just so thankful that most galleries have moved all their exhibitions online.
Thanks to the internet you can still feel incredibly connected and find lots of resources for research. A lot of the ideas are turning into reality now and I’m so excited to show you them. I hope once you see them, you’ll be just as excited as I am.
How has lockdown shifted the way you design?
The way that I design has definitely shifted. That’s partly because you can’t travel to a location or outsource things since everything is closed. So, problem solving and innovating from home has been a challenge. But it’s bought out results that I never expected.
For example, I’ve roped in my family to help with any jobs that involve more than a pair of hands. We created a beautiful photoshoot in the garden which I’ll be releasing soon. It’s taken turns that I didn’t expect to happen and I’m grateful for these outcomes. I do enjoy a bit of the unexpected and I work well under pressure. So, I find bouncing around different ideas and innovating really inspiring.
How have you stayed motivated when working from home?
One thing that has been a challenge at home is motivation, as I’m sure most people can appreciate. Something that has helped keep me grounded is living with my family and getting them involved. It bought us closer together and as they see what I do every day they value it a lot more.
They understand more about the processes of things and I’ve enjoyed sharing that with them. Also, with my friends from afar it has bought us all closer together and created a much better support system.
Another thing that has kept me motivated and grounded is my dog Lulu. We enjoy going for long walks and I’ve discovered loads of places on my doorstep that I didn’t know existed. It’s also bought me much closer to my local community. In times of uncertainty when you have no control, it’s so powerful when people come together. I’m so thankful for my neighbours and the acts of kindness people are doing locally and afar.
It’s so inspiring, motivating and grounding. It has made the future feel a lot less scary to me, and for that I am really grateful. For me, life moves so fast. I’m always late, always running to the next thing. To be able to take a step back and stop is such a special thing. Slowing down whilst still being productive has been a really humbling experience.
Like what you see? Shop One Nine Eight Five.
Want to know more? Read Meet the Designer: One Nine Eight Five.
https://youtu.be/RhTnaiKj4Ow
HEAL'S DISCOVERS
HEAL'S DISCOVERS
Ed Heritage
As part of this season’s Heal’s Discovers initiative, we’re delighted to introduce Ed Heritage, an award-winning UK-based designer whose signature style of clean geometry and playful details is reflected in the beautiful lamp he created.
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