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PASTELLO COLLECTION BY CURIOUSA HOSPITALITY LIGHTING LIGHT 25 PREVIEW KRISHNA MISTRY

WELCOME

Can you believe it? Here I am writing the last welcome note of 2025! I know, I know… people say it all the time, but honestly, where has the year gone?

As the magazines start to quieten down here at [d]arc media, the energy (and stress levels) begin to ramp up as we head into LiGHT 25 – all hands on deck – preparations. With some fantastic new additions to the show this year, check out our in-depth preview, which includes a large selection of products from exhibiting brands, over on p.58.

Bringing it back to the beginning, we kick this issue off with some stunning hospitality projects from across the UK, all of which have distinctive aesthetics. Read all about their design journeys and the importance of decorative lighting in each, starting on p.8, followed by a small selection of brand case studies.

Our Materials feature, on p.34, looks at the brand new Corka collection designed by Samuel Wilkinson for Zero Lighting. The range, as the name suggests, is developed using cork as its main material, which brings a beautiful, earthy texture and palette to the fixtures.

Following this, I got the chance to sit down with Krishna Mistry to put a spotlight on her lighting design studio’s fifth anniversary. We discuss her route into lighting design and the leap into becoming a business owner during the global Covid-19 pandemic. Read about her journey over on p.40.

As for our regular features, we have an On the Board on p.46 from Juliette Interiors that explores the world of gothic aesthetics and highlights all things dark and opulent. Interior design studio 74 brings us a comment piece on p.49 about layered lighting techniques within a residential setting. Plus, part two of Design Evolution on p.50 completes the collaborative journey between Tala and Heatherwick Studio’s Wake lamp.

Before the issue wraps up, we dip our toes into the world of luxury yachts, highlighting Articolo Studio’s new marine collection, The Vessel Edit on p.52, and Chapi Design’s superyacht project, Luminara, on p.54.

To close the show, I caught up with Esther Patterson of Curiousa to talk about the brand’s latest launch, Pastello. A beautiful collection of porcelain lights in a mix of signature and new colours that are quickly becoming a signature aesthetic of the studio. Discover details of Patterson’s inspirations behind the collection and the manufacturing processes the pieces went through to create the desired finishes on p.66.

Enjoy reading our last issue of the year, soak up its inspiration, and get in touch with the team if you would like to propose any editorial submissions for next year!

I look forward to seeing you at LiGHT 25 in November!

Sarah Cullen • Editor

FEATURED

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Focal Point

Mpala Jena Luxury Camp features textured decorative lighting throughout, by Tracy Kelly Interior Design.

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Materials

Known for collaborating with forward-thinking designers, Zero Lighting champions innovation that balances form, function, and environmental responsibility. Its latest collaboration with British designer Samuel Wilkinson exemplifies this ethos perfectly.

040

Interview: Krishna Mistry

Celebrating five years of Mistry Lighting, darc talks with founder Krishna Mistry to discover her journey into lighting design that ultimately led her to opening her own studio.

052

Focal Point: Cruise & Yacht Lighting Articolo Studios launches a new lighting collection suitable for marine environments.

058

On Show: LiGHT 25 Preview

Check out a range of brands and products that will be on offer at the upcoming LiGHT 25 exhibition this November at the Business Design Centre, London.

CONTENTS

PROJECTS

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Hospitality Lighting: Gallery, Savoy Hotel

Studio Shayne Brady recently carried out a full renovation of bar and restaurant Gallery at the iconic Savoy Hotel in London, UK. The space exudes luxury and warmth with a blend of traditional and contemporary design.

014

Hospitality Lighting: The Hall

Box 9, a London-based design studio that works holistically across architecture, interiors, furniture and styling, recently unveiled its highly anticipated restoration and reimagining of The Hall, a Grade I-listed Georgian stately home at the heart of Denton Reserve in Ilkley, Yorkshire.

020

Hospitality Lighting: Royal Nawaab

Once an infamous local landmark and the butt of many jokes, the long-derelict Stockport Pyramid has been reborn in an architectural tale of rags to riches. Today, what was once a symbol of failure is now a landmark dining destination - a restaurant where grandeur meets genuine warmth, and where the clatter of plates and laughter fills its vast, copper-toned halls.

054

Cruise & Yacht Lighting: Luminara

Toronto-based interior design studio Chapi Design has unveiled its latest project, the Luminara, which is the third superyacht in The Ritz-Carlton Yacht Collection fleet.

THE MAGAZINE

Managing Editor | Helen Ankers h.ankers@mondiale.co.uk

Editor | Sarah Cullen s.cullen@mondiale.co.uk

Junior Journalist | Ellie Walton e.walton@mondiale.co.uk

Contributing Editor | Matt Waring m.waring@mondiale.co.uk

INSPIRATION

046

On The Board: Gothic Design

Juliettes Interiors highlights a current trend of gothic interiors, presenting a range of lighting and furniture that suits the dark aesthetic.

049

Comment: Rosie McDonnell

People first design: The importance of lighting when creating experiences in residential spaces. McDonnell, interior designer at 74, discusses the power of layered lighting and flexibility for residential environments.

050

Design Evolution Part 2: Wake

Discover the realised creation between Tala and Heatherwick Studios - the brand new Wake lamp.

066

In Focus: Pastello Collection

Find out more about the design inspirations behind Curiousa’s new Pastello collection, which brings vibrant pops of colour to bathroom and bedroom settings.

DESIGN

Artwork | Dan Seaton d.seaton@mondiale.co.uk

Editorial | Mel Capper m.capper@mondiale.co.uk

CORPORATE

Managing Director [d]arc media | Paul James p.james@mondiale.co.uk

Marketing & Events [d]arc media | Moses Naeem m.naeem@mondiale.co.uk

Chairman Mondiale Publishing | Damian Walsh

FINANCE

Finance Director | Amanda Giles a.giles@mondiale.co.uk

Credit Control | Lynette Levi l.levi@mondiale.co.uk

[d]arc media ltd | Strawberry Studios, Watson Square, Stockport SK1 3AZ, UK | +44 161 464 4750

Printed by Buxton Press, Palace Road, Buxton, UK ISSN 2052-9406

MPALA JENA LUXURY CAMP

Great Plains, the iconic African eco-tourism organisation founded by National Geographic filmmaker-explorers Dereck and Beverly Joubert, has announced the opening of the first of two new exclusive-use villas at Mpala Jena, near Victoria Falls, Zimbabwe.

Designed by villa owners Kevin and Shannon Lang in collaboration with architect Julia Rotherford and award-winning interior designer Tracy Kelly, the villas maintain the charm of the original Mpala Jena camp, which has established itself as a sought-after destination experience with a prime location on the Zambezi River’s edge and offers countless wildlife viewing and activities both on and off the water.

All the lighting on site was designed and fabricated by Tracy Kelly Interior Design Studio. The colours, textures and materials pair beautifully with the natural environment of the camp, and provide a calming, warm illumination across the hospitality areas and residential private villas.

Commenting on the project, Kelly says: “Our vision for the Mpala Jena Private Villas project was to create something that is rustic and authentic, yet simple and functional. Clean lines, natural materials, and a neutral palette inspired by local stone evoke a feeling of peace, with accents in muted greens and terracotta that draw from traditional African crafts, adding warmth and character. Natural fibres, textured rugs, and subtle patterns enhance the space, while a seamless indoor-outdoor flow and relaxed outdoor seating complete a design that fuses Mediterranean elegance with the spirit of safari living.” www.tracykellydesign.com www.greatplainsconservation.com

VICTORIA FALLS, ZIMBABWE

GALLERY, SAVOY LONDON

Studio Shayne Brady recently carried out a full renovation of bar and restaurant Gallery at the iconic Savoy Hotel in London, UK. The space exudes luxury and warmth with a blend of traditional and contemporary design.

Located in the heart of London’s Savoy Hotel, the newly renovated Gallery restaurant and bar breathes new life into the historic space. Studio Shayne Brady was tasked with completing the ambitious project of reimagining the space into an all-day venue that caters for breakfast meetings, leisurely lunches, luxury afternoon teas, and elegant dinners with evening cocktails.

darc editor Sarah Cullen caught up with Shayne Brady to discuss his team’s involvement in the project and the details behind the chic decorative lighting featured throughout the space.

“We were approached by the Savoy to pitch to design this space,” he explains. “We were hopeful that we could win them over with a powerful pitch based on heritage and modernity combined. Thankfully, it worked, and so began the start of a wonderful collaboration.

“We started work in early 2023 and opened in November 2024. It was an elongated programme due to hotel requirements for the best time to undertake works in a live hotel. With this tight deadline and the challenge of working around a fully operational hotel, this project was no small feat. But at Studio Shayne Brady, we’re well-versed in navigating listed buildings and complex schedules. Our team is incredibly proud of what we achieved - and it’s been a joy to see guests using and enjoying the space at every time of day.

“The design brief set a clear challenge: to breathe new life into this grand space while honouring its heritage status and ensuring it resonates with today’s

“The design brief set a clear challenge: to breathe new life into this grand space while honouring its heritage and ensuring it resonates with today’s sophisticated, cosmopolitan guest.”

SHAYNE BRADY

sophisticated, cosmopolitan guest,” Brady adds. “We managed to completely transform the space into an elegant environment that works day or night, enveloping guests with traditional hospitality in a contemporary setting. We all had a clear objective from the outset, and so the design process was about ensuring the design felt comfortable and infused with enough modernity. It was also about the wonderful next chapter in a storied past of a hotel of such stature and grandeur.”

A unique challenge for the space was allowing it to accommodate a thoroughfare through the middle that gives access to The River Restaurant by Gordon Ramsay and the Beaufort Bar. Leaning into incorporating this physical divide in the room, the designers embraced a marble “catwalk” that allows guests to “glide through the space without compromising the atmosphere for seated diners”.

Elsewhere in the room, adjustments were made to the ceiling’s daylight window. The dome skylight, once a source of unpredictable light, was covered (but not concealed) to prevent light from flooding in.

“To counter the dull daylight, we closed off the light well above and installed a sophisticated lighting system; this allows full control over the room’s ambience, from the cosy depths of winter evenings to the warm, inviting glow of summer nights that linger long into the evening. Custom chandeliers and floor lamps were especially designed to reinterpret tradition with modern elegance. Afternoon tea concludes, silk curtains fall and the mood shifts. Bespoke lighting creates intimate pools of light; chandeliers nod to tradition; and plush furniture in blush, ochre and pink offer a warm embrace. Pale burl timber adds a refined modernity to Gallery.”

Discussing the decorative lighting choices for the venue, Brady explains their close working relationship

with Atelier Lighting. “Like with many of our projects, we work closely with Atelier Lighting to create a fully bespoke suite of lighting. We wanted the lighting to have a modern feel; thus, the use of timber, metal, alabaster and stiff linen were chosen to create a modern take on traditional light. Our studio designed all the lighting from an aesthetic and design perspective and worked closely with the Atelier team to ensure the functionality and manufacturing processes were seamless. On projects of this calibre, a bespoke set of lighting ensures the design is elevated and truly one of a kind.

“A design project is only a triumph with an incredible lighting designer. They bring the skill set to ensure the space can ebb and flow throughout the day. Working with Atelier for so many years now, we have a shorthand when we design together, knowing what’s important to each of us ensures a cohesive final result that not only looks beautiful but is flattering to the guests. A great lighting designer knows how to beautifully illuminate our design and ensure it sparkles through the day.”

When it came to balancing the architectural and decorative fixtures in the space, Brady describes the two as very complementary. “The architectural lighting was designed to control the mood from morning to

evening, while the decorative lighting was designed and made for the space to bring a sense of comfort and elegance. The decorative lighting flatters and softens the environment, while the architectural lighting creates drama by playing with light and shadow.”

Reflecting on the project, Brady describes the impacts that good lighting design can have: “Lighting really sets the tone of a room. It’s not just about being able to see - it’s about how you feel in the space. The right lighting can make a room feel warm and welcoming, calm and relaxing, or bright and energising. Designers use it almost like a language, guiding how you experience the space at different times of the day. As a great client once taught me, lighting is actually about what falls into shadow.

“When working at a venue like The Savoy, it’s important to work around the constraints of the historic architecture of an English heritage-listed building. When installing light fixtures, we made sure to follow the building’s strict guidelines. It also provided a rewarding challenge to enhance and spotlight the beautiful architecture with complementary lighting designs.

“Our aim was to create a space that felt relevant for today’s discerning guests, while still touching on the hotel’s rich past. Gallery is more than a visual makeover - it’s a reimagining of an iconic space using mood and narrative. We sought to create a flexible and transitional area. The mission was to elevate a once-overlooked space into one of London’s

most elegant and versatile hospitality destinations, and I am proud to say we did just that.”

“All of our projects are driven by attention to craftsmanship and storytelling. And in the case of Gallery at The Savoy, each and every element was custom-designed, including, for example, the handforged wrought iron gates, bespoke chandeliers and furnishings. These materials were chosen due to their ability to create an environment that feels both luxurious and welcoming. A key stand-out feature is the silhouettes of dancing couples illuminated across the space, almost like shadows—a modern nod to a bygone era. What sets this project apart from others we have done is the historic significance of the site and the love people have for this hotel. We felt honoured to be asked to be part of its next chapter, and we feel we really did it justice.”

Upon completing the project, Brady and his team feel truly satisfied with the work they put into Gallery. “Like any project, there is always tinkering and finessing that can be done but knowing when to stop is key to being a great designer. This project, to us, feels beautifully resolved and one we are incredibly proud of.

“It was a privilege and honour to work on this grande dame. To be given the opportunity to create the next chapter and future legacy of this iconic hotel is a career highlight and true “pinch me” moment.”

www.studioshaynebrady.com

GALLERY, SAVOY HOTEL LONDON, UK

Interior Design: Studio Shayne Brady Parent Company: Fairmont Savoy/ Katara Hospitality Lighting Specified: Bespoke design by Studio Shayne Brady x Atelier Lighting Images: Mark Scott

Collaborating closely with Atelier Lighting, Brady and his team created an array of luxurious decorative lighting fixtures that add a layer of sophistication and elegance to Gallery. “On projects of this calibre, a bespoke set of lighting ensures the design is elevated and truly one of a kind,” he says.

Adilo — unfolding an alluring glow

Merging birch wood and geometric precision with an innovative fold-out structure, Adilo unfurls into a sculptural pendant lamp that draws the eye. Available in two sizes, unique from all sides. Designed by Ilkka Kauppinen.

www.sectodesign.fi

DENTON RESERVE, ILKLEY

Box 9, a London-based design studio that works holistically across architecture, interiors, furniture and styling, recently unveiled its highly anticipated restoration and reimagining of The Hall, a Grade I-listed Georgian stately home at the heart of Denton Reserve in Ilkley, Yorkshire.

Tasked with handling both the architecture and interior design on the project, the team were briefed on rethinking luxury hospitality for a new generation, restoring a historically significant building, and embedding sustainability and circular design into every detail, as part of an ambitious wider regenerative vision at Denton Reserve.

The Palladian-style Hall was originally designed by John Carr and completed in 1778, and in recent decades has been used as a traditional wedding venue. The new appearance for the Hall involved carefully considered conservation with sensitive restoration and stripping back any distractions to reveal the building’s original architecture.

The resulting space is a complete departure from the traditional country house aesthetic and instead presents a

restrained and radical elegance.

“We approached Denton with reverence and discipline,” explains Lou Davies, co-founder of Box 9. “Our mission was to quieten the building, to let it breathe and to create space for pause and reconnection. Every design decision was weighed against its impact - environmental, emotional and aesthetic.”

Box 9’s scheme for the venue drew a lot of inspiration from the natural tones of the surrounding Yorkshire Dales. They worked with the existing layout to comply with historic building constraints, leaning on the support of heritage planning consultants for guidance throughout. This involved designing bathrooms and freestanding furniture as sculptural insertions in order to avoid fixed partitions or builtin joinery that would compromise original sightlines.

“We didn’t want to default to period fittings and instead, we saw lighting as a sculptural expression of the Hall’s new chapter, one grounded in nature, craft and atmosphere, rather than heritage mimicry or formality.”

LUCY FRANKS, DIRECTOR AT BOX 9

Speaking in more depth about the decorative lighting considerations throughout, Lucy Franks, Director at Box 9, sat down with darc editor Sarah Cullen to discuss her team’s lighting decisions.

“At Denton Hall, every decorative lighting decision was made with deep intention - rooted in narrative, place and emotion,” she explains. “We didn’t want to default to period fittings and instead, we saw lighting as a sculptural expression of the Hall’s new chapter, one grounded in nature, craft and atmosphere, rather than heritage mimicry or formality.

“One of the most meaningful pieces is the giant heather light in the reception hall. Designed in collaboration with Studio Amos, it replaces the expected crystal chandelier with something completely site-specificwoven from Yorkshire heather, foraged straight from the moors with the estate team.

“It’s raw, it’s textural, and to us, it captures the spirit of the landscape in a way that’s both humble and quietly powerful. It challenges conventional ideas of what luxury or heritage should look like - centring craft, connection and material honesty over surface-level grandeur.

“Throughout the Hall, we used lighting to help ‘quieten’ the building - pulling back layers of visual noise and allowing the spaces to breathe. That meant choosing natural materials like reclaimed stone, cork and timber - materials that carry their own quiet stories - and working with warm, diffused light sources that soften the rooms and mirror the gentle rhythms of the landscape outside.

“Every lighting decision was made with care and purpose, always in response to the building. For us

at Box 9, it was about shaping how the building feels as much as how it lookscreating a calm, grounded atmosphere that speaks to a slower, more regenerative way of living.”

Throughout the venue, there are several luxury lighting brands specified, including the likes of Foscarini, David Pompa, Pinch, Santa and Cole, Michael Anastassiades, Patricia Urquiola for Flos, Bocci, Penta, and many more.

A number of these fixtures were crafted from natural and recycled materials, which add to the overarching natureinspired vibe of the Hall. For example, Celine Wright’s sculptural piece, made from Japanese paper, steel structure, black cords and transparent electric cable and is located floating down the main stairway, Carthorpe room, two bedrooms, and in the reception area, featured as a cluster of balls.

Two of Pinch’s Pium pendants are crafted from banana plant linen and are featured in two bedrooms, while a third sits in the West Wing hallway.

Elsewhere, also featured in a guestroom

to decorative lighting, there are a few core principles we always return to,” she explains. “First, material honesty - we seek pieces made from natural or reclaimed materials that reflect our commitment to circular design. It’s important to us that each element feels authentic and connected to its environment.

“We also consider whether the lighting tells a story or meaningfully connects to the site or concept. For us, narrative connection is essential. It is not just about appearance, but the meaning a piece brings to the space.

“Mood and atmosphere take precedence over flashy aesthetics. We focus on the quality of light, on how it feels and how it shapes the space.

“Craftsmanship is equally important. We love working with makers who share our values of skill, care, and sustainability and people who embrace the detail and the process as much as we do.

“Lastly, lighting must be built to last, not only physically but emotionally too - something that evolves with the space and dances with each season.”

is the Reclaim pendant made from discarded orange peels from The Host Store, timber Onu Duo pendants by Sabu Studio in the games room and East Wing, and stretched hemp wall sconces by Erik Bratsberg in the upstairs hallway. When it comes to specifying lighting for projects, darc asked whether Franks has a criterion the studio typically falls back on, or whether each project comes with its unique requirements. “When it comes

Davies adds: “We set ourselves an incredibly high bar. Every single piece and material had to leave a legacy of positive change - whether through sustainability, supporting a maker, empowering an emerging studio, or championing innovation. If it didn’t have the potential to restore landscapes, lives or our relationship with craft, it didn’t come through the doors. What we used was respected, applied with minimal waste,

and always designed to inspire care and reconnection with craft and nature.”

When working on hospitality projects, Franks regards decorative lighting as one of the immediate ways to shape “mood, rhythm and connection to a space”.

“At Box 9, we see lighting not as an afterthought, but as a sensory tool - something that fundamentally shapes how people feel in a space,” she elaborates.

“Lighting adds character, but more importantly, it defines atmosphere. It guides people gently through a space, sets the emotional pace, and reinforces the sense that they’re somewhere designed with care and intention.

“At Denton, we used lighting to bring intimacy to grand spacessoftening scale, drawing the outside in through natural textures and warm, earthy tones, and creating moments that invite pause and reflection.

“One of the most fulfilling aspects of the project was collaborating with artists from other disciplines. Lighting became a way to invite new perspectives into the design - to explore materials, craft and storytelling in unexpected ways. It’s a powerful medium for creative exchange, and I love how it opens up space for dialogue between design, art and emotion.”

Speaking more generally about the design considerations for a wellbeing-tailored environment, Franks concludes: “Wellbeing in hospitality is about more than amenities or spa treatments. It is about creating spaces that invite presence, connection and care. For us, it means designing environments where people can slow down, reconnect and feel gently held by their surroundings. It is the emotional and sensory quality of a space that we believe truly matters.

“At Denton, wellbeing came from restoring the building’s integrity. We stripped away visual noise, honoured its heritage without slipping into nostalgia, and used design as a quiet but powerful form of regeneration. We believe true hospitality begins with an environment that feels intentional, grounded and connected.”

The Hall is now available for exclusive hire, from private celebrations, work retreats to intimate weddings, with 10 suites in the main building, five bedrooms in the West Wing and 15 additional rooms due to open in the East Wing in late 2025. The Hall sits at the centre of a phased estate transformation - which includes short-stay accommodation, wood-fired wellbeing cabins, bothies, coach houses, The Penny Bun, wild swimming and a wider wellness and hospitality offering shaped by the same ethos of restoration and regeneration, and all entirely designed and reimagined by Box 9. www.box-9.co.uk

Lighting

Images: Lucy Franks & Sean Scott

Box 9’s reimagining of The Hall takes local, natural inspiration to its heart, with carefully selected products, materials, colours and textures that draw strong comparisons to the surrounding Yorkshire landscape.

THE HALL, DENTON RESERVE ILKLEY, UK

Interior Design: Box 9

Specified: Amande Heagen, Bocci, Celine Wright, David Pompa, Devol, Erik Bratsberg, Flos designed by Patricia Patricia Urquiola, Foscarini, Michael Anastassiades, Nosta, Nosta x Toss B, Penta, Phloc, Pinch, Sabu Studio, Santa & Cole, Six Dots Design, Studio Amos, Studio Haran, Ted Jefferis x BOX 9 Collaboration, The Host Store, Trizo21, Ty Syml

PROJECT

ROYAL NAWAAB

Once a striking yet misunderstood local landmark, the long-quiet Stockport Pyramid has now found new life in a true architectural transformation. Today, this iconic structure has evolved from a dormant relic into a landmark dining destination – a restaurant where grandeur meets genuine warmth, and where the clatter of plates and laughter fills its vast, gold-toned halls.

You’ve probably heard of the Pyramids of Giza, and some of you might even know a little bit about the Pyramid of Teotihuacan. However, I wager that very few of you are aware that Greater Manchester has its very own pyramid. Tucked away just off the M60 in Stockport (the homeland of darc HQ), stands the Stockport Pyramid.

A four-sided blue-glass monument to 1990s ambition, it has loomed over the town since 1992 – residing for most of its existence in a derelict wasteland, the Pyramid is our very own “King of the Valley” despite only ever standing alone. Over the years, the building itself has split opinion: clunky, awkward, and ostentatious in every way. Yet, against all odds, the building that was once dismissed as an architectural eyesore has developed an interior to match its local iconic status. After its original developers went bankrupt, the Pyramid stayed lonesome before being repossessed by the Cooperative Bank, who financed the original development and moved in from 1995 until 2018. Since then, the Pyramid lay dormant and derelict – until now. Today, it has been reborn as the spectacular new home of Royal Nawaab, a vast restaurant and events venue blending cultural tradition with bold, contemporary design.

At the heart of the transformation is Manchester-based design studio WDC Creative. Best known for retail and hospitality projects across the UK and Europe, the practice was tasked with reimagining the Pyramid’s cavernous interiors and creating a vision that could match the ambition of its owner, restaurateur Mahboob Hussain. From bespoke lighting installations to grand wedding halls, WDC’s design process was as much about storytelling as it was about space planning.

The studio’s involvement on the project occurred after the client had come across their work at the Carden Park Hotel in Cheshire. The project was a key turning point in the company’s portfolio. WDC helped reposition the hotel within the luxury

STOCKPORT, UK

market, redesigning facilities such as the gym, restaurant, and a new cocktail bar called Goldies. It was through their online presence that the client was struck by their work and was compelled to contact them directly.

“The client saw our work at Carden Park on Instagram and said, ‘We want what you’ve done, but bigger, bolder, and better.’ That’s how the Pyramid project began,” tells Jason West, director of WDC Creative. The project began with a site visit to the Pyramid, untouched for more than a decade. The building was in disrepair, occupied by the ghosts of its corporate past. “When we first walked into the Pyramid, it felt as though no one had touched it for 10 years. There were old desks, cables, a huge security reception from when it was an office, almost like people had just walked out one day and left it. But beneath all that, we could see the potential. It’s an incredible space, with this vast atrium that goes right up to the top of the Pyramid. You could instantly imagine the drama of transforming it into something extraordinary,” adds West. The client already had architects involved in planning kitchens and

basic layouts, but the client wanted WDC to create the overall vision and interior concept. To do this, WDC built an enormous 3D model of the Pyramid, covering almost every space, from lobbies to wedding suites. They started with mood boards and AI-generated imagery, then developed full vitual 3D model walkthroughs to help the client, and the wider team visualise the transformation. This vision was critical for securing approvals, investment, and buy-in from stakeholders. The transformation of the Pyramid started from the entrance. As a multipurpose event venue, the building had to be striking from the moment guests arrived. WDC designed a new gold-toned canopy to give the building a true sense of drama. Standing at two storeys high, the canopy acts as a gateway for wedding parties and a theatrical threshold for restaurant guests. Visitors then pass through the compressed tunnel clad with laser-cut metal screens that are illuminated with LED back panels before emerging into the atrium. Here, the design team layered warmth and detailing with walnut panelling, a bespoke water fountain, and cascade statement lighting. However, the most

spectacular moment that draws any visitor’s attention is the atrium. Emerging from the soaring central atrium is a beautiful statement light installation, made from hundreds of glowing suspended pendants sourced from the client’s own network.

West comments: “We didn’t want it to feel like an office that had been turned into a restaurant; it had to feel completely reborn. The ambition was always to create luxury and spectacle, but never in a showy or ostentatious way. It’s about atmosphere, about theatre, when guests walk in, they should feel a sense of arrival, but also warmth.” That balance between ambition and restraint defined the entire project. Owner and restaurateur Mahboob Hussain brought deep cultural insight and a clear vision of fivestar quality; WDC translated that into built form through mood boards, samples, and immersive 3D visualisations. Every decision was collaborative, shaped by ongoing dialogue and mutual trust. Cultural authenticity remained central throughout: the design team avoided obvious motifs or clichés, instead consulting the client to ensure every pattern and detail felt respectful and true. Wherever possible, WDC and the client specified local makers and suppliers, grounding the scheme in regional craftsmanship as well as cultural meaning.

The entrance lobby, once an austere office reception, is now a hotel-style lobby complete with more bespoke lighting and coffers, rich curtains and comfortable furniture to boot – providing a calm and intimate space for restaurant visitors, while waiting for their booking. Inside, the dining hall is vast yet carefully zoned with banquettes and feature lighting by Chantelle Lighting. At its heart sits an open kitchen anchored by what is proclaimed to be the longest extraction hood in the UK.

The material palette continues the language of warmth and refinement, walnut and gold paired with marble surfaces, lifted by subtle gold accents. Lighting plays a crucial role in setting the tone, striking a delicate balance between intimacy and exuberance. The atmosphere invites private conversation yet celebrates the energy of communal dining, echoing the spirit of South Asian hospitality that brings together guests of all backgrounds from across Greater Manchester.

“When you go there now, you see such a wonderful mix of people from a wealth of different backgrounds enjoying it together. It’s brilliant,” says West. A dynamic staircase leads to the upper levels, where weddings take centre stage. Suspended above is a bespoke chandelier of glass petals, again by Chantelle Lighting, a floral interpretation of modern grandeur. The Royal Suite, the largest of the event spaces, orients around a stage for the bride and groom, and can host hundreds of guests. Its walls are lined with illuminated fabric panels that can shift in colour or display graphics, allowing the space to flex between traditional ceremonies and contemporary corporate

functions. Smaller suites on higher floors echo this adaptability, positioning the Pyramid as a multi-purpose venue for weddings, banquets and business events alike.

Turning the vision into a reality wasn’t always straightforward. Beneath the glamour of the marble, gold, and light, the project demanded significant intervention and willingness to solve problems in real time. One of the most dramatic moves was cutting through the existing floor slabs to open up sightlines and create vertical connection with an elegant staircase – a bold operation in a building defined by its geometry. “That was a big one,” recalls West. “You don’t

take a saw to the Pyramid lightly.” Lighting was also part of the heart and the headache of the project. While bespoke pendants brought sparkle to the space, there were moments where lux levels were off balance or simply didn’t behave as planned.

“In hindsight, we could have brought in a lighting consultant earlier,” admits West. “We fixed it in the end, but I think there’s a lesson in that – big spaces need technical expertise.”

Yet for WDC, the project’s greatest technical achievement wasn’t just in its construction – it was the collaboration itself. The client, unaccustomed to working with external designers despite having owned a number of successful restaurants already, was forced to embrace a steep learning curve resulting in a special working relationship.

“We don’t create divides,” West explains. “We get under the skin of every client and work as part of their team. This is how the best ideas happen.”

Today, the process of refinement continues, with new wallpapers, improved signage and subtle lighting adjustments enhancing the experience. But the doors are open, and the affection long held for the Pyramid from afar can now be felt inside – perhaps best over a hot, spicy curry, if that’s your preference.

Beyond its transformation from local curiosity to grand multi-functional venue, the Pyramid’s significance runs much deeper than its physical form and is more than just a restaurant. It has become a place where people of all backgrounds and communities come together – a shared space for celebration, family and connection. During an increasingly polarising time in British society, the rebirth of the Stockport Pyramid feels both timely and hopeful: a symbol of hospitality, inclusivity and new life for one of Greater Manchester’s most recognisable landmarks. www.wdc-creative.com

ROYAL NAWAAB

ZICO LIGHTING

FOUR SEASONS RESORT AND RESIDENCES AT THE PEARL-QATAR

With its enviable beachfront location on The Pearl-Qatar, the new Four Seasons residence stands as a statement of refined sophistication amid the island’s dynamic mix of shopping, dining, and leisure. True to the Four Seasons’ reputation for exceptional quality and superior design, every detail of this property has been crafted to deliver a sense of effortless luxury - and lighting plays a defining role in achieving that vision.

Lighting Design International (LDI) was appointed to realise this ambition, creating a lighting scheme that would meet the expectations of the hotel’s discerning clientele.

“The brief was to craft an immersive lighting scheme,” says Sandra Brookes, who led the project for LDI. “The design sought to weave light seamlessly into the architecture - enhancing ambience, celebrating craftsmanship, and enveloping guests in a warm, elegant glow. Among the challenges were integrating lighting within intricate millwork, achieving balance across contrasting zones, and coordinating remotely through pandemic restrictions. These obstacles only deepened the creative process,

resulting in a space that feels both intimate and grand, contemporary yet timeless.”

A key component in achieving this delicate balance was the use of Zico Lighting lamps across all decorative fittings. Carefully selected for their warm colour temperature, exquisite dimming performance, and candlelit quality, Zico lamps bring intimacy and timeless elegance to every space. Their ability to create an enchanting atmosphere ensures that light itself becomes part of the guest experience - subtle, welcoming, and unmistakably refined.

Through the synergy of LDI’s design expertise and Zico Lighting’s craftsmanship, the Four Seasons at The Pearl-Qatar glows with understated luxury, where light quietly complements the architecture and enriches the guest experience.

www.zico.lighting

Images: Gavriil Papadiotis

VIBIA CLARO RESTAURANT, UK

The interior design project created by DLSM Studio for London’s new Claro restaurant aims to generate an atmosphere of comfort and wellbeing that matches its sophisticated gastronomic offering and its auspicious location. Vibia’s Array pendants, suspended over the main dining space, set the scene with their sculptural presence, which elevates the overall sensual effect.

The exclusive St. James’s neighbourhood in central London sets the tone for the new Claro restaurant, located in the historic Waterloo Place building that was once a bank headquarters. Its elegant façade accommodates a stylish interior, divided into different areas, where DLSM Studio has successfully combined a sophisticated yet intimate design that lives up to the reputation of its architectural location.

The restaurant’s main dining area is particularly remarkable, a double-height space that preserves original elements of the building, such as the unique ceiling mouldings and the impressive wrought iron balustrade. These elements, combined with the modern interior design finishes, create an elegant and welcoming atmosphere, ideal for savouring the Eastern Mediterranean cuisine prepared by renowned chef Ryan Schmueli.

Upon entry the gaze is drawn upwards towards the ceiling, from which three Array sculptural luminaires appear to float harmoniously. Their grand proportions engage with the architectural space, creating a calming atmosphere that subtly envelops diners.

The design gracefully addresses the spatial challenge posed by DLSM Studio within such a characteristic space thanks to the possibilities of bespoke craftsmanship, especially with regard to the height. The main concept was to interfere as little as possible with space or the dining experience despite its generous proportions. Array manages to bring everything together, providing visual dynamism and sensorial harmony.

The sculptural silhouette designed by Umut Yamac, combines downlight and up-light from its lofty position that envelops the space, simultaneously creating a vibrant and dynamic visual effect that draws in the diners below.

Fine threads stretched between aluminium rings define the three suspended volumes, interacting with an ethereal light, reverberating with the architectural context, worthy of this historic London building.

The cylindrical shapes, matching the curves of the large arched windows, together with the soft colour tones, cleverly integrate with the style of the project, where natural materials such as wood, leather, and steel underline the industrial aesthetic of the space, contrasting with the traditional structural elements. The resulting assemblage quietly integrates into the setting and sculpts a timeless interior that seems to have always been there.

www.vibia.com

Image: Stevie Campbell

Ellen Mini

OCCHIO THE CLOUD, GERMANY

At BMW Welt in Munich, Käfer has created a place that combines culinary delights with lightness and sophistication. The fine-dining restaurant The Cloud by Käfer transports its guests to floating spheres of pleasure under the culinary direction of top chef Jens Madsen – staged with a finely composed lighting concept by Occhio that creates atmosphere and turns the space into an extraordinary experience.

The “Dining Cloud” gives the room its name – a floating light sculpture that seems to have been formed from a single dream. Beneath it, a stage for the senses unfolds: Luna sospeso pendants accompany each table with atmospheric precision – floor-to-ceiling curtains and natural materials create a quiet, almost floating scene.

At the centre: a five-ton stone monolith on which the dishes are finished live with artisanal care. An experience for all the senses –sensual, concentrated, perfect.

At the counter of the Biophilic Bar, light, materials, and atmosphere merge into an aesthetic entity. Coro sospeso luminaires showcase the Perlino marble with precise directness – like floating markers that structure the space while creating an intimate lighting atmosphere. A projection creates sensual, fleeting, and fascinating visual worlds above.

Luna sospeso clouds unfold their poetic effect above the long dining table. Gently floating, they glow with an atmospheric presence and create a scene that radiates calm and concentration on the essentials: the moment of pure enjoyment. Their soft, warm lighting accompanies every meal like a quiet performance – elegant, understated, and unforgettable.

The Cloud by Käfer promises an experience that goes beyond the ordinary. High above the floors of BMW Welt, the architecturally suspended structure welcomes its guests with a visionary gesture.

A place between the sky and the city – ready to open up new perspectives.

www.occhio.com

Images: Mark Seelen

MATERIALS

CORKA BY ZERO LIGHTING

In an era where sustainability is no longer a design afterthought but a defining principle, Swedish lighting brand Zero continues to lead by example. Known for collaborating with forward-thinking designers, Zero champions innovation that balances form, function, and environmental responsibility. Their latest collaboration with British designer Samuel Wilkinson exemplifies this ethos perfectly.

When Zero Lighting approached Samuel Wilkinson to design a sustainable pendant, the brief was refreshingly ambitious: create a lighting novelty that could be “literally thrown into nature” and decompose naturally.

From this directive, Corka was born – a compact conical pendant crafted entirely from cork.

Corka’s journey began in mid-2023 and was completed earlier this year, a remarkably swift turnaround for the design world. Having previously designed successful novelties for Zero Lighting, such as the Haze pendant and Thirty ceiling and wall lights, Wilkinson understood the company’s ethos and reputation for unique lighting fixtures with sustainability and high-quality at the forefront. Yet, bringing Corka to life demanded a deeply process-driven approach – one that involved extensive exploration of materials and manufacturing techniques before arriving at the final, refined form.

“We experimented with numerous materials before concluding to go ahead with cork. Learning about cork has been particularly interesting,” explains Wilkinson.

“At first, we assumed turning cork on a lathe would be the most cost-effective approach. But some pieces oscillated during turning, making accuracy difficult.

Switching to pressing methods produced more consistent forms with a finer surface finish.”

The buoyant, lightweight material is known for its unique impermeable qualities, making it an excellent thermal and acoustic insulator. This versatility allows

it to be used in various applications, such as wine stoppers, building insulation, and now pendant lights.

Cork is a type of bark, specifically the outer bark of the cork oak tree, called Quercus suber. The material is harvested only every 12 to 14 years in the Montados, Mediterranean oak forests, due to being a vital player in supporting 325 animal and plant species, protecting from erosion, regulating the hydrological cycle, and absorbing carbon dioxide. This remarkable material is one of the most sustainable resources available due to its ability to naturally biodegrade without releasing any harmful toxins, as well as this, nearly all its byproducts can be utilised for products such as flooring, aggregates, or bioprocessed for cosmetics, pharmaceuticals, or water purification.

What sets Corka apart is not just its material but its method of production. While many sustainable lights rely on recycled composites or industrial processes, Corka reimagines a natural, centuries-old material through modern moulding techniques, achieving consistency without compromising the cork’s organic charm. The production of the pendant is deceptively simple yet deeply rooted in craftsmanship and material understanding. Each pendant begins with granulated cork – either natural cork, black cork, or a mix of the two – combined with a small amount of binder. This blend is carefully prepared to achieve the right balance between texture, density, and strength.

MANUFACTURING PROCESSES

The mixture is placed into two-part metal moulds made from Teflon-coated aluminium. The surface quality and pressure of these moulds are critical, initiating the natural binding reaction within the cork as it begins to set. Determining the precise treatment time is a matter of testing and refinement, as different cork combinations, particularly when mixing natural and black cork, react in subtly different ways.

Each pendant is then lightly sanded by hand to reduce the gloss and reveal the raw, tactile quality of the cork. This gentle finishing exposes the material’s natural grain and variation, making every piece inherently unique. Though the process is efficient, it remains highly craft based.

The mixture is then placed into two-part metal moulds made from Teflon-coated aluminium. The surface quality and pressure of these moulds are critical, initiating the natural binding reaction within the cork as it begins to set. Determining the precise treatment time is a matter of testing and refinement, as different cork combinations, particularly when mixing natural and black cork, react in subtly different ways.

Once the mixture is sealed within the mould, it is left to cure for a carefully-timed period. During this stage, the cork reacts and binds, forming its distinctive, compact structure. When released from the mould, the Teflon coating leaves the surface with a soft sheen, a delicate contrast to the organic texture beneath. Each pendant is then lightly sanded by hand to reduce the gloss and reveal the raw, tactile quality of the cork. This gentle finishing exposes the material’s natural grain and variation, making every piece inherently unique. Though the process is efficient, it remains highly craft-based. As mentioned, no two pendants are identical; each reflects the subtle interplay of pressure, temperature, and time.

“Once everything is added to the mould, the final result is out of our hands and left to the will of the cork,” says Wilkinson.

The creation of Corka occurred as a relatively streamlined development with few challenges and trials aside from the manufacturing process.

Wilkinson had to work within the parameters of a strict budget set by Zero Lighting that ultimately heavily influenced the design process.

Wilkinson adds: “When machining from solid cork, the cost is directly affected by how many parts can be cut from a given sheet size, since the raw material is quite expensive. While tooling costs are much lower for machining, the outcome can be less consistent, so persuading Zero Lighting to invest in a moulding tool for the granular approach was important. The main criterion for the final shape was that it could be produced using a simple two-part male and female mould with sufficient draft angles to allow the part to release easily.”

Cork’s virtues extend beyond its renewability. It is extremely light – over 50% of its volume is air –and elastic, compressible without losing shape. It is impermeable to liquids and gases, thermally and acoustically insulating, fire-retardant, abrasionresistant, hypoallergenic, and possesses a tactile natural texture that is warm to the touch. Its inherent qualities make it perfectly suited for a lighting object, softening the glow.

“The tone and texture of the cork are among the material’s greatest qualities. They help to soften the emitted light, creating a warm and gentle glow. During the day, the natural gradient that forms across the conical surface is particularly beautiful, enhanced by the cork’s subtle granular texture,” adds Wilkinson. Available in three finishes – natural, mixed, and black cork – and can be paired with either black or natural linen cables, with the linen option offering a lower environmental impact, similar to cork, completing a pendant that is entirely process-conscious and materially honest. Beyond its sustainable credentials, Corka offers a quiet sculptural presence to any interior, whether it is residential or commercial. Whether suspended singularly or as a cluster, the Corka offers a subtle, unique edge to any space through its tactile materiality and a soft ambient illumination, which evokes a sense of calmness through its natural warmth.

The mission was clear: to create a light that could quiteliterally be thrown back into nature. Wilkinson not only rose to the challenge set by Zero but also continues to demonstrate the possibilities of how organic material from the natural world can coexist harmoniously with contemporary design. Corka is more than just a pendant – it is a statement of intent in a world overrun by synthetics and overproduction. Together, Wilkinson and Zero Lighting champion a more regenerative, material-conscious future for lighting design.

www.zerolighting.com

Images: SW Studio, Zero Lighting

KRISHNA MISTRY INTERVIEW

This year, UK-based lighting design practice Mistry Lighting celebrated its fifth anniversary. Founded and led by designer Krishna Mistry, this small studio has grown extensively in its infant years, not so much in physical size, but in reputation and calibre of projects.

darc editor, Sarah Cullen, took the opportunity to sit down with Krishna Mistry to discuss her career journey so far, her transition into business ownership, and to understand her studio’s approaches to design within the hospitality sector – a field in which it excels.

Born and bred in Northwest London to immigrant parents – her mother from India and her father from Kenya – Mistry went against the family’s wishes for her pursuing a career as a doctor, lawyer, or accountant. Rather, she went on to chase her dreams to study interior design. “Telling them I wanted to study Interior Design at university came as quite a shock! Though they soon came around once I promised I’d get a “proper job” at the end of it.

“I wanted to study Interior Design because I’ve always loved art, it’s something that’s always come naturally to me. My grandparents were carpenters who would carve the most intricate designs into wood, so creativity and craftsmanship have always been part of our family.

My sisters and I grew up painting all the time, it was how we expressed ourselves. My favourite hobby growing up and I’ve never let that go.”

It was at this time that Mistry’s love for lighting design was sparked. “During my degree in Interior Design at the University of Portsmouth, I used to play with light and shadow a lot, focusing particularly on how shadows could create drama and depth within a space. That experimentation fuelled my fascination with lighting. I realised that light has this almost invisible power to shape how people experience a space. A well-lit room could feel warm, intimate, or expansive, and I wanted to understand why. That curiosity led me to Buro Happold, an international integrated consulting, engineering and advisory firm, where I discovered both the technical and creative depths of architectural lighting.

Lighting design had to be deeply integrated, every detail mattered, from coordination with ceiling systems to the precision of mounting positions and glare control.

“Those early years taught me not just about the technical side of lighting, but also about patience and coordination.”

In addition to her passion for design, Mistry is also a worldwide traveller who seeks adventure and inspiration from all corners of the globe. “In 2016, I took a sabbatical from work and backpacked around the world for a year. It was truly the trip of a lifetime. Travelling is still my biggest source of inspiration; I love experiencing food, culture, and how different places use and perceive light. And yes, sometimes you’ll find me jumping out of planes too!

“Nowadays, when I’m not travelling, I’m mothering a very energetic toddler who keeps me on my toes and shows me what real multitasking looks like.”

“I realised that light has this almost invisible power to shape how people experience a space. A well-lit room could feel warm, intimate, or expansive, and I wanted to understand why. ”

“I started as a junior lighting designer at Fagerhult. That was my first step into the world of lighting. I worked on a range of retail projects and the company really spent time training me, but after a couple of years, I was ready for a change and found an opening at Buro Happold. I knew the projects would be larger and I was ready for that next step up in my career. I started working there in 2012 and it was from that point, I was hooked; lighting became my language.

“Working at Buro Happold exposed me to large, complex projects that involved multiple disciplines and often took years to move from concept to construction. It was an incredible training ground, I learned very early on how essential teamwork and clear communication are when so many specialists are involved.

“Every project required close collaboration with structural engineers, MEP consultants, acoustics team, architects, and, of course, the client team.

Reflecting on her earlier days as a designer, Mistry reveals that she was fortunate to work with some of the biggest names in the architectural industry from an early stage. “I was lucky enough to work with architects such as Zaha Hadid, Richard Rogers, and Adjaye Associates, names I had studied and admired for years. To be involved in their projects so early on was a real honour.

“It was Tadao Ando’s work that truly caught my attention; his use of daylight is so powerful yet executed with such simplicity. That balance between light, form, and emotion was where my inspiration really began.

“I was quite lucky to have joined a team at Buro Happold that was already working on some incredible, high-profile projects. One of the first was the King Abdullah Financial District (KAFD) Metro system in Riyadh with Zaha Hadid Architects, an extraordinary building with complex, organic forms. It was a real challenge to light a space like that, especially at a time when flexible LED technology didn’t yet exist. It pushed us to be inventive and precise.

“With Richard Rogers, I worked on the Maryah Plaza development in Abu Dhabi, where we were involved in the lighting for the penthouse, façade, and external landscape, all of which demanded a balance between architectural integration and visual impact.

“One of my personal favourites was the Latvian Museum of Contemporary Art with Adjaye Associates. I had never lit an art gallery before, so I spent time visiting galleries around London to study how artwork was illuminated. The building had pitched ceilings, which made lighting the art particularly challenging. We modelled the space extensively and produced numerous lighting calculations, using different products to find the best solution.

“Today, I’m inspired by collaboration, whether that’s architects, artists, or even chefs. I love how each discipline has its own rhythm, and lighting has this

“It was Tadao Ando’s work that truly caught my attention; his use of daylight is so powerful yet executed with such simplicity. That balance between light, form, and emotion was where my inspiration really began.”

unique ability to tie them all together. Travel continues to be a huge influence, too. I’m endlessly fascinated by how light takes on a different character wherever you go, the gentle warmth of daylight in Asia versus the cooler, more restrained tones that play across London’s architecture.”

Following her time at Buro Happold, Mistry went on to be Senior Lighting Designer at Light Corporation Group for a couple of years before the world changed drastically for all.

“In 2020, I was working on a series of restaurant projects (lots of Nando’s) when I was made redundant due to widespread restaurant closures during the global Covid-19 pandemic. It was such a surreal time with the industry at a standstill; I didn’t think anyone would be hiring. So, I decided to take a leap of faith, set up on my own, and see what happened.

“It was a life-changing two weeks. I lost my job, got married, and then set up Mistry Lighting!

“Work came very organically, mostly through word of mouth. I reached out to everyone I knew, setting up Zoom calls when we couldn’t meet in person. I’m extremely grateful to all the clients who trusted me with their projects; their support is what got me herealong with my family, especially my husband, who’s my constant sounding board.

“One project led to another, and within two years, I was at full capacity, even turning down work. I eventually started working with a business coach because, truthfully, I had no idea about the business side of running a business. It has been a steep learning curve, but a rewarding one.

“I still have moments of imposter syndrome, but looking back at everything that’s been achieved - the projects, the collaborations, the growth - I feel incredibly proud of how far I’ve come.”

Discussing this pivot in her career to becoming a studio owner, Mistry tells darc about her initial goals, expectations, and realities. “When I started, my goals were simple: to build meaningful relationships, create work I’m proud of, and keep learning. I didn’t set rigid targets, but I did hope to reach a point where people came to Mistry Lighting for its distinctive approach. I’m proud that we’re at that stage now, and are recognised for a thoughtful, personal way of working.

“The learning curve has been steep, and I’m still learning every day! When you run a small studio, you wear every hat: designer, project manager, business developer, social media manager, and accountant. It’s a lot to juggle.

“One big realisation for me was that a business isn’t truly sustainable if it can’t run without you. I’ve learned to lean on freelancers and collaborators more, bringing in support when needed. You really can’t do it alone, and that’s been a huge shift in how I operate.

“Running your own business can also be quite lonely at times, but I’m grateful to be part of an industry where people are genuinely supportive and generous with their advice. Having that network makes such a difference; it reminds you that even if you work independently, you’re never really on your own.

“We’re really lucky to work in such a social and supportive industry. There are so many opportunities to

IMAGES: CUT AND CRAFT MANCHESTER, STUDIO TWO INTERIORS, STEVIE CAMPBELL PHOTOGRAPHY

Enhancing Spaces with Porcelain and Light

www.cordulakafka.de

LEAVES

Bespoke i nstallatio n

Biscuit porcelain, stainless steel rods

stay connected, through communities like Women in Lighting, the SLL, and the ILP, as well as events hosted by Light Collective. The [d]arc awards and LiGHT expo are also brilliant occasions to catch up with fellow designers and celebrate great work.

“It’s not just about the lighting industry, either. Attending wider networking events is so important, especially when you run your own business, you never know who you might meet or where the next collaboration or client opportunity will come from.”

Looking through Mistry Lighting’s portfolio, it’s clear to see that hospitality projects are a strong offering. “Some of my hospitality projects capture what I love most about lighting - spaces where light supports the brand story without overpowering it. One that stands out is Cut & Craft Manchester, a Grade II-listed restaurant where we layered soft, concealed architectural light with decorative fittings to create warmth and rhythm within the heritage fabric.”

When asked whether Mistry Lighting has a particular design identity when it comes to hospitality projects, Mistry says the studio doesn’t necessarily have “a single signature style”. “Each space is different, and that’s what keeps it exciting. I take the time to understand the client’s vision and the story they want to tell, then tailor the lighting to suit. It’s always a collaboration. “Our approach is architecturally sensitive and emotionally driven. Every project begins with understanding how the space should feel, the story it wants to tell, and then we build layers of light to support that. It’s all about balance: atmosphere and function, beauty and efficiency, creativity and control.”

When it comes to balancing storytelling, functionality, and guest experience, Mistry Lighting implements a state of hierarchy. “Every space has a heartbeat, a focal point, and a

“The unknown is the exciting part; I put no limits on where we can go next. I want to keep the studio small enough to stay personal, but ambitious enough to keep evolving. Anything is possible.”

rhythm, and lighting helps orchestrate that. Functionality underpins everything, but storytelling gives it soul. The best results happen when those two aspects are inseparable.

“It also comes down to really understanding the space, how it makes you feel, and how you want others to feel within it. That emotional connection guides every design decision.

“I believe lighting should feel effortless. In hospitality, people remember how a place made them feel, not what fittings were used. I aim to create atmospheres that are warm, authentic, and aligned with the brand identity, where lighting enhances mood, complements food and music, and shapes a complete sensory experience.”

Working across both architectural and decorative lighting design and specification, Mistry sees the two components as equals in a project setting. “Architectural light defines the structure and function, while decorative light brings intimacy and character. The key is restraint, using decorative pieces with purpose, not as embellishment. It’s about layering what’s revealed, what’s hidden, and what’s left in shadow.”

Noting one particular project in which decorative lighting made a transformative impact on the overall design narrative, Mistry reflects on her work for Gina, a small restaurant in London, which was completed earlier this year. “I worked closely with the clients, who are also the chefs, to shape the lighting narrative. The interiors were stripped back and crying out for feature pendants, so we collaborated with designer Naomi Paul to create beautifully hand-woven lights that complemented the space without distracting from the artwork on display. Without them, it would have looked more like an art gallery!

“The decorative lighting was crucial in creating a rich, intimate dinner-time ambience, paired with handmade wall lights. Using

IMAGE: SOMEWHERE BY NICO, STUDIO TWO INTERIORS, STEVIE CAMPBELL PHOTOGRAPHY

tactile, crafted materials brought warmth, texture, and depth to the interiors, transforming what was a simple space into one that feels layered and inviting.

“In general, clients today are more design-literate and value-driven. Guests expect environments that feel considered and personal, not just “Instagrammable.”

There’s a real appetite for warmth, tactility, and authenticity, and lighting plays a huge role in creating that.”

Looking ahead, Mistry delves into the current industry trends that are influencing design. Examining the roles of technology, wellness, and sustainability and their abilities to shape the future of design, Mistry says: “These are no longer separate conversations; they’re intertwined. Technology allows us to be more precise; sustainability keeps us accountable; wellness reminds us why it matters. The future lies in subtlety, designs that are smarter but quieter, where technology serves human experience rather than spectacle.”

Innovations and attitudes that Mistry is particularly looking forward to for hospitality design touch on the controllability of lighting and local craft. “I’m excited about the growing accessibility of tunable white and adaptive lighting systems in hospitality, tools that genuinely enhance mood, comfort, and energy.

At the same time, I love seeing a return to craftsmanship in decorative lighting.

“We’re working with clients who really value handmade light pieces and understand the meaning they bring to a space. There’s something so special about that; it creates a deeper connection between the design, the maker, and the atmosphere of the room.”

Regarding what we can expect from Mistry Lighting over the coming years, Mistry discusses her dream job, growth opportunities, her measure of success, and the

advice she would pass on to anyone considering starting their own lighting design studio. “There’s so much potential in smaller, experience-led spaces, independent hotels, cafés, and cultural venues that prioritise intimacy and storytelling over scale. Working with a small bakery chain recently, for example, showed how good quality lighting can transform everyday spaces, creating warmth and a genuine sense of home.

“I’m excited about continuing to collaborate with passionate clients and exploring new sectors while staying true to what we love. The unknown is the exciting part; I put no limits on where we can go next. I want to keep the studio small enough to stay personal, but ambitious enough to keep evolving. Anything is possible.”

If the sky were the limit? “I’d love to design lighting for a boutique hotel. I’m a sucker for a good hotel, so lighting one would be an absolute dream! And, if I’m really dreaming big, a superyacht is also on the bucket list. I love a challenge.

“For me, success isn’t measured in money. It’s about the projects I get to work on and the people I collaborate with. As a British Asian woman running my own business, with a steady stream of meaningful work, all while raising a small family, I feel proud. That balance, however imperfect, is success to me.”

If you want to start out on your own, “know your why”, she states. “It’s easy to get caught up in what you think you should do, but the most sustainable path comes from being authentic. Be patient, stay curious, and build genuine relationships; that’s where the best work comes from.”

www.mistrylighting.com

IMAGES: TOP LEFT: THE BOATHOUSE GUILDFORD, RAW CLAY, GAVRIIL PAPADIOTIS; BOTTOM LEFT: GINA CHINGFORD, MISTRY LIGHTING; RIGHT: AZOTEA LEEDS, STUDIO TWO INTERIORS, STEVIE CAMPBELL PHOTOGRAPHY

Gothic Interior Design Trends in Luxury Homes

At Juliettes Interiors, we’ve always believed luxury interiors should reflect the true character of the homeowner, and recently, more of our clients are embracing their darker side. The allure of the gothic has never really left the design world, but we’re now seeing it re-emerge with a distinctly luxurious but contemporary edge. No longer pigeon-holed to haunted houses or Halloween, gothic interiors are being reimagined in a grand, sophisticated and opulent way.

Popular culture has played its part. Netflix’s Wednesday sparked what’s being called a ‘Whimsigoth’ fascination, darkly romantic, whimsical and feminine interiors. But beyond the screen, there’s a growing appetite among our high-net-worth clients for drama, depth and a little mystery in their homes. For us, this means creating spaces that marry indulgent materials, bold silhouettes and refined craftsmanship.

The Power of Statement Furniture

At the heart of a gothic-inspired design, the look begins with a dramatic centrepiece. For some clients, it’s a jet-black velvet sofa [1] that immediately commands the room. For others, it’s a sculptural dining table [2] or an imposing four-poster bed [3]. Increasingly, we’re asked to design or customise pieces that nod to a client’s alter ego, a way to express personality and have something that is the perfect fit. The key, in our view, is balance: sumptuous fabrics such as velvet, lacquer and leather [4] bring the drama without ever tipping into looking too theatrical.

A Dark but Luxurious Palette

Black will always be the cornerstone of gothic design, but the palette has become much more layered. Clients are asking us to weave in monochrome elements, as well as deep jewel tones, blood red, amethyst [5], emerald, and sapphire to add intrigue and warmth. When combined with bronze or gold accents, the result is unapologetically decadent, a modern interpretation of the moody glamour of Gothic architecture.

JULIETTES INTERIORS

Juliettes Interiors is a leading name in luxury furniture and interior design, renowned for transforming homes with bespoke creations and timeless elegance. With more than 20 years of expertise, it blends classic craftsmanship with contemporary innovation, offering everything from single statement pieces to full turnkey design services. With Gothic-inspired interiors on the rise, Juliette Thomas, founder and creative director, explains how to achieve this opulent aesthetic.

Lighting with Mystery and Magic

Lighting is one of our favourite ways to bring gothic glamour to life. The statement chandelier still reigns supreme; often updated with smoked glass or Swarovski crystals [6] for a modern, luxurious feel. Layered lighting is a must, adding a candelabra-style table or floor lamps [7][8] to add to the gothic styling, but giving perfect control over the atmosphere of a space. The right lighting can transform an interior, creating just the right mood, elegant, enigmatic and utterly captivating.

Finishing Touches with a Dark Edge

For those not ready to commit to a full gothic makeover, accessories are a wonderful starting point. A jewelled glass centrepiece, an ornate baroque mirror [9] or a sculptural black vase can bring a touch of darkness to an otherwise neutral room. And of course, candlelight, whether from traditional candelabras [10] or dramatic lamps, is always essential for that gothic sense of mystery.

Gothic Glamour, Refined

What excites us most about this trend is its refinement. Today’s gothic interiors aren’t about shock value, they’re about sophistication, depth and character. By introducing carefully chosen details and luxurious finishes, we can create homes that feel both timeless and daring.

At Juliettes Interiors, we’re seeing more clients than ever embrace this darker side of interior design and a more dramatic aesthetic. Whether through a statement piece of luxury furniture or a full-scale interior design transformation, gothic design trends are on the rise. We love helping our clients to express individuality, unleash their darker side, and we’re thrilled to help them do it with all the elegance and refinement that luxury living demands.

www.juliettesinteriors.co.uk

12 – 14 January 2026

Dubai World Trade Centre

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ROSIE MCDONNELL

People first design: The importance of lighting when creating experiences in residential spaces. Rosie McDonnell, interior designer at 74, discusses the power of layered lighting and flexibility for residential environments.

At 74, our work is centred around the people who use the spaces we design. Once the functional and operational elements of a project have been defined, we are left with the fun stuff; designing meaningful and appropriate experiences to enhance residents’ appreciation of the settings that effectively make up their homes.

The creation of opportunities in which to experience different things relies on curated spaces that weave together many elements to create a mood. As designers, we have a vast array of forms and materials that we can use, but often the trick to creating spaces that people love comes down to the lighting. Lighting is about more than just what you can see. It forms the mood, the atmosphere, the emotion. It can play an integral role in elevating a client’s brand and leaving a lasting impression. It can influence how a person reacts when entering a space and how they enjoy it.

Often when we feel connected to a place, we describe it as evoking a certain feeling. It is a combination of factors, which when used effectively, draws us in and makes us really value the environment we are immersed in. The right level of lighting among other design tools subconsciously activates our senses and therefore defines our experience of a space. Our design process starts with the operational aspects, by mapping out the user journey and considering how we want people to feel within a space. Is it a clubhouse lounge where people want to feel like they can kick back with friends? Is it a quiet workspace that feels tranquil and uplifting for residents working from home all day or getting their head down to study? Having a considered lighting strategy that is cohesive with the design of the space and that is fit for the intended use is essential to it’s success.

When designing interiors to provide for a wide demographic of people, it is important to think of these spaces as transitional. Often, we design spaces that are intended for multiple uses, therefore they must have an element of flexibility in order to be most viable. A bookable meeting room with a TV and kitchenette can double up as a private dining room by evening, or a cowork space can be also be used to host resident events. To cater for multiple uses, these spaces need to be able

to seamlessly transition from day to night and lighting is crucial in achieving this. By layering different types of lighting that can be user-controlled, it gives maximum flexibility and optimal use of the space.

The most successful spaces introduce multiple lighting types that contribute to the overall atmosphere and can be adapted to suit the intended use. For working, a balanced lighting level with the temperature adjusted to emulate daylight is most effective for calm and focus. In the evening and for social events, it may be more appropriate to dim the ambient lighting and rely more on the accent lighting to set a more intimate ambience. This could be LED strip lighting to joinery or a warm glow from feature wall lights.

It is also important to consider the time of year and how much direct sunlight is received in a space to be able to set the correct and most effective level of lighting for a comfortable experience. These adjustments make a huge difference to the overall feeling of a space and increase the level of engagement from residents.

The spaces we create are designed to last. Every detail we draw and every decision we make is derived from a carefully considered narrative, which underpins the scheme and all works together to tell a story.

The style of a light fitting is so much more than what initially meets the eye. For us, it should form part of the narrative of the space, drawing inspiration from the site context, architectural language or brand story; whether this is achieved though materiality, style or form.

Lighting is a crucial layer of many design elements that form the overall narrative of a space. In the buildings we design, this storytelling is integral to creating a unique identity and a sense of belonging, which people feel that they are part of in order to create the feeling of home.

Home means different things to different people but at its core and at its best, home means a sense of belonging, being able to be yourself, feeling protected, supported and encouraged.

Throughout our design work, across multiple types of residential buildings and boutique hotels, we strive to create a sense of home, where the orange glow of dimmed lights welcome us back after a tough day. www.weare74.com

DESIGN EVOLUTION

TALA X HEATHERWICK STUDIO

THE MAKING OF WAKE

In this Part 2 of Design Evolution, discover the realised creation between Tala and Heatherwick Studios: Wake.

The new table lamp presents a heavily researched concept of the relationship between light and sleep.

Taking a new technical direction for the brand, Wake is a sleek yet sophisticated addition to its lighting portfolio.

Wake began as a shared idea with Heatherwick Studio,  to bring calm back into the bedroom through light, touch, and sound. The goal was simple but hard to achieve: a bedside light that helps people wind down and wake up naturally, without feeling like another piece of plasticky tech.

The manufacturing processes were far from typical for consumer electronics. Crafted from glazed ceramic and pressed glass, every component was refined to feel tactile and honest. Making the body of the lamp the moving dial was a major challenge, working with natural materials that have wide tolerances required immense precision and lots of testing. The ceramic form pushed our limits but gave the lamp its warmth and character.

We focused on stripping away complexity while keeping control intuitive. Wake supports both app-based routines and seamless, phone-free use. The rotating dial replaces buttons and menus with something simple and human. Developing the firmware and user experience demanded months of testing to feel effortless. Creating a low-voltage, repairable yet high-quality omni-directional light was another hurdle. The result exceeded our hopes: a broad 1800–3100K Kelvin range, 98 CRI colour accuracy, and beautifully soft diffusion. This is by far the most advanced light we have made to date and something the studio is really proud of.  www.tala.co.uk www.heatherwick.com

FOCAL POINT

ARTICOLO STUDIOSTHE VESSEL EDIT

Articolo Studios unveils The Vessel Edit - its maiden collection of light fittings designed exclusively for yachts and nautical environments. This curated series of signature pieces brings together sculptural elegance with the technical precision required aboard vessels, affirming Articolo’s position at the forefront of Australian design innovation.

Meticulously engineered, The Vessel Edit features interior and exterior fittings that balance beauty with functionality. Concealed anchors, custom arms, and discreet fixings secure pendants and sconces through the rhythm of open waters, while preserving the studio’s aesthetic intent. Several designs within the edit are inherently suited to the demands of a nautical environment, requiring no additional accessories due to their robust construction.

From moody salons to expansive open-air decks, the collection proves that elegance need not be compromised by environment. Each piece is both anchored and transcendent, an enduring companion for voyages across seas.

This new collection cements Articolo’s dedication to light that endures - unwavering in design, refined in detail and tailored for the most exacting contexts. www.articolostudios.com Images: Renders provided by Articolo Studios

AUSTRALIA

LUMINARA SUPERYACHT

Toronto-based interior design studio Chapi Design has unveiled its latest project, the Luminara, which is the third superyacht in The Ritz-Carlton Yacht Collection fleet.

Launched in July 2025, the Luminara superyacht is a radiant evolution of the brand’s design-forward identity. Inspired by the Latin word for ‘light’, Luminara reimagines what it means to travel by sea, pairing avant-garde aesthetics with the brand’s signature hospitality to create an experience that’s as emotionally resonant as it is luxurious.

darc spoke with Chapi Design’s founder, Tatiana Sheveleva, to discover her studio’s design approaches for the luxury yacht.

“I have a long-standing creative relationship with The Ritz-Carlton brand, having worked together on several of their land-based properties,” she explains. “When Luminara began taking shape, there was this beautiful ambition – to translate the brand’s refined sense of place and its emotional connection to guests into a new realm: the ocean.

“When we were invited to join the Luminara project, it felt like a natural evolution of that dialogue. The idea of designing for motion, for reflection and for horizon – it was irresistible. Luminara became an opportunity to explore how luxury can

feel both intimate and infinite at the same time.

“Designing on land is about grounding; designing at sea is about balance. Everything aboard a yacht must consider motion, scale, and the way light and material behave within a constantly changing environment.

“But beyond the technicalities, the emotional register is different. On land, a guest’s experience is framed by architecture and landscape. At sea, it’s framed by horizon and atmosphere. You’re designing for contemplation – for the way sunlight drifts across a wall at sunrise or how moonlight glimmers on a brushed metallic surface at night. The sea, in many ways, becomes our collaborator.

“Other than that, though, the design process itself is the same – it’s about designing something beautiful and bespoke.”

When it came to specifying decorative lighting for the vessel - of which all fixtures chosen by Chapi Design came from Lasvit - and the role it played in the overall scheme, Sheveleva explains how it was of core importance: “Light was truly the soul of this project – the very idea of Luminara was born from the notion of

illumination, both literal and emotional. We wanted light to become language: to narrate the guest’s journey throughout the yacht.

“Decorative lighting was the connective tissue between architecture, texture and mood. It’s what gives form its poetry – the shimmer on a curved wall, the softness that draws you deeper into a space. Every fixture was chosen for the way it interacted with surface, reflection and the rhythm of the sea.

“In the dining areas, lighting carries a certain theatre – a quiet choreography of glow and shadow that frames the ritual of gathering. There’s a gentle golden hue that enhances the tones of food and conversation, almost like candlelight on a Mediterranean evening.

“The private dining room is anchored by a sculptural chandelier that floats above the table like a constellation of glass jellyfish – each hand-blown form capturing the fluid grace of the sea itself.

“In the lounges and social spaces, lighting shifts to a more ambient, diffused mood, but with statements – sculptural pieces that seem to hover. In the Living

Room, there is a piece that reflects the form of stingrays. For me, it was about creating energy that feels alive yet effortless.”

Integrating sculptural fixtures into the superyacht naturally came with its structural challenges. “Every element on a yacht must perform beautifully while meeting strict marine safety and engineering standards. Fixtures need to be secured in ways that can withstand subtle movement and vibration, without compromising elegance.

“We worked closely with the shipbuilders and lighting consultants to ensure that every piece – no matter how sculptural or delicate it appeared – was as robust as it was refined. That duality is at the heart of luxury design at sea: grace built on precision.”

Part of what made this project so successful was its collaborative efforts. Sheveleva elaborates: “This was our first major collaboration with dpa lighting consultants, and it was a truly symbiotic process – as it was with the whole design team, including AD Associates. From the beginning, there was a shared

IMAGES: LEFT: THE LIVING ROOM. THIS PAGE TOP LEFT: RECEPTION DESK; BOTTOM LEFT: IN-SUITE SERVICE; RIGHT: PRIVATE DINING ROOM

understanding that lighting was a protagonist in the story of Luminara.

“Working with a dedicated lighting design studio brings an extraordinary layer of nuance – they think in gradients, in emotions, in the subtle choreography of how people experience light. Together, we explored how each space could evolve throughout the day, responding to natural conditions, to guest mood, to rhythm.

“It became a dialogue between architecture and atmosphere, between function and feeling. That kind of collaboration is what transforms a space from beautiful to transcendent.”

Deeksha Surendra, dpa lighting consultants, adds: “The lighting inspiration was instantly there for us. Creating the atmosphere of a luxury residence of the highest quality, reflecting The Ritz-Carlton Yacht Collection’s ethos, was key to the overall lighting design approach.

“It was important for us to bring out the quality of the design, artwork, materials used, and detailing of the furniture using carefully planned lighting. The layered lighting enhances visual interest, while the decorative lights add a blend of soft ambiance, sparkle, and vibrancy to each space.

“The public areas are organised so the lighting, and the guest’s experience of the space, changes throughout the day. There is a bright and fresh feel to the public areas during the day, and then as the evening starts, the lighting softens to provide a warm, relaxing atmosphere. The outside decks deliberately have low levels of light so people can see the stars and the moon reflecting off the water at night. The experience continues in the sumptuous suites where the lighting enhances the guest’s time on board by creating elegance and functionality with intuitive lighting controls.”

The superyacht measures 242-metres and accommodates up to 452 guests. In addition to 226 spacious suites, each boasting a private ocean-view terrace, a higher percentage of upper-suite categories, and superior guest amenities, the onboard experience features world-class dining, a wine vault, The RitzCarlton Spa and an expanded marina providing direct access to the water.

www.chapidesign.com

www.dpalighting.com

INTERNATIONAL

Interior Design: AD Associates

/ Chapi Design (public areas)

Lighting Design: dpa lighting consultants

Lighting Specified: Lasvit

Specifying a range of stunning sculptural lighting pieces from Lasvit, Chapi Design created a luxurious environment for the latest Ritz-Carlton Yacht Collection. “Light was truly the soul of this project – the very idea of Luminara was born from the notion of illumination, both literal and emotional. We wanted light to become language: to narrate the guest’s journey throughout the yacht,” explains Chapi Design’s founder, Tatiana Sheveleva.

LUMINARA SUPERYACHT

IMAGES: LEFT: THE LIVING ROOM; RIGHT: MISTRAL, BOTH BY EDGARDO CONTRERAS

Glaze by Arteriors

The UK’s only trade show dedicated to high-end lighting specification, returns to the Business Design Centre on 19-20 November. Expect things bigger and better than ever before, promising to be its most ambitious edition yet, building on the record-breaking success of last year’s event.

New For 2025

This year’s event will see the introduction of three clearly defined zones, reflecting the full spectrum of today’s lighting industry and making it even easier for visitors to navigate the wealth of brands, technologies and innovations on display. Among the most exciting developments is the launch of the brand-new Technical Zone, located in the Gallery Hall. This dedicated area shines a spotlight on the backbone of the lighting world – the components, control systems and technologies that power outstanding design. Showcasing leading names in urban and commercial lighting, control systems, OEM components, lamps and gear, and emergency lighting, the Technical Zone recognises that great design begins with great engineering. As the industry embraces sustainable, human-centric, and increasingly intelligent systems, this new addition offers a vital platform for discovery and dialogue.

LiGHT’s much-loved talks programme, [d]arc thoughts, also returns with renewed purpose and a significant new credential – CPD accreditation, delivered in collaboration with Lutron. This marks an important milestone for the programme, which continues to champion thought leadership within the global lighting community.

Across two days, the stage will welcome an inspiring line-up of international designers, industry leaders and creative thinkers tackling the issues shaping lighting design today – from sustainability and inclusivity, to AI, multisensory

experience and the evolving relationship between light and wellbeing.

Beyond the main stage, the Associations Lounge, supported by Studio Due, will host a parallel programme featuring the return of LIGHT LUNCH on the Thursday, where there will be a discussion led by David Atkinson, DALD, followed by a networking opportunity accompanied with refreshments.

With its new CPD status and a line-up designed to challenge, inspire, and inform, [d]arc thoughts cements its place as a vital forum for professional growth and creative exchange.

Here, we outline some of the talks visitors can expect from the [d]arc thoughts programme that we think will particularly appeal to darc’s readers.

All talks on this schedule will take place in the [d]arc thoughts space on the Gallery Level – next to the Decorative Zone and the Associations Lounge. Talks are free to attend for registered LiGHT 25 visitors.

www.lightexpo.london

Images: Olivia Ross

TALKS HIGHLIGHTS

Wednesday, 19 November

11:30 – 12:15  | Understanding Darkness

Moderator: Matt Waring

Speaker: Zoe Faulkner, Troup, Bywaters + Anders; Carolina Florian, Qiddiya, Dan Oakley, DarkSky International

12:25 – 13:10 | Out of our Lane: What Lighting Designers

Must Learn from Medicine   Speaker: Willie Duggan, Lighting Designer

13:20 – 13:50 | Is True Inclusivity Achievable?

Speaker: Guy Kornetszki, Nulty+

14:00 – 14:45 | Beyond Light: Multisensory Design in Practice

Moderator: Dr Shelley James

Speakers: Tricia Smikle, RNIB; Roy Imeson, RNIB; Alexandra Hoste, RNIB; Rob Burrell, Buro Happold

14:55 – 15:25 | Your Data Isn’t

‘Good’: It’s Just Data

Speakers: Kael Gillam, Hoare Lea; Max Robson, Recolight

15:35 – 16:20 | Shaping Atmospheres

Moderator:  Judith Patiño, Vibia

Speakers: Sanjit Bahra, Design Plus Light; Nathan Hutchins, Muza Lab; Sebastián Mealla, ProtoPixel; Barbara Ventosa, Vibia

16:30 – 17:00 | From Spark to Spectrum: How AI Augments

Lighting Designers

Speaker: Daniel Green, Into Lighting; Kuldeep Vali, Rise With AI

17:15 – 17:45 | Re:Vision – Meet the Designers

Moderator: Matt Waring

Speakers: Benz Roos & Kit Thavaseelan, Speirs Major Light Architecture

Thursday, 20 November

11:00 – 13:00 | Light Inside Out

Join the SLL for 6 x 15-minute presentations focused on the luminaire and its components to enable it to deliver light as desired.

13:10 - 13:55 | Bespoke Solutions in Lighting

Moderator: Matt Waring

Speakers: Faye Robinson, Unibox; James Sherman, Foster + Partners; Ellie Cozens, Foundry; Miguel Aguado, Lutron

14:05 – 14:35 | Light - The Fourth Material - Digital Craftsmanship at Bentley

Speaker: Naomi Saka, Bentley

14:45 - 15:15 | True Luxury is Handmade: Crafted for Connoisseurs of Light

Speakers: Surbhi Jindal, Da Light Hub / Women in Lighting India Ambassador

15:25 - 15:55 | More or Less

Speakers: Nikos Moskofidis and Lee Sweetman, dpa lighting consultants

16:05 - 17:00 | Brilliant on Paper, Broken on Site

Moderator:: James Siddle, Ideaworks

Speakers: Joshua Bourton, Westgreen Construction; Luke Cook, Darke & Taylor; Sandra Babini, Lumino; Caroline Jonsson, Ideaworks

Discover the full schedule, including detailed talk descriptions, plus the full Association Lounge programme via www.lightexpo.london/talk-programme/

Hayle Industville

Hayle captures the essence of considered design. Its frosted glass diffuser softly disperses light, creating a calm, inviting atmosphere that feels both timeless and modern. Crafted with care and offered at an attainable price, Hayle embodies Industville’s belief that exceptional lighting should balance quality, value, and design integrity.

www.industville.co.uk | Stand D21

Ice is a slim, cylindrical pendant that embodies minimalist elegance. Like many Ilmas products, it comes in a range of customisable finishes, allowing it to harmonize perfectly with any interior. Elegant and versatile, it works beautifully as a stand-alone feature over reception desks, tables, or accent areas, or in groups to create sophisticated compositions that elevate contemporary spaces. www.ilmas.com | Stand U37

Zoe Cangini e Tucci

Zoe is a collection of hanging, table, and wall lamps in blown glass, 100% Made in Italy. Available in various sizes, it offers refined finishes, metallic details, and vibrant colors that shape light into unique effects. Elegant design and craftsmanship enhance its versatile decorative value in any environment.

www.canginietucci.com | Stand D8 Ghostfeed 2.0

Ghostfeed 2.0 by Esse-Ci redefines the concept of suspended light: an essential single-cable system spanning up to 15-metres with just two anchor points. Direct and indirect LED strips, adjustable micro-spots and the new silicone Trilly with paintable aluminium finishes provide creative freedom for retail, hospitality and residential spaces

www.esse-ci.com | Stand U12

Quintiesse

Like a gorgeously beaded garment, the Marni collection includes ceiling and wall fixtures as well as table lamps, which can add luxury and interest to any interior. Meticulously cut-acrylic shades create glittering beams of illumination throughout the design. These integrated LED fixtures are finished in natural brass. Designers can create a unique installation with multiple pendants.

www.quitiesse.com | Stand D32

The Ribby luminaire family has earned both the Red Dot and iF Design Awards 2025 for its clean aesthetic, visual comfort, and adaptability. With suspended, linear, and wall-mounted options, Ribby offers dual-directional lighting, multiple sizes, and elegant consistencymaking it ideal for offices, hospitality, and residential interiors.

www.aqform.co.uk | Stand D31

Ribby AQA Form

Ice Ilmas

Marnie

Explorer, Rust finish cast aluminium portable table lamp. Featuring a dimmer setting memory function. Charged with a USB Type-C cable. Rated IP65.

Ali di Luce is a modular lighting system offering total creative freedom. With rotating light sources in either diffused glass or directional metal, you can customise layout, colour, cable length, and beam effect. Sculptural yet functional, it’s a flexible solution for expressive lighting schemes across residential, retail, and hospitality spaces.

www.olivelab.it | Stand D31

Circus, designed by Antoni Arola for Vibia, redefines light as a living element that shapes emotion and space. Like a choreography of light, it blends accent, diffuse, and reflected effects to compose scenes that evolve throughout the day. Freed from architectural constraints, Circus offers designers a creative language of balance and flow that nurtures wellbeings. www.vibia.com | Stand D19

Wake Tala

Designed to align with your circadian rhythm, the Wake Light redefines restorative illumination. Its sculptural ripples, inspired by sunset reflections, cast a serene glow that transitions effortlessly from evening calm to morning vitality. Mimicking the natural fade of dusk and the gentle rise of dawn, it promotes deeper rest and brighter awakenings.

www.tala.com | Stand 5

Igor Tooy

Igor presents itself as a flying luminous entity suspended in space, a simple but sophisticated geometry that finds its synthetic beauty in its proportions. A lamp that can live alone or as a cluster with compositions where the rule is not sought but appears as consecutive moments in motion within its volume; with a strong personality in terms of size and abstraction that encloses each of its components in a simple and closed volume.

www.tooy.it | Stand D34

Designed by Nava Arosio, Borealis is a suspension lamp that seems to dance in space like the incredible lights of the northern sky. Inspired by the designers’ travels in Lapland, the piece combines amber and brown glass with a fluid structure in glossy midnight grey. A poetic design - simple, functional and rich in meaning - that enhances Italamp’s craftsmanship.

www.italamp.com | Stand D25

Office lighting doesn’t have to be dull or uninspired. Voyd blends technical precision with aesthetic identity. Its soft, organic form and comfortable light quality create a pleasant working atmosphere. The light source is designed to ensure optimal visibility on work surfaces, balanced overall brightness and soft contrast. Optional acoustic panels turn Voyd into a multifunctional element of interior design.

www.intra-lighting.com | Stand D12

Voyd

Intra Lighting

Ali di Luce OliveLab

Circus Vibia

Taiten

SAAS Instruments

Made from brass and acrylic, Taiten has a minimal design that feels both light and airy. The acrylic creates a subtle floating effect, allowing the light to hover gently in space. Designed by Mikael Mantila, the pendant uses very few components and is crafted with the utmost precision.

www.saas.fi | Stand D17

The Kurtain acoustic pendant is a harmonious blend of tranquility and style for open spaces. Inspired by flowing curtains, this eco-friendly, biodegradable wool pendant absorbs sound, transforming noisy environments into peaceful havens. With high-performance, dimmable LED lighting and an optional indirect wash, Kurtain fosters focus and comfort, enhancing modern interiors with a sense of calm and connection. www.luxxbox.com | Stand 58

Liquid Line Series Lightnet

Liquid Line embodies Lightnet’s vision of maximum flexibility and technical sophistication. The system adapts effortlessly to any spatial concept – both in design and functionality – creating fluid transitions between architecture and light. Lightnet presents new Liquid Line surfaces, including elegant wood finishes that add a warm, natural materiality to the luminaire’s precise design. www.lightnet-group.com | Stand U14

Poldina Reverso Solar Zafferano

Poldina Reverso Sola is a cordless, portable LED floor lamp for indoor and outdoor use. It features a solar panel and USB-C charging, with two multipurpose base containers for decorative use. Dusk and motion sensors automatically turn the light on and adjust brightness. The lamp offers four brightness levels and four colour temperatures (2200K–4000K), controllable manually or via remote and is available in a selection of refined finishes. www.zafferanoitalia.com | Stand D28

Kinno Lodes

Kinno is a bollard that enhances the beauty of outdoor spaces by blending harmoniously into the landscape. Its design features biomorphic shapes and curves inspired by plant forms, which convey a sense of comfort and wellbeing. The elegant silhouette evokes the shape of a mushroom – hence the name Kinno, which means ‘mushroom’ in Japanese – and plays with visual perception to suggest the imperfect harmony of the natural world.

www.lodes.com | Stand 15

Harp Franklite

The Harp wall light features a gracefully curved design that brings an elegant flow to any interior. The aged brass frame is adorned with slender, clear glass rods that capture and refract the light, creating a radiant, layered glow across the wall. The blend of sculptural form and shimmering transparency adds a touch of sophistication, making it as much a decorative statement as a source of illumination. .

www.franklite.co.uk | Stand 22

Kurtain Luxxbox

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IN FOCUS

Pastello Esther Patterson Curiousa

What is the concept behind this new collection?

Drawing on the studio’s signature colour palette from the award-winning Maya and Carnival collections, Pastello pairs hand-crafted ceramic and semi-opaque glass shades in a spectrum of pastel tones.

The inspiration behind the range’s palette harks back to the playful, optimistic colours of 1950s and 60s melamine tea sets, picnic scenes and coloured bathroom suites — a celebration of bravery, joy and the desire to brighten life after dark times.

We’re inviting homeowners and designers to channel that same boldness, creating bathrooms that lift the spirit and inspire the day ahead. This range embodies my love of colour, texture and playful form, bringing a sense of joy and individuality to any bathroom.

How long have you been working on Pastello for?

I’ve been experimenting with the shade shapes for the last 18 months. I make the original shape on the wheel; in ceramic slip-casting terms we call this the model or master. I create a solid shade shape in brown clay, then cast from this using plaster. I use this plaster mould to slip cast my ceramic shades using a beautiful porcelain clay called Parian. This clay was originally used for Victorian doll heads in the 18th century as it self-glazes and has a smooth, slightly translucent glowing finish.

What challenges did you face when producing this collection?

The first shades I made were cone-shaped, but when lit, there was a horrid shadow at the top and the shade wasn’t evenly lit. The lamp holder was creating a shadow, so I decided to start again and create a space at the top to allow room for the holder and to light the shade more evenly.

It worked. I made a simple dish and bowl shape - the Ciao and Hola - in this style. Originally, I experimented with using these for our Siren wall lights but then realised the potential for a simple spotlight-style light, so I created one with a swivel to make it directional.

I could really see the potential for these in bathrooms or bedside lighting - a simple and versatile visual addition to a room, using colour to create a pop of interest without taking up much space.

Tell us more about the materials and how you work with ceramics and glass in your studio.

What’s great about slip-casting is that you can make many pieces from one mould, and I can keep experimenting with each one. I’ve started painting some of the surfaces too. For instance, for the Hola, I decided to paint a layer of colour on the inside of the shade while it was still in the mould. I was just playing, but it turned out so well that I decided it would become part of the Pastello range, creating a simple two-tone shade. I’ve also started hand-painting designs on the shades and I’m thinking of bringing out a range of these next year. Because I make the models myself on the wheel, the final shades still carry the maker’s marks and impressions. I don’t want them to look factory made, but handmade.

What inspired you to introduce new colours into the collection?

It often starts with the colour and I work from there, sketching silhouettes in my pad first. Most of the palette stems from the previous Maya Collection, but I’ve added one more - Eggplant. The deep purple is an interesting mix with the diffused glass and ceramic pieces.

For me, colour is the stuff of life. It brings me joy, and I love the art of combining colours in a daring way. It’s a challenge sometimes to bring so many colours together, but when it works, I love it. We’ve even created a new strapline for ourselves: The Colour Lighting Company.

What makes these products different to other lighting pieces on the market?

All the prototype lights are made in my ceramic studio in Wirksworth, Derbyshire. For larger orders, I work with George Woolley (DINK), who used to work for Curiousa but now runs his own ceramic studio in Sheffield. I love that we keep things local and handmade to order. There are a lot of white porcelain lights out there, and some of them are very beautiful, but not many coloured. My gut tells me we’ll see more of them soon, as I think this style will catch on. But for now, I believe we’re one of the first among my UK design contemporaries to offer porcelain shades with such a broad colour choice, all made to order.

www.curiousa.co.uk

Asteea designed by Sofie Refer