In the world of contemporary design, few names shine brighter than Lee Broom. From his Shoreditch studio, Broom has built a global brand defined by elegance, innovation, and storytelling through light. His latest project, Beacon, marks his first Landmark installation for the London Design Festival—a public art piece at the Southbank Centre that connects London’s architectural past with its creative present. We caught up with Lee Broom to talk about design as performance, sustainability in craft, and what this new chapter means for one of Britain’s most visionary creators.
Beacon is your first Landmark Project for the London Design Festival. What does this moment represent for you in your creative journey?
This project feels like a full-circle moment, as my very first collection launched during the London Design Festival back in 2007. To return with my first Landmark Project, especially at a location as iconic as the Southbank Centre is an honour. It is also my very first public art display located outdoors and has given me the opportunity to explore lighting as an artform, which has always been embedded in my work but not to this extent before.
The installation draws on Brutalism, Victorian design, and the Festival of Britain. How do you merge such diverse influences without losing coherence?
In the case of Beacon and its location, I actually had too many reference points and ideas which sounds like a luxury but for a designer it’s often useful to have some restrictions. So, I tried to limit the references to just a few points and then made sure that each of them were sensitive to each other in the execution. When all these different inspirations from different periods come together as one, I then often strip back and remove superfluous design details to ensure the overall concept remains contemporary. I was drawn to the South Bank’s rich architectural layers, from the post-war optimism of the Festival of Britain to the elegance of the Victorian street lamps and the bold materiality of the Brutalist landmarks like the Hayward Gallery. Beacon brings these seemingly differing eras into harmony by reinterpreting their forms through a contemporary lens. The result is a design that respects its heritage while speaking to the present.
You’ve always treated light as more than function — almost as theatre. How did you approach the choreography of light in Beacon?
Once I understood how Beacon was going to look from a visual perspective, I started thinking about how I could bring the installation to life. There’s always been a theatricality to my lighting presentations but because this is a public art piece I really wanted to bring some sort of movement to the installation and given that Beacon is in such an iconic location and very close to Big Ben I thought the concept of connecting such a cultural landmark and time together with Beacon would be a very poignant thing to do. So, every 15 minutes, Beacon comes to life with a slow poetic pulse, and on the hour, as Big Ben strikes, the pulse builds in tempo to create a beautiful, dramatic display. This choreography doesn’t just animate the sculpture, it connects it to the rhythm of the city itself, weaving Beacon into London’s sense of time, history and presence. The result is a moment of shared experience that transforms light into something emotional and immersive.
Sustainability was key in this project, with recycled glass and repurposable parts. How does sustainability influence your wider design practice today?
Sustainability has always been central to my approach, in both the materials I use, and in creating designs with longevity and purpose. Working with Materials Assemble and Brokis allowed us to use upcycled glass in a way that feels both innovative and beautiful. Just as importantly, the installation was designed to have a life beyond its initial display. After it’s dismantled, each recycled glass shade will be transformed into a limited-edition table lamp, allowing the project to continue its story in people’s homes. I believe design should evolve with responsibility, and Beacon is a step forward in that direction. I also love the idea that the installation lives on in people’s homes and in other environments
Your studio has produced over 100 designs since 2007, all crafted in Britain. How has East London shaped the identity of your brand?
Since I was a child, I always had this feeling of wanting to be in the centre of things. Back then I wasn’t so sure exactly what that meant but as I grew older, I understood it was about becoming at the centre of things culturally. This is why I moved to London as soon as I was 18 and this is why I set up my studio in Shoreditch when I created my brand. East London has always been a place of incredible creativity and culture, and it’s been the foundation of our studio since the beginning. The area’s energy, its history of furniture making and its constant reinvention continue to inspire my work.
You’re known for surreal, experiential exhibitions. What role do immersive storytelling and spectacle play in how you connect with audiences?
Storytelling is fundamental to my design process and I want people to step into a world, not just view a product. Immersive experiences allow for deeper emotional connection and spark a sense of wonder. I believe spectacle can be a powerful way to communicate ideas and feelings and ensure that the work resonates with people on both a visual and emotional level. I always felt when seeing exhibitions that presented furniture and lighting, why couldn’t it be communicated in the same way that a performance or art could.
Your work often balances classicism and modernity. How do you decide when to lean into heritage versus pushing into futuristic design?
I believe there’s richness in both the old and the new, and I’ve always been fascinated by the tension between the two. Each project is an opportunity to explore that dialogue, deciding where nostalgia serves the story and where innovation needs to take the lead. It’s about finding a balance that ultimately feels timeless. Although I’m a modernist at heart, you will always see some thread of historical design within every single piece that I’ve ever created. Often, it’s not even immediately apparent to the eye, however when people look at my work, they often have a notion that they might have seen it before but not quite in that way. What I believe they are sensing in that moment is that thread to the past that creates a sense of classicism and therefore a familiarity with the product instantly, which I like.
Winning awards like British Designer of the Year and the Queen’s Award is huge. How have these accolades impacted your perspective as a designer?
They don’t necessarily impact my perspective as a designer, I think most designers or artists will tell you that they don’t produce their work in order to receive such accolades. However, it is always nice to feel like you are being recognised for your work and I suppose it serves as a reminder of how far the studio has come and gives everyone in my team the confidence or motivation to continue evolving and pushing the boundaries.
Your pieces are retailed worldwide, yet always hand-made in Britain. Why is local craftsmanship such a vital part of your process?
We have our own factory in Barking where we produce all of our pieces. Many of the parts are made all over the world but everything is assembled and produced and manufactured in East London. I am very proud of this because I feel it enhances everything we do from the perspective of craft and manufacturing. It also allows us to be able to quality control to a higher level and ensure that we don’t have tonnes of stock sitting on the shelves or large quantities of partially empty crates or packaging being flown around the world. It’s a much more sustainable practice to have our own space and to produce in Britain.
Looking beyond Beacon, where do you see the next big leap for Lee Broom — more landmark-scale interventions, or fresh directions in product design?
I’ve collaborated more than I ever have this past two years and have developed things that have been on my list for quite a while, such as Beacon. I see more of the same thing happening over the next few years. I feel as a designer and an artist I am only just scratching the surface of what I would like to do and what I believe I am capable of creating. It’s incredibly exciting and I feel hugely grateful to be able to do what I do.