Meet the New Designers: Holly Munro
New Designers returned to the BDC in London for its 39th year, celebrating the best emerging talent in design. The show brought together 3,000 design graduates from over 100 universities, showcasing their work across a range of disciplines including Fashion and Costumes, Contemporary Design Crafts, Textiles, Ceramics, Glass, Jewellery, Furniture, Product Design, Industrial and Spatial Design, Graphic Design, and Modern/Digital/Motion Art and Illustration.
New Designers stands as a prime destination for discovering new talent and ideas, offering a glimpse into the future of design. darc magazine has highlighted three up-and-coming designers who earned recognition for their innovative lighting designs in a three-part series of Q&As. The first in this series features Holly Munro, a BA Jewellery and Silversmithing graduate from the Royal Edinburgh College of Art. Munro impressed the judges with her ‘Kerama’ lighting collection, inspired by the Kerama Islands in Japan. Her unique pieces are crafted from recycled metal, making them fully recyclable and easily disassembled.
Can you share a bit about your background and what led you to pursue a career in design?
I recently graduated from Edinburgh College of Art with a Bachelor’s degree after completing a four-year undergraduate program. Prior to university, I participated in a portfolio course at the Tramway Visual Arts Studio in Glasgow, which was a transformative experience. This course strongly encouraged me to pursue a path in Design, even though I initially intended to study Fine Art.
The Tramway course stands out as one of the most positive and influential experiences in my Arts and Design education. Navigating the challenges posed by the COVID-19 pandemic at the beginning of my degree and the RAAC concrete issues towards the end, I learned to think creatively and develop innovative solutions. These experiences, though challenging, ultimately enhanced my skills and made me a more resilient and adaptable designer.
In my third year at ECA, I participated and won a competition with the eyewear brand Cubitts. I designed a collection of eyewear using detailed CAD drawings to fine tune my designs, which led to one of my designs being selected to be produced and eventually sold to the public through the Cubitts stores. Additionally, I was chosen for an international exchange to Hiko Mizuno College in Japan, which was an incredible and enriching experience, which helped further my interest into design.
What significance does winning the New Designer Award hold for you, and how will it impact your career?
This award has significantly affirmed the positive feedback I’ve received from the public regarding my design work. After four years of hard work, this recognition is incredibly rewarding and supportive. It gives me the courage to keep taking creative risks and to continue working diligently and knowing that determination truly pays off and can be rewarding through public acceptance and acknowledgment as the New Designer Award has shown. I am hopeful that this award will open new doors and opportunities within the interior design industry.
I am keen to further my work through a design internship or design role where I can further hone my craft and contribute in the design process within projects therefore, the professional exposure will not only be a great learning experience but will further my growth as a designer.
What inspired you to create a lighting collection specifically?
Function has always been important to me, especially for environmental reasons. I believe that creating an object that is both beautiful and functional is a purposeful and meaningful approach to design. My interest in ambient lighting stems from its soothing and natural qualities. Unlike fluorescent lighting, which feels industrial and can give unsettling qualities, ambient lighting can enhance the overall mood and atmosphere of a space. The consideration of ambience and function is crucial in my design process, ensuring that my work appeals both aesthetically but equally contributes positively to the environment it inhibits and can appeal to the consumer.
I have always had a keen interest in interior design, but focusing on a specific aspect, such as lighting, has allowed me to delve deeply into a particular desired field of focus and aesthetic. This specialisation has given me the opportunity to thoroughly explore and refine my design approach. I have also produced design proposals for various other interior objects, broadening my experience and versatility within the field.
Could you elaborate on the inspiration and creative process behind your award-winning design?
During my third year of studies, I was accepted to study at Hiko Mizuno College in Tokyo. The work environment in Tokyo was vastly different from what I was accustomed to in Britain, presenting both challenges and many positive moments. I found solace and inspiration during a solo trip to Okinawa, a region known for its high life expectancy and unique way of living.
Their approach to work and craft deeply resonated with me. I visited the Yomitan Pottery Village and had the opportunity to work alongside local artisans for a day, which was profoundly enriching. The landscape and coastal forms in Okinawa were unlike anything I had ever seen. I made sure to go diving in the coral reef, a surreal experience that greatly influenced my research. I drew a lot of inspiration from the sea life, shells, and coral, which became integral elements in my design work.
Which environment is your product best suited to, and why? For example, the hospitality market, residential, somewhere else?
I envision my work being suited for high-end restaurants and hospitality venues. Venues that value high quality space making, where its elegant and poetic qualities would enhance the evening dining experience and high end hospitality functions. Additionally, I can see my collection fitting seamlessly into bespoke, unique coastal homes, where the designs and forms of the residence would work in harmony with my designs, and equally compliment the surrounding landscape.
Does sustainability and responsible design influence your design choices and processes?
Absolutely, environmental consciousness has been a significant influence in my life, instilled by my parents who imparted strong morals to my sister and me. Over the past two years, I have served as the student Ethical Making Ambassador for Goldsmiths, where I have deepened my understanding of the unintended consequences of design decisions.
With each design choice I make, I carefully consider the environmental impact, whether it involves the materials used or the production processes employed. While I have made strides in integrating sustainable practices into my work, I recognise there is always room for improvement. My practice is continually evolving as I explore new ways to minimise environmental footprint and enhance sustainability. For instance, in creating the Kerama collection, I utilised recycled copper for every individual element. Each piece was meticulously shaped using steel doming tools, pressed onto a flat sheet of cork. This approach not only reflects my commitment to sustainable design but also underscores my dedication to merging creativity with environmental responsibility.
Do you see yourself continuing in the field of lighting design, or do you have other areas of interest you’d like to explore in the future?
Absolutely, I am committed to pursuing a career in lighting design. My passion extends to all aspects of interior design, particularly focusing on creating objects with sculptural qualities. I am particularly drawn to combining diverse materials for lighting, such as ceramics with metal or ceramics with glass. As a designer led by materials, I thrive on working with mediums that allow for organic shapes and textures.
Looking forward, I am eager to explore innovative avenues in design. I am particularly intrigued by the prospect of utilising 3D printing technology to create larger interior objects, potentially using bio-resin materials or clay to push the boundaries of traditional design methods.
What are your aspirations for the next five years?
In the next five years, I envision myself working for an interior design or lighting company that shares my values and vision. While I am open to the possibility of eventually starting my own company, my current focus lies in thriving within a collaborative work environment alongside other designers and makers. I derive great satisfaction from pushing my creative boundaries in this field, as it aligns seamlessly with my passion and feels more like a rewarding pursuit than mere work.]
