1. Your work bridges strategy with immersive storytelling. How do material choices factor into your creative process when building enduring and adaptable brands?
My creative process has always put quality materials front and centre. I try to build a sense of respect for the materials we use, as this creates tangible, sensory connections that people remember. When building a brand, one of the first questions I ask our clients is, "How should this look, feel, touch, smell? When someone walks into your reception, or picks up your book, what feeling do you want to impart?"
In the early days of my career, I was fortunate to work on many high-profile print projects. That experience gave me a solid understanding of how various print processes and materials communicate emotion. From finishes like hot foil, letterpress, die-cutting, and embossing to unique bookbinding methods like Japanese stitching and section sewing, these techniques built my appreciation for how print materials can perform.
Today, the same principles apply when creating interiors, products, or out-of-home advertising. We strive to do as little as possible to the materials, aiming for a balance of materials and processes. I believe that flooding a page with colour or wrapping an interior in style starts at a disadvantage. As they say, "Simple is smart."
2. The E Co. rebrand is visually anchored in Fibonacci patterns. What led you to use this mathematical structure, and how did you translate it into a tactile and digital material system?
The E Co. brand centres on the living environment. Their work revolves around financial systems and how they can be leveraged to drive sustainable change. One of our first insights was that mathematics sits at the heart of their operations. It’s their starting point—everything is measured, graded, and improved over time, following a natural balance and rhythm.
Fibonacci’s patterns became a way to visualise the invisible—the hidden frameworks found in every organism on Earth. Our goal was to make these patterns beautiful and accessible for a lay audience. To bring people into the E Co. narrative, we created a series of living textures—from coral reefs and shells to plants, flowers, and rivers—mapped against Fibonacci patterns. This approach helps demonstrate how E Co. uses their expertise to measure often overlooked elements.
3. When designing for impact-led organisations, how do you evaluate the sustainability credentials of the physical materials used across brand touchpoints, like print, packaging, or merchandise?
We only work with materials, processes, and suppliers that meet our environmental criteria. If they can’t meet our standards, we don’t work with them.
In the UK, the paper and print industries are well-regulated, with a growing shift towards traditional, low-impact processes like letterpress. Previously harmful inks and cleaning chemicals have evolved—now many are low-toxicity. Companies like FoilCo and GF Smith provide measurable data about their products’ impacts. Combined with quality printers such as Glasgow Press or Pressicion, clients can see a full impact assessment—from chemical use to end-of-life recyclability.
This same scrutiny applies to our interior design and branded merchandise. We run an annual audit of our suppliers and their supply chains to ensure ongoing compliance. Though it’s additional work, our clients value this commitment and share our goals for planet-friendly solutions.
4. With your emphasis on ethical design, how do you ensure that your sourcing of materials—be it paper stocks, inks, or digital assets—aligns with the broader values of the clients you serve?
As part of our annual audit, we ask suppliers how they’re innovating. It’s not enough to meet today’s standards—we want to know what’s coming next. In the digital space, our tech partners explore solutions like reduced water use for server cooling or decreased server lag, which in turn reduces electricity consumption.
This ties into larger concerns: AI’s projected water usage could hit 6.6 billion m³ by 2027, and its electricity demands are enormous. With electricity often sourced from fossil fuels, we are committed to partnering with firms that pursue true innovation.
5. For a studio focused on meaningful design, how do you integrate material experimentation into client work without compromising usability or scalability?
During our Research and Exploration phase, we cast our net wide to identify materials that enhance our design. This ensures our recommendations are driven by brand truth, not cost. We develop a holistic brand palette covering colour, texture, and form.
These material principles guide our final designs. We ensure scalability across different regions without compromising quality or brand voice.
6. What challenges arise when designing for global audiences—such as with E Co.—in ensuring that materials and formats are both culturally sensitive and environmentally responsible?
We love working with global brands. While logistics can be complex, the opportunity to create cross-cultural impact is rewarding. We ensure thorough research and choose materials that align with our design values. The principles defined in the Research and Exploration phase help us avoid insensitive or inappropriate choices.
7. Many of your projects span digital and physical formats. How do you approach consistency in material expression across these domains, especially regarding tone, tactility, and accessibility?
In every branding project, we define a materials palette that spans print, digital, and experiential formats. The same design principles apply across both domains. For example, when designing for Blackadders, we aligned the digital palette with their physical spaces—lightweight signage and lighting echoed the tactility of print.
8. When briefing collaborators—such as printers, web developers, or photographers—how do you specify materials or techniques that uphold your studio’s commitment to conscious design?
We lead the art direction but always collaborate closely with our partners. We bring the creative vision and challenge boundaries, while our partners bring deep technical expertise. For photographers, we specify textures, lighting, and focal length in the brief, but always seek their input. With printers, we rely on their knowledge of materials and production techniques. While we sign off on the final deliverables, we recognize the value of industry specialists.
9. In developing physical brand assets, such as books, signage or tote bags, how do you assess trade-offs between durability, ecological impact, and aesthetic value?
Aesthetic value is always achievable—that’s the easy part. The challenge is respecting the materials. We start with the right materials and let the design evolve from there. This ensures that the final product is durable, ecologically sound, and less likely to become waste.
10. Looking ahead, how do you foresee sustainable material thinking influencing the design and branding industry, and how is LBD Studio positioning itself in response to that shift?
We’re always looking forward. Our processes are in constant reinvention as we monitor new industry developments. Sustainability is at the core of our business, and staying relevant means never standing still. It’s not enough to be "sustainable" by today’s standards—we must anticipate tomorrow’s challenges.
