[d]arc dialogues: making the most of manufacturer relationships
“Meeting manufacturers is like bringing new oxygen to our creative brain: the technology is moving forward so fast... which can only be overcome by continuous meetings with leading manufacturers.”
In the ever-evolving world of lighting design, staying abreast of the latest innovations and maintaining strong connections with manufacturers is crucial. We spoke to Arianna Ghezzi of Lighting Design International to explore how meetings with manufacturers, such as those at [d]arc sessions, play an integral role in the design process. Ghezzi shares valuable insights on fostering productive relationships that benefit both designers and suppliers, as well as what influences a specifier’s product selection.
What value do manufacturer meetings, like those at [d]arc sessions, bring to your design process?
Meeting manufacturers is like bringing new oxygen to our creative brain: the technology is moving forward so fast, and being always updated regarding new products, it’s a challenge which can only be overcome by continuous meetings with leading manufacturers.
The speed-dating format is unique. How does it compare to more traditional ways of discovering new products or brands?
The [d]arc sessions format suits a designer’s busy schedule: in a couple of days, multiple meetings are scheduled, and the quick speed-dating format allows for keeping the attention high and focused. During the [d]arc sessions, there is also a chance of discovering manufacturers which are local to the event’s location, so it’s convenient for getting a broader market knowledge.
What do you look for in a first interaction with a manufacturer? What makes a lasting impression?
Deep technical knowledge from the manufacturer representative, availability to provide customisation to standard products and proactiveness in assisting us as specifiers. The biggest added value is for the suppliers to be reachable, as we have millions of questions, so be ready to know your products inside out.
Have you ever discovered a product or company through one of these short meetings that ended up playing a key role in a project?
Absolutely – many times! One example is discovering Tekna’s lanterns, particularly the versions wrapped in leather. I was impressed by the craftsmanship and immediately wanted to incorporate that level of detail and materiality into a project. During the sessions I attended, I was also struck by the level of miniaturisation our industry is achieving. The mini joinery lights from Corporate Friends and DGA stood out in particular. I’ve since specified DGA’s Nano Tini I in several projects – it’s a versatile fitting that works beautifully across both residential and hospitality settings.
What’s so valuable about [d]arc sessions is the exposure to such a wide range of products – from interior and exterior to decorative – all in one place. It creates a real opportunity for immediate application, bringing fresh ideas and innovative options into our lighting schemes. It’s also worth mentioning that these meetings often provide a chance to reconnect with manufacturers we may have lost touch with, which can be just as valuable as discovering new ones.
How important is it for a manufacturer to understand your design vision and project needs? What helps build that mutual understanding early on?
It is paramount for the manufacturers to understand the project programme, the budget and the requirements in terms of our design aspirations and understanding which ranges of products we are looking for – this makes our understanding of their offerings as easy as possible. Sometimes, as specifiers, we might feel overwhelmed by the offering and being able to just talk to the manufacturers through our requirements, without endless scrolling of the catalogues online, is a plus.
What kind of technical or creative input do you most value from suppliers during a project?
From a technical perspective, we value clear data, delivered outputs, available ltd files and intuitive list performances. Additionally, having these available digitally or in some other easily reachable format is important too. It’s paramount to be able to review samples, and the quick availability of those is very important. From a creative point of view, it is valuable when manufacturers share how the products might have been used previously, especially if in an alternative way or out of the out-of-the-box way. Manufacturers not only need to stimulate us as designers with new products, but also show present images where we appreciate products being installed in real projects.
Do you think manufacturers are adapting well to changing design priorities, like sustainability, modularity, or reuse?
There’s certainly a strong and growing effort across the industry, with increasing attention being paid to sustainability, reusability, and the development of modular or interchangeable fixtures. The latter is particularly valuable – not only from a sustainability perspective, but also as a highly effective design tool. We all know that conditions on site often differ from initial expectations, and having the flexibility to swap out modules, lenses, or optics provides a level of adaptability that is crucial in real-world applications. As specifiers, we should begin to prioritise manufacturers who demonstrate a genuine commitment to sustainability, so that together we can move towards a more environmentally conscious and responsible approach to lighting our projects beautifully and intelligently.
How do you balance innovation and reliability when specifying products you may not have used before?
Striking the right balance begins with a thorough review of the product’s technical specifications. However, this must be followed by a hands-on evaluation. Examining a physical sample is essential to assess the quality of assembly, the light output, the colour consistency, and whether the beam aligns with the manufacturer’s claims. Dimming performance is another key aspect we always test.
We also consider the robustness of the fixture – how well it’s finished, whether it feels durable, and whether accessories or modular components can be added or removed without compromising its integrity. Beyond the product itself, it’s important to understand how it has performed in previous installations, including reliability over time, warranty coverage, and the manufacturer’s approach to repairs or replacements if needed.
Practicalities also play a significant role. We check the availability of accessories, lead times for delivery, and whether the product fits seamlessly within the project timeline. Packaging is another indicator, not only in terms of sustainability but also how well it protects the product. Lastly, we review the clarity and usability of the installation manual, as this can greatly impact the efficiency of on-site work by the electrical contractor.
Are there common pitfalls you see in how manufacturers approach lighting designers, things you wish they’d do differently?
One of the most common pitfalls is a lack of understanding of the type of projects a particular consultancy typically works on. I would strongly encourage manufacturers to familiarise themselves with our portfolio before reaching out, so they can offer products that are genuinely relevant to our work. We’re sometimes approached with ranges that don’t align with our design focus or technical requirements, which makes the conversation less productive from the outset.
Another improvement would be in how new products are introduced. Rather than relying solely on catalogues or email announcements, it’s far more valuable for us to receive a working sample for review. While we understand manufacturers want to generate early interest, our priority is to evaluate the actual product – how it performs, how it feels, and whether it meets our standards.
It can be quite frustrating when we’re excited by a new product but can’t specify it because it’s not yet in full production or stock. Having tangible, review-ready samples available early on would go a long way in helping us make informed, timely decisions and ultimately benefit both sides.
What do you think lighting designers could do better to foster strong supplier relationships?
As lighting designers, we can play a more active role in strengthening supplier relationships by clearly communicating our evolving needs – what types of fittings we specify most often, and what gaps we’re noticing in the current market offering. If there’s something we feel is missing, it’s important to share that insight. These conversations can happen through meetings or informally, during networking opportunities, but they’re essential for driving product development in the right direction.
Ultimately, manufacturers are the bridges between our creative vision and the project execution: we as designers also have a responsibility to keep communication channels very open to make sure we have a strong relationship in place, for the best outcome of the project. Working closely with manufacturers means also collaborating on new or bespoke fittings that might have use in the broader market, we’re contributing to the ongoing innovation of the lighting industry, which benefits everyone.Top of FormBottom of Form
How much influence do manufacturer relationships have on the early concept stages of your designs, or are they more relevant further down the line?
I would say the relationship is more relevant further down the line, although there have been occasions where I got so excited about a new product – and if it was the right project – thinking about possible uses during the concept stage, especially if the product was creating a special lighting effect or a feature of sorts.
When it comes to product sustainability or lifecycle thinking, how transparent are manufacturers nowadays, in your experience?
My experience is that manufacturers are being more transparent and share more information these days, of course, as designers, we also appreciate that some information and data might be very challenging or expensive to get hold of. What is recognised is also the effort towards sustainability and the gathering of the lifecycle information and data. There has also been a huge effort from manufacturers to run CPDs or share their knowledge on regulation, or make sure designers are heard and supported; this should be much appreciated as a joint effort towards more sustainable lighting design.
Are there any changes you’d like to see in how designers and suppliers collaborate in the future?
I’d like to see the relationships between lighting design and manufacturers grow stronger. Manufacturers can be a valuable support to us as designers, and designers shouldn’t hesitate to rely on manufacturers more for help. It would be particularly helpful if manufacturers shared more insight from past projects, such as lessons learnt, challenges encountered during supply or procurement, and how these were resolved. This kind of transparency helps us all improve and better anticipate potential issues.
From a designer’s perspective, we want our specifications to be protected, and by working closely with the manufacturers, we can find a way to make sure this happens. It would be interesting to create more opportunities to have open dialogues about what we need as specifiers, what we feel the market is missing. These conversations could help shape the next wave of innovation in lighting, driven by real project needs and creative ambition.
What advice would you give to a young lighting designer attending their first supplier meeting or trade event?
Touch everything! This aside, don’t be afraid to ask lots of questions, take lots of pictures and make your mental catalogue of fittings and manufacturers that you have found interesting. Plus, they should create and nurture this amazing connection we should have between specifiers and manufacturers, working closely together to deliver amazing projects.
If you're interested in finding out more about what [d]arc sessions does then follow the link www.darcsessions.com or alternatively manufacturers can contact j.pennington@mondiale.co.uk for any queries or further. information
www.lightingdesigninternational.com
Pharos Architectural Controls announces appointment of Teodora Marian
(UK) – British lighting controls manufacturer announces the appointment of Teodora Marian as Regional Sales Manager for Central and Southern Europe.
Marian holds a Master’s degree in Nuclear Power Engineering and more than 20 years of experience designing complex systems in both the UK and Romania, including more recently eight years specialising in lighting and control solutions. Marian offers a range of technical expertise and industry knowledge.
Her previous roles include working with leading industry brands such as Lutron, Enttec and Architectural FX, providing support to designers, integrators, and developers across the UK and Europe.
Commenting on her new role, Marian shares: “I’m truly excited to become part of Pharos. Over the years, I’ve had the opportunity to work with some great brands and professionals who have helped shape my career. Having followed the impressive growth and development of Pharos, I’m eager to help bring their innovative lighting control solutions to even more markets across Europe”.
Pharos CEO, Simon Hicks, adds: “We’re thrilled to welcome Teo to Pharos. Her strong engineering background, hands-on knowledge of lighting controls, and passion for international sales make her a fantastic fit for our team and for driving sales growth across the central and southern European region”.
darc dialogues: Andrea Braescu
“I know I’ve succeeded when my work evokes the joy and serenity that being in nature brings.”
Meet Andrea Braescu, an award-winning interior artist, whose handmade porcelain light sculpture blends emotional depth with functionality. Based in Romania, Braescu’s work channels the beauty and calmness of nature, turning interiors into peaceful sanctuaries. Braescu primarily works with fine bone china, a ceramic material valued for its translucency and durability. When lit, the delicate, handcrafted components such as petals and leaves, produce a soft, atmospheric glow. One of her notable works, Grinko, features 700 individually crafted porcelain leaves suspended in a flexible arrangement, resulting in a sculptural installation that blends organic forms with architectural structure.
In a new Q&A series called darc dialogues, Braescu shares insights into her journey, discusses her design influencers, her connection with nature, and her journey with lighting design.
When was your first interaction with lighting and what was it about that experience that led you to your career now?
I’ve always felt a pull towards light and how it shapes our mood. My first real interaction came when I was still a student. I remember seeing the translucency of porcelain for the first time, how it could hold light yet look so delicate. It was magical for me and that moment stayed with me. It made me realise I wanted to bring the serenity and spirit of nature indoors through light and form.
You’ve described your work as capturing the essence of nature – what drew you to nature as your primary source of inspiration?
Nature has always felt like the purest source of harmony. Growing up, I would spend hours just observing the veins of a leaf or the way sunlight moves through branches. Nature’s quiet perfection inspires me endlessly. My work is my way of bringing that same calm and wonder into the spaces we live in.
Is there a particular landscape, season, or natural element that consistently informs your work?
Leaves are a constant for me. They’re such a perfect example of nature’s balance between chaos and order. I’m drawn to patterns like dappled light through trees or the gentle movement of water. Spring holds a special place in my heart because it’s full of renewal and quiet energy.
How do you translate such an organic, intangible feeling into a medium like porcelain?
It always begins with observation and sketching moments that catch my eye. Then comes the hands-on part. Each porcelain leaf or petal is shaped by hand. There’s a beauty in allowing the material’s little imperfections to stay just like in nature. When light passes through the porcelain, it reveals the softness and movement, I want people to feel.
What is your biggest installation to date, or the one that left you feeling the most accomplished?
One of my most technically complex pieces is Nimbus, a cloud-like sculpture with hundreds of hand-crafted porcelain leaves for a private residence in London. Another proud milestone was my large-scale public installation in New York, which has around 155 porcelain leaves, some finished in gold. Both projects pushed me and my team to balance delicate craft with bold engineering, and seeing them come to life was incredibly fulfilling.
Could you walk us through the journey from concept to completed installation?
Every piece starts with an idea, often sparked by a shadow, a pattern of light, or a texture in nature. I sketch, then shape each porcelain element by hand. The firing process demands patience because porcelain can be so temperamental. Once everything is ready, we assemble the pieces and test how they interact with light. The final installation is about precision and making sure it appears to float naturally in the space.
Why porcelain – more specifically, why fine bone china? What does it offer that other materials don’t?
Porcelain’s translucency is like nothing else. Fine bone china lets light filter through in a way that feels alive, soft and warm. It’s also one of the most challenging materials to work with, which keeps me humble and always learning. Each leaf or petal ends up with its character, and that’s what makes it feel real.
Are there any challenges or surprises that come with working so intricately with light and porcelain?
Definitely. Porcelain has a mind of its own. Pieces can crack or change shape in the kiln even when you think you’ve done everything right. Then there’s the engineering side, making sure all the wiring and support stay hidden, so the sculpture looks like it’s grown there naturally. It’s always a balance of fragility and precision.
You’ve said your work aims to evoke “the joy and serenity of being in nature.” How do you measure whether you’ve succeeded in that goal?
I know I’ve succeeded when someone stands beneath a piece and feels a bit lighter, as if they’re part of a forest or a dream. That quiet moment means everything to me.
How much input do clients have when commissioning a bespoke piece?
Every commission is a conversation. I listen carefully to what a client wants to feel in their space, but I always stay true to the organic nature of my work. It’s about finding the right balance, so the piece feels alive and at home.
Are there any dream spaces – museums, public areas, or buildings – that you would love to create an installation for?
A boutique hotel in Paris, especially in a restored 19th-century building, is a dream of mine. I’d also love to create larger pieces for botanical gardens or museums, places where people already go to feel inspired and connected with nature.
You mention pushing the boundaries of material and technology. Can you share any recent explorations in that area?
My team and I are always refining how we combine modern engineering with the handmade spirit of the work. Lately, we’ve been experimenting with lighting that shifts with the time of day or mood. But it’s important that the technology never overshadows the organic soul of each piece.
What does a typical day in your studio look like?
My studio is my sanctuary. A day might start with sketching or testing new forms. I spend hours shaping porcelain leaves and petals by hand alongside my team of designers and engineers. Some days are all creative flow, others are about solving practical problems. I love that balance.
How do you stay creatively energised in your work and avoid repetition?
Nature never repeats itself, so I try not to either. When my ideas feel too predictable, I go back to observing. A simple walk outside can completely reset my mind. I also welcome mistakes; they often lead me in new directions.
If you weren’t working in lighting, where else do you think you’d be?
I’d still be working with my hands, probably sculpting on a larger scale or creating land art that interacts with nature. Whatever it would be, it would have to honour the same sense of wonder I find in light and porcelain.
What’s next for you creatively? Any upcoming projects or shifts in direction?
I’m working on a new series inspired by how water moves and how light plays through it. I’m also dreaming of larger outdoor installations that feel like you’re stepping into a living sculpture. There’s still so much to explore with porcelain, light and nature. I feel like I’m only at the beginning.
Signify collaborates on real estate decarbonisation initiative
(UK) – Lighting manufacturer Signify announces its collaboration with Pineapple Partnerships and Schneider Electric to create Pineapple CoRE, an initiative designed to accelerate decarbonisation in the industrial property sector.
The initiative unites Schneider Electric’s expertise in digital automation and energy management, Signify’s lighting solutions, and Pineapple Partnership’s system-change consultancy to help property owners and operators overcome common barriers in decarbonisation, such as finance, fragmented supply chain and skill shortages.
The first to benefit from CoRE model is Edwards Vacuum, part of the Atlas Copco Group, implementing a suite of energy interventions at its Clevedon manufacturing site. Changes include deployment of digital twin by Schnieder Electric, new solar PV installation, LED lighting upgrades and loT-based control by Signify, and Pineapple Partnership’s innovative financing to accelerate capital investment.
These interventions aim to reduce the site’s energy consumption by 35% and cut emissions by more than 80%, supporting the company’s wider goals to reduce Scope 1 and 2 emissions by 46%, and Scope 3 by 28%, by 2030.
Chris Adams, Site Manager at Edwards Vacuum, says: “Working with Pineapple Partnerships has been a game-changer in accelerating our carbon reduction efforts. Their expertise enabled data-driven decisions and fast-tracked our adoption of technologies such as solar panels and air source heat pumps.”
Commenting on the collaboration, Nico van der Merwe, Cluster Leader at Europe West, Signify adds: “Signify thrives on partnerships, and CoRE is a powerful example of how collaborations can unlock decarbonisation at scale. Upgrading to LED and connected lighting is a highly effective way to reduce energy use and emissions. Combined with financial and delivery innovation, CoRE empowers clients to act now.”
Managing Director of CoRE, Rupert Snuggs, comments: “We are delighted with our collaborators, as we take the next step on our journey in decarbonising one million buildings in the coming years.”
Andrew McKenzie, Commercial Leader - Consultancy UK&I at Schneider Electric, adds: “This collaboration offers a valuable opportunity to support commercial and industrial clients in boosting operational resilience and achieving net-zero goals. We will provide a clear roadmap for those facing ageing infrastructure, rising energy costs, and the need to modernise, helping them build a more efficient, optimised and safer estate.”
Lighting design contest opens for historic cathedral
(Spain) – The City Council of Santiago de Compostela has announced the launch of an international competition to design the lighting scheme of the area surrounding the historic Cathedral, a renowned UNESCO World Heritage site.
As part of the city’s Tourism Sustainability Plan, the initiative will place a strong emphasis on sustainability, heritage preservation, and the global projection of creative talent. Organisers have stated that the initiative aims to redesign the nighttime landscape with an approach that is emotionally resonant, calm, healthy, and cohesive with the historic significance.
Entries will be evaluated by an international jury of leading industry figures, including: David Chipperfield (architect), Teresa Tàboas (architect and academic), Manuel Antonio Castiñeiras Gonzàlez (Professor of Art and History), Roger Narboni (lighting designer and founder of Concepto), Esther Torellò (editor of Lightecture and Spanish ambassador for Women in Lighting).
Submissions will be judged on their creativity, technical quality, energy efficiency, and economic feasibility. Designers will have access to extensive technical resources, including a complete documentation package and high-precision 3D digital modelling of the Cathedral’s surroundings.
Six shortlisted proposals will receive €18,150 (VAT included). The winning team will be invited to negotiate a contract, under Article 168(d) of Spain’s Public Procurement Act, to deliver the final project and oversee implementation of the lighting scheme in Praterías Square. The contract is valued at €121,000 (VAT included).
The deadline for submission of conceptual proposals is 19 August 2025 at 23:59 (local time).
Go to compostelanocturna.santiagodecompostela.ga to find out more.
The Power of Narrative in Design with Tony Matters, Faber Design
https://vimeo.com/1092744531
You may well have heard the term ‘narrative’ used about design, particularly within the sphere of hospitality spaces such as restaurants; in this presentation, interior designer Tony Matters of Faber Design, discusses in more detail how the idea has become more widespread in design, even though many clients may not fully understand what it means.
Project Focus - Botree Hotel, London, UK
https://vimeo.com/1092735344
Michael Curry from dpa lighting consultants and Melanie Knüwer from Concrete Amsterdam sit down with Matt Waring to discuss their joint efforts on Marylebone London’s stunning new Botree Hotel, which combines vibrancy and uncompromising standards with a purpose-driven ethos to create a hotel where luxury meets conscious choices.
In Conversation with Alex Dauley
https://vimeo.com/1092732581
darc magazine editor, Sarah Cullen sits down with interior designer Alex Dauley - a storyteller, a visionary, and a passionate advocate for inclusivity in the design world. Her journey into interior design is unique, marked by her fearless creativity, authenticity, and unwavering commitment to breaking barriers. As a champion for diversity and representation, Alex's leadership and dedication shine through in every project, creating innovation and change in the industry.
In Conversation with Sofia Hagen
https://vimeo.com/1092742550
Sofia Hagen x Studio Marmi bring together the latest in innovative 3D printing technologies and traditional craftsmanship to create a timeless design dedicated to mindfulness. Hempla is a meditation furniture set that creates a sanctuary to relax and meditate in a variety of configurations.
Ahead of the Hempla meditation session happening at Design Fields later that day, designer Sofia Hagen sat down with [d]arc media editor Sarah Cullen to discuss the story of Hempla Series so far, her partnership with Zumtobel during Milan Design Week, and what she hopes the future holds for the product.
Project Focus Lina Stores, London, UK
https://vimeo.com/1092738869
Alessio Nardi of A-nrd Studio sits down with [d]arc media editor Sarah Cullen to discuss the design directive behind the stunning conversion of the historical grade II listed building, originally built in 1868 as a bank. The space is made up of a ground-floor all-day restaurant and a former vault basement, which takes on the persona of Bar Lina – an Italian aperitivo bar. Both with their own identities yet blending seamlessly as one.
TUI partners with Signify on store lighting
As part of a wider commitment to reduce its environmental impact, travel company TUI has begun upgrading the lighting in its UK and Ireland retail branches, aiming to improve energy efficiency and support its long-term sustainability goals. Signify’s 3D-printed lighting offered a circular solution, perfectly aligned with TUI’s sustainability agenda.
With over 300 travel agencies across the region, TUI sought a lighting solution that could help deliver a welcoming in-store experience for customers while aligning with its ambitions to achieve net zero emissions and adopt circular business practices by 2050. The company partnered with interiors specialist John Worth Group to design and deliver the upgrade, with electrical wholesaler CEF supporting the supply and specification process.
A key requirement for the project was to reduce energy consumption and material waste without compromising on lighting quality. After evaluating several options, the team selected LED and 3D-printed luminaires developed with recycled and bio-circular materials. These products were custom designed using Signify’s MyCreation online configurator, which allows customers to visualise their lighting configuration as they go. This allowed the lighting to meet the visual and technical needs of TUI’s retail environments and was produced closer to the point of installation to help reduce transport emissions.
The first phase of the rollout included lighting installations in five pilot stores. A mix of panels, rafts, track lights and spotlights was used to provide tailored solutions for each space. These were configured through a digital platform to streamline design and ordering.
Karen Darler, Regional Property Manager at TUI, comments: “We are delighted with the new store lighting, which provides comfortable light levels for customers and staff, while creating visual interest in line with our TUI branding. Meanwhile, the lighting installed attributes to our 2050 net zero target through efficiency and waste reduction, thanks to excellent collaboration and teamwork. The process has been exceptionally smooth, with the projects delivered perfectly on time and within budget.”
Contardi – Hat
Contardi – Hat
(Italy) – Hat collection is the new lampshade archetype born from the collaboration of Italian lighting brand Contardi and designer Paola Navone of Otto Studio.
The lampshade is described as the perfect balance between past and present, drawing inspiration from the 1950s aesthetics and blending it with contemporary design. It comprises a floor, table, and pendant lamps, which are all unified by a white cotton or Tyvek lampshade. Each piece is accented with rope detailing, either wrapped around the metal stand of the table or the floor lamp or used as a suspension for the pendant version.
Dominico Diego of Otto Studio says: “We desired to create a versatile object that could fit harmoniously into context without losing its character. We wanted to design something that was both ordinary and extraordinary, combining simplicity and sophistication, with a playful touch.”
The option for customisation is available, allowing the collection to be adapted to multiple environments, from residential to hospitality.