Industry Insights: David Irwin

How did you get into the industry and what is your background?
After graduating in 2007, I took part in the Designers in Residence Programme at Northumbria’s School of Design, which gave me the space to further explore my design approach. I established my own studio in Newcastle upon Tyne in 2011 and have been working independently ever since. My background is rooted in a hands-on, materials-led approach, with a focus on creating functional, engaging products that are built to last.

What are you best known for?
My approach centres on simplicity, functionality, and sustainability, with a strong emphasis on materials and manufacturing processes. Some of the pieces I’m best known for include the Hardy Chair for Another Country and the Working Lounge for Deadgood - both of which are marking their 10-year anniversaries this year and continue to resonate with clients and users alike.

What was the idea behind the Identity and Strata Collection, which previously received a Design Guild Mark?
The Identity and Strata collections were both born from a desire to celebrate materiality, craftsmanship, and place, expressed through contemporary textile design. Identity, and particularly the Kin fabric, explores the relationship between human touch and mechanised production. 

We used the fingerprints of Bute’s own employees to create a dynamic, swirling pattern, an abstracted representation of individuality and collective effort. The inclusion of nepp yarn adds depth and texture, while the multi-directional nature of the design makes it especially practical for upholstery, easing the alignment of seams and transitions across complex surfaces.

Strata, on the other hand, takes its inspiration from the island of Bute itself, specifically its unique geological layers. The collection references the colours and textures of the island’s sandstone formations, with patterns like Mason drawing directly from the chisel marks left by stone masons on buildings such as Mount Stuart. 

Both Identity and Strata mark a significant milestone for Bute as the company’s first ever Jacquard weaves, and it was a real honour to see them recognised with a Design Guild Mark in 2021, as well as the Jonathan Hindle Prize that same year.

How has being awarded a Design Guild Mark impacted your company? What has it meant to you?

Being awarded a Design Guild Mark is a real honour. It’s a prestigious recognition that celebrates not just the outcome, but the dedication, collaboration, and thought process that goes into creating meaningful, enduring design. To have work acknowledged by such a respected panel is incredibly rewarding, and it reinforces the values we hold as a studio - craftsmanship, material integrity, and purposeful design.

I’ve been fortunate to receive an award for all three categories and each award has marked a significant moment in the studio's journey. The Davenport Bureau, awarded during Clerkenwell Design Week, represents a long-standing collaboration with Another Country, a client with whom I first received a Design Guild Mark back in 2016 for the Hardy Chair. These projects reflect a shared commitment to quality and a belief in the value of slow, considered design.

More recently, the Oslin lighting collection for Heathfield & Co was recognised in the lighting category, and the Identity and Strata textile collections for Bute Fabrics were awarded both a Design Guild Mark and the Jonathan Hindle Prize. This particular recognition was especially meaningful as it was my first venture into textile design. To have that work not only acknowledged but celebrated at such a high level is both humbling and encouraging.

Ultimately, these awards help raise the profile of British design and reinforce the importance of innovation, sustainability, and excellence in the design industry. I’m grateful to the clients, collaborators, and craftspeople who help bring these ideas to life, and to the Design Guild Mark for shining a light on that work.

What advice would you give to a young British designer looking to make their mark on the industry?

Don’t be afraid to take your time. It’s important to really get to know the industry, understand how it works, and take the space to develop your own approach to design - allowing that to evolve naturally can lead to more meaningful work.

If you can, focus on building long-term relationships with brands and manufacturers. The most rewarding collaborations tend to come from mutual understanding, when both sides appreciate each other’s strengths and work through challenges together. That kind of partnership often leads to better, more considered products.

What are you currently working on and what are you excited for in 2025?

I’m currently preparing to launch new products with Origin and Deadgood at Clerkenwell Design Week, which is always a great platform for connecting with the industry and sharing new work. I’m also exhibiting at 3 Days of Design in Copenhagen this June as part of Proof of Concept - an exhibition I co-founded with Atelier 34 and Smith Matthias. It’s an exciting opportunity to showcase experimental work and explore new directions alongside a group of like-minded designers.

For more information on David Irwin's work, visit his website here.