The art of illumination: Lee Broom’s design philosophy

In the realm of contemporary interiors, few designers use light as dramatically as Lee Broom. His South London apartment doubles as a living gallery for the designer’s distinctive lighting pieces, each one a deliberate conversation starter. From milky glass orbs to marble sconces and glass chandeliers trimmed in glinting metal, Broom’s creations are at once functional and sculptural, shaping spaces with illumination rather than clutter.

A converted Victorian fire station serves as the stage for this interplay of light and shadow. High arched windows, cast-iron beams and original brickwork provide the backdrop for modern minimalism softened by ambient glow. For Broom, every fitting is trialed at home to ensure it performs beyond the showroom. “Lighting transforms an atmosphere. It can be highly emotive,” he says. His London space proves that point at every turn.

From stage to studio: Lee Broom’s evolving design philosophy

Broom’s path to design was anything but linear. A childhood spent performing with the Royal Shakespeare Company gave him an early understanding of presentation and spectacle. Later, a chance encounter with Vivienne Westwood propelled him into fashion design and eventually into interiors. This fusion of disciplines informs his approach today, an avant-garde attitude balanced with a devotion to craft and durability.

Brutalist architecture left an indelible mark on Broom during his upbringing in Birmingham. He recalls the imposing forms and the way light could transform cold concrete into warm enclaves. This fascination with minimalism and drama can be seen in pieces like the Chant chandelier, made from glass bricks that nod to Brutalist lines. The emphasis is always on fusing robust materials with delicate detailing, resulting in lighting that feels both timeless and contemporary.

Signature pieces that spark conversation

Some of Broom’s designs have become icons in their own right. The Hanging Hoop swing chair, for example, shot to fame when Beyoncé featured it in her 2020 Black is King visual album. Now nicknamed the “Beyoncé chair,” it sits center stage in Broom’s living room, inviting guests to interact with design in unexpected ways.

Another milestone was the Crystal Bulb, introduced in 2012. Its blend of traditional cut-glass with modern fittings turned a simple concept into a bestseller and earned it a place in the Design Museum’s permanent collection. Such pieces reflect Broom’s dedication to experimentation. Working with European glassblowers, stonemasons in Carrara or metalworkers in the UK, he often starts with a bold idea and refines it through collaboration and craft.

A living showroom in South London

Broom’s apartment is more than a home; it is a test lab and showroom rolled into one. White, monastic kitchens meet twinkling mosaic bathrooms. Scandinavian gym equipment and a salvaged German railway clock coexist with sparse bookshelves and pastel-toned art. Everything is chosen with lighting in mind. Dark floors bounce subtle reflections, while metal tiles in the guest bathroom scatter light across hard surfaces.

Trial and error happen here first. Strip lights, chandeliers and sconces, each fixture’s glow is tested for warmth and balance before it joins his collection. The result is a space that feels curated yet personal, modern yet warm.

While London remains the designer’s creative retreat, Broom’s reach is global. Nearly half of his sales come from the US, where an apartment doubles as a showroom in New York. His installations at events like Salone del Mobile in Milan draw crowds who pause and stay silent, mesmerized by how lighting alone can transform a cavernous gallery into a meditative sanctuary.

Sources:
Observer

Photos:
Lee Broom’s website