With a background in textile design and a passion for sustainability, her work explores how materials shape our experiences - both physically and emotionally. From reimagining furniture as tools for movement to transforming overlooked materials into design resources, Bego’s practice pushes the boundaries of what design can be. In this interview, she shares insights into her creative process, the role of sustainability in her work, and how design can spark social and environmental change.

Your background is in textile design, and you have expanded into materials development and product design. How has your expertise in textiles influenced your approach to product design, particularly in terms of material selection and sustainability?

My background in textile design has given me a deep understanding of materials, their properties, and how they interact with people and environments. Textiles are inherently tactile and versatile, which has shaped my approach to product design by prioritizing materiality and sensory engagement. Textile design also trains you with a special sensibility and an ability to link themes, textures, and stories, allowing me to create products that are not only functional but also rich in narrative and meaning. This has influenced how I consider sustainability - looking beyond just the material itself to its entire lifecycle, from sourcing to end-of-life.

In terms of material selection, I approach product design with the same curiosity I developed in textiles, often questioning conventional choices and exploring alternatives that are more sustainable, whether through circular design principles, bio-based materials, or minimizing composite structures to enhance recyclability. My textile background also brings a sensitivity to texture and structure, helping me design products that foster meaningful interactions with users while embedding a strong material narrative.

At the Young Furniture Makers exhibition, you showcased your piece, Spectral, alongside other emerging designers. Can you share insights into the piece you exhibited and the inspiration behind its design?

Spectral was born from a speculative design approach, questioning how furniture can actively shape movement and transform everyday spaces. More than just an armchair, it encourages dance - using design as a tool to reimagine the home as a space for physical expression. My research explored the history and benefits of dance, as well as how nightlife culture influences our relationship with movement.

Interviews with dancers and choreographers helped refine the design, ensuring the chair supports and challenges the body, turning sitting into an active experience. With at-home fitness booming post-pandemic, I wanted to highlight dance as an equally powerful tool for well-being. Aesthetically, Spectral draws from nightlife and spectrograms - those fleeting, glitchy afterimages of club lights when you close your eyes. The result is a piece that not only invites movement but also captures the ephemeral energy of dance itself.

Your work demonstrates a strong focus on Colour, Material, and Finish, as well as visual design and trend forecasting. How do you integrate these elements into your design process to create products that resonate with contemporary audiences?

For me, Colour, Material, and Finish (CMF) go beyond aesthetics - they are tools to create deeper connections between objects, people, and culture. I don’t just follow trends; I link different types of information that can drive a positive shift in design and society.

Research is key to my process, and I like to expand CMF beyond its traditional scope by incorporating cultural, musical, and media references. This helps me build a broader narrative and create designs that feel both relevant and thought-provoking. In Spectral, for example, I translated the energy of nightlife and dance into material choices, capturing movement and light through layered translucency.

By connecting material innovation with cultural insights, I aim to design products that are visually striking, socially aware, and capable of sparking new ways of thinking.

Having founded and run 'The Lazy Jellyfish' from 2013 to 2018, how did this experience shape your perspective on design entrepreneurship, and what lessons did you carry forward into your subsequent projects?

That project was a huge challenge! I started it with my best friend at the time, and we had no money - just a strong drive to create and build our own practice. That same drive still fuels me today. Entrepreneurship is tough, but it’s also incredibly rewarding. The process of creating, collaborating with suppliers, manufacturers, colleagues, and clients is a continuous learning experience, and that’s what makes it so fulfilling.

One of the biggest lessons I’ve learned is about money - where to find funding and how to invest it wisely. I also gained a deep understanding of production challenges, timing, and the logistics of bringing a product to market. Knowing where to showcase your work and how the industry operates in terms of exhibitions and sales has been crucial. Most importantly, I’ve learned the value of adaptability and resilience - qualities that continue to shape how I approach new projects, balancing material innovation, sustainability, and storytelling while ensuring real-world impact.

As a designer committed to social change and sustainability, how do you address these themes in your work, and what role do you believe designers play in promoting environmental responsibility within the industry?

For me, design is inherently political(like everything), and every material choice, process, and collaboration carries weight. Sustainability isn’t just about using eco-friendly materials - it’s about questioning systems, minimizing waste, and designing with longevity and circularity in mind. My approach often involves exploring overlooked or waste materials, transforming what is typically seen as an environmental problem into a resource.

I also believe that sustainability and social change are deeply connected. Who we collaborate with, where materials come from, and how products are made all have social and ethical implications. That’s why I prioritize transparency and responsible sourcing, ensuring that my projects consider not just environmental impact but also the people involved in production.

As designers, we have the power to challenge industry norms and shift mindsets. Whether through speculative projects that provoke critical discussions or material innovation that offers real alternatives, we can redefine what is considered valuable, sustainable, and necessary. I see design as a tool for questioning and reimagining systems, creating work that is not only responsible but also meaningful and thought-provoking.