Architect-turned-designer Will James Bryan blends playfulness with craftsmanship, creating tactile, vibrant furniture and objects through owmi studio, the design collective he co-founded. Drawn to the immediacy of furniture design compared to architecture, Will explores a wide range of materials—from wood and metal to repurposed objects—with a focus on small-batch, handcrafted production. His work is known for its bold colours, unexpected forms, and a touch of nostalgia, inviting interaction and curiosity.
1. Can you tell us a bit about yourself and your artistic journey?
Educated as an architect, I started designing objects and furniture in 2021 and was fortunate enough to have my first piece, the Button Stool, published in a few magazines. I have been designing ever since through a mixture of commissions, exhibition work and self-initiated collections. I publish my work through a design collective I established with friends called owmi studio.
2. What inspired you to pursue your craft? Was there a defining moment or influence that sparked your passion?
The immediacy of it, especially in comparison to the architectural profession – you can go from sketch ideas to finished forms in a matter of months, compared to the years it takes in architecture. I had always enjoyed physical modelmaking through my degree studies; during my Masters I prototyped a chair, and that had always stayed in the back of my mind as a creative strand to explore further down the road.
Your craft
3. How would you describe your work in three words?
Playful, tactile, colourful
4. What materials or techniques do you use, and why are they important to your process?
My work spans various materials and techniques, from woodworking, metalwork, upholstery, as well as repurposed objects. I frequently collaborate with various craftspeople across the UK, all of us focusing on handmade, small-batch production. When designing, I model everything digitally first and render it to test materiality and form – this allows me a huge amount of creative control before I start prototyping and allows me to communicate my ideas through imagined digital scenography.
5. Can you tell us about a favourite piece you’ve created and the story behind it?
I was commissioned to design and fabricate a Swing for the atrium of a beautiful house in Highgate – it’s always rewarding to work with a client who gives you creative freedom, and with interior designers that align with your design ethos. In this case both boxes were ticked and we were all very pleased with the outcome, the Doughnut Swing.
Creative process
6. What does a typical day in your studio or workshop look like?
Currently there is no typical day! I am in the process of finishing the construction of my workshop, which is super fun but means that my flat is rather chaotic…
7. Do you have any unique rituals or habits that help you stay creative?
No, but I am a night owl, often at my most creative in the evenings!
8. How do you handle creative blocks? Do you have any strategies or tips for overcoming them?
Some days my brain is overflowing with ideas, and on other days the creative juices just don’t flow and that’s ok! I try not to fight it in those less-inspired moments and focus on more prosaic aspects of my work. When I need to work through and refine a concept, I have a trusted network of friends across various disciplines who are always incredibly helpful to bounce ideas off, some whose taste I admire and some who bring a technical focus that I sometimes overlook.
Challenges and successes
9. What’s the biggest challenge you’ve faced as a maker, and how did you overcome it?
Like a lot of designers, I struggle with social media, finding it difficult to post regularly while simultaneously acknowledging that self-promotion is necessary to reach an audience. Once my workshop is finished, I intend to document my process more thoroughly rather than just the finished products. I also struggle with the commercial side of being a small business, remembering to value my own time, alongside the ever-increasing cost of materials.
10. What’s been your proudest moment or achievement so far?
The novelty of complete strangers choosing to spend their hard-earned money on my designs, or commissioning something bespoke, is still a joy and a surprise 3 years in!
11. What’s your favourite quote you’ve ever heard about your work?
Who said it, or what was the name of the publication?
British Vogue described my work as ‘covetable’, which is a lovely, generous word to use!
Inspiration
12. Where do you draw inspiration from for your work? What sparks your imagination and creativity?
Often ordinary objects – my first solo exhibition ‘Chocolate Box’ was full of furniture inspired by food, pairing natural brown hues with pistachio/caramel coloured fabrics. My ‘Doughnut swing’ I upholstered in a spongey, green boucle that resembled moss.
13. Do you have a favourite artist, maker, movement, or tradition that has influenced your craft?
I love postmodernism, and any artist that doesn’t take themselves too seriously. Contemporary architects whose work I admire includes Office S&M, Nimtim Architects, Studio Mutt amongst others. I also keenly follow EBBA Architects, and appreciate how founder Benni Allan works across various creative disciplines.
14. How does colour influence your practice; is it an important part of your process? Do you have a particular palette or favourites? Any go-to sources for colour inspiration?
I love working with colour, particularly pairing timbers with either fabrics or metalwork. Once I am happy with a form, I often consider multiple colourways, some more neutral and others way more poppy and vibrant. Inspiration wise, historical Art & Design books always throw up surprising combinations.
Perspectives and goals
15. What role does your environment play in shaping your creativity?
I was very fortunate to grow up in a family of designers and architects – in particular I was inspired by my Grandad’s self-built mid-century home, so have always been motivated by the idea of creating and honing my own environment.
16. What do you want people to feel when they experience your work?
A sense of nostalgic familiarity, and little surprise.
17. What are you currently working on, and what excites you most about it?
Two things in particular – firstly a commission for a huge bookcase in a grade 2 listed property. Although daunting, there is a lot of scope to create something genuinely original and slightly mischievous.
Secondly, an unnamed collection I am currently working on involves casting resin-bound aggregate, a surface treatment usually used for residential driveways, into sculptural and monolithic forms. Think little chunks of the Barbican!
Advice and reflection
18. What advice would you give to someone starting out as a maker?
Document your process, and don’t be afraid to be too earnest. Have a business plan, even if it’s not highly specific you should set yourself targets to aim for.
19. If you could go back to the start of your career, what advice would you give your younger self?
Put yourself out there more – no one really knows what they are doing, it’s all smoke and mirrors!
Closing thoughts
20. If you could collaborate with any artist, past or present, who would it be and why?
I would love to design a chair with Eileen Grey!
21. Where can people find your work, and how can they support you?
I post on my Instagram @williamjamesbryan and upload to my website www.owmi.co.uk! Support me by giving me a follow, or even better commission something! The weirder the better!
Will James Bryan and owmi studio approach design with a playful, tactile, and colourful ethos, often drawing inspiration from everyday objects and postmodern influences. Their pieces, such as the Button Stool and Doughnut Swing, reflect a deep appreciation for form, materiality, and storytelling. Through owmi studio, Will collaborates with UK-based craftspeople, using digital modeling to refine ideas before bringing them to life.
Their creative process thrives on spontaneity, with inspiration drawn from food, nostalgia, and architectural textures—the latest collection even incorporates resin-bound aggregate, reminiscent of Brutalist concrete surfaces. Despite the challenges of self-promotion and rising material costs, Will and owmi remain motivated by the joy of seeing strangers invest in their designs.
Currently, owmi studio is working on a bespoke bookcase for a Grade II listed property and an experimental furniture collection. Whether designing a swing for a private home or pushing the boundaries of material innovation, their work always aims to surprise and delight.
Follow Will’s work and owmi studio on Instagram @williamjamesbryan or explore owmi studio for commissions—the weirder, the better!
