'Classic design with a twist' is how the designer describes his creations and, indeed, his sources of inspiration are often the overlooked details of yesteryear Britain. His Heritage Boy collection of 2010 included table lamps with bases made from hand-carved tiles referencing the late-Victorian versions cladding pubs and London Underground stations; geometric parquetry coffee tables were accompanied by pendant lamps with internal edges lined with an updated version of a traditional Persian rug pattern. 'I like to distort the familiar and exaggerate details,' he says, seemingly enjoying taking pokes at Britishness and the objects found in the UK's homes of the past.

For last year's London Design Festival the Lee Broom shop was transformed into The Flower Shop, with floral displays set aroundthe space and stock. Photo: Luke Hayes

It's fair to say his traditional-meets-contemporary references coupled with his support of struggling British manufacturers armed the designer with a strong story across his communications. His timing was ripe as, post-2008 crash, the mood in design had definitively switched to an appreciation of the past.

For last year's London Design Festival the Lee Broom shop was transformed into The Flower Shop, with floral displays set aroundthe space and stock. Photo: Luke Hayes

There was a sort of collective desire to salvage and support local skills and traditions. Broom was doing so with contemporary relevance and an optimism for which many were attuned, not least the media. He has always been sharp with his messaging, developing named collections with tangible stories, perhaps a nod to his time in fashion.

For last year's London Design Festival the Lee Broom shop was transformed into The Flower Shop, with floral displays set around the space and stock. Photo: Luke Hayes

Furthermore, he gets great satisfaction dreaming up and realising the scenography for his collections, down to the very smallest of details. 'For me, it's not just about product but also thinking about how they're going to be presented, the music that's playing, the kind of atmosphere, every part of the experience.' He pauses, and then adds: 'I've always been able to visualise things clearly. My brain works that way.'

For last year's Milan Design Week, Broom took over a street of disused shops and created The Department Store to showcase 25 new pieces. Photo: Luke Hayes

His studio, in Electra House on Rivington Street in Shoreditch, has hosted a number of collection presentations since he moved there in 2010. During the London Design Festival each September, the studio undergoes transformation - perhaps a moment for the theatrics of his past to come into play. Not a huge space, the studio nevertheless throngs at the opening party each year as revellers cram in for a cocktail-infused appreciation of Mr Broom and his work.

For last year's Milan Design Week, Broom took over a street of disused shops and created The Department Store to showcase 25 new pieces. Photo: Luke Hayes

Milan Design Week in April 2012 was a coming-of-age moment for the company with the mounting of the show Public House in the newly founded Ventura Lambrate district. Marking five years of his brand, Broom brought together all of his signature pieces and recreated a British pub complete with deconstructed oak panelling, etched glass and an ornate wooden bar shipped over from England. The effect was disorientating and raised a smile from visitors as an antidote to the slick and shine of neighbouring presentations.

In Broom's recreation of a British pub, The Public House show, in 2012's Milan Design week, his handcrafted Crystal Bulb, with its reference to traditional cut-glass, debuted. Photo: Courtesy of Lee Broom

At that show, he launched the Crystal Bulb - a handcrafted light that had a pattern hand-cut into the surface of the crystal using a traditional technique found on old whisky glasses and decanters. Sold individually or with a variety of fittings, the product was an instant hit and marked the designer's first foray into a more affordable product bracket. Whisky in hand, buyers from around the world were snapping up the bulbs from his pub and contract commissions rolled in. The knock-on effect to his entire collection was measurable too, not to mention a broadening of his international reach.

In Broom's recreation of a British pub, The Public House show, in 2012's Milan Design week, his handcrafted Crystal Bulb, with its reference to traditional cut-glass, debuted. Photo: Courtesy of Lee Broom

The UK is his strongest market along with the USA, but he cites Australia and Sweden as surprisingly buoyant for the brand. Broom visited Australia a few years ago, a move that opened many doors for him. 'There is a passionate group of people who want to support and import European design,' he enthuses, but then counters: 'On the other hand are the replicas of European design shrouded in stringent laws that mean we can't do anything about someone creating a Lee Broom replica website or product. In a weird sense, once you start to be replicated, your brand and your name become better known, and people who would always buy the authentic products tend to buy more of them.'

In Broom's recreation of a British pub, The Public House show, in 2012's Milan Design week, his handcrafted Crystal Bulb, with its reference to traditional cut-glass, debuted. Photo: Courtesy of Lee Broom

It's important to point out that Broom doesn't operate alone. His partner Charles Rudgard handles all manner of business matters as commercial director together with a team of 18, freeing up Broom's time to focus on design and production. 'When Charles came in, he created a sustainable structure that allowed the company to grow so that we weren't just operating hand-to-mouth,' he recalls. 'In 2012, we were suffering growing pains, which is a good problem to have as long as you know how to handle it and find solutions. Charles has a brilliant business mind. His full-time involvement has allowed us to take more risks as we bounce more ideas off each other. Every creative person needs that - some kind of support, a mentor...' Somewhat coy, he admits: 'As a designer, we're not always best at figures and reading spreadsheets.'

His 2010 collection Heritage Boy included lamps and furniture featuring hand-carved tiles referencing late-Victorian style tiles and Persian rug patterns. Photo: Courtesy of Lee Broom

Growing pains overcome, the past few years have seen a string of achievements for which, through his modesty, Broom is clearly proud. He's picked up numerous awards including the prestigious Queen's Award for Enterprise, added several new collections to the brand's repertoire and extended his studio to incorporate a store for both trade and public. His Department Store showcase in Milan last year was the most ambitious yet, converting a street of disused shops into a series of interconnected vignettes. A theatrical pastiche in a monotone of his signature grey, this was the backdrop to 25 new pieces and was, by all accounts, a triumph.

His 2010 collection Heritage Boy included lamps and furniture featuring hand-carved tiles referencing late-Victorian style tiles and Persian rug patterns. Photo: Courtesy of Lee Broom

In the eight years since launch, his design style has shifted to become less decorative and more graphic and sculptural, some might say sexier and more seductive. Recent products have embraced greater tactility in the choice of materials and a touch more luxury. Marble meets glass, polished metals shine in geometric forms, everything is imbued with weight and solidity.

His 2010 collection Heritage Boy included lamps and furniture featuring hand-carved tiles referencing late-Victorian style tiles and Persian rug patterns. Photo: Courtesy of Lee Broom

He credits his background for his determination and drive: 'You don't go to theatre school for 10 years without having an ambitious mentality drummed into you.' Broom, with his boyish good looks, exudes charm and confidence enlivened by a broad and somewhat cheeky smile. Despite the mounting responsibility of his growing business, he seems relaxed on the cusp of his 40th birthday. 'We're a growing business and in order for it to continue growing I've had to learn how to relinquish control. It's a difficult thing to do,' he concedes, 'particularly the creative part.'

Lee Broom, now entering his 40s, feels that the design industry is one in which you can remain relevant as you age

'As I enter my 40s, it feels like I'm entering into my prime in a way. I'm lucky to have a team that I work with to take my designs and turn them into tangible items. This is really rewarding and challenging,' he says. Pondering his future, he states: 'We're lucky to not be in an ageist industry -- you can keep working into old age and remain totally relevant. The older you get, the better you should be.'