Krishna Mistry
This year, UK-based lighting design practice Mistry Lighting celebrated its fifth anniversary. Founded and led by designer Krishna Mistry, this small studio has grown extensively in its infant years, not so much in physical size, but in reputation and calibre of projects.
darc editor, Sarah Cullen, took the opportunity to sit down with Krishna Mistry to discuss her career journey so far, her transition into business ownership, and to understand her studio’s approaches to design within the hospitality sector – a field in which it excels.
Born and bred in Northwest London to immigrant parents – her mother from India and her father from Kenya – Mistry went against the family’s wishes for her pursuing a career as a doctor, lawyer, or accountant. Rather, she went on to chase her dreams to study interior design. “Telling them I wanted to study Interior Design at university came as quite a shock! Though they soon came around once I promised I’d get a “proper job” at the end of it.
“I wanted to study Interior Design because I’ve always loved art, it’s something that’s always come naturally to me. My grandparents were carpenters who would carve the most intricate designs into wood, so creativity and craftsmanship have always been part of our family.
My sisters and I grew up painting all the time, it was how we expressed ourselves. My favourite hobby growing up and I’ve never let that go.”
It was at this time that Mistry’s love for lighting design was sparked. “During my degree in Interior Design at the University of Portsmouth, I used to play with light and shadow a lot, focusing particularly on how shadows could create drama and depth within a space. That experimentation fuelled my fascination with lighting. I realised that light has this almost invisible power to shape how people experience a space. A well-lit room could feel warm, intimate, or expansive, and I wanted to understand why. That curiosity led me to Buro Happold, an international integrated consulting, engineering and advisory firm, where I discovered both the technical and creative depths of architectural lighting.
“I started as a junior lighting designer at Fagerhult. That was my first step into the world of lighting. I worked on a range of retail projects and the company really spent time training me, but after a couple of years, I was ready for a change and found an opening at Buro Happold. I knew the projects would be larger and I was ready for that next step up in my career. I started working there in 2012 and it was from that point, I was hooked; lighting became my language.
“Working at Buro Happold exposed me to large, complex projects that involved multiple disciplines and often took years to move from concept to construction. It was an incredible training ground, I learned very early on how essential teamwork and clear communication are when so many specialists are involved.
“Every project required close collaboration with structural engineers, MEP consultants, acoustics team, architects, and, of course, the client team. Lighting design had to be deeply integrated, every detail mattered, from coordination with ceiling systems to the precision of mounting positions and glare control.
“Those early years taught me not just about the technical side of lighting, but also about patience and coordination.”
In addition to her passion for design, Mistry is also a worldwide traveller who seeks adventure and inspiration from all corners of the globe. “In 2016, I took a sabbatical from work and backpacked around the world for a year. It was truly the trip of a lifetime. Travelling is still my biggest source of inspiration; I love experiencing food, culture, and how different places use and perceive light. And yes, sometimes you’ll find me jumping out of planes too!
“Nowadays, when I’m not travelling, I’m mothering a very energetic toddler who keeps me on my toes and shows me what real multitasking looks like.”
Reflecting on her earlier days as a designer, Mistry reveals that she was fortunate to work with some of the biggest names in the architectural industry from an early stage. “I was lucky enough to work with architects such as Zaha Hadid, Richard Rogers, and Adjaye Associates, names I had studied and admired for years. To be involved in their projects so early on was a real honour.
“It was Tadao Ando’s work that truly caught my attention; his use of daylight is so powerful yet executed with such simplicity. That balance between light, form, and emotion was where my inspiration really began.
“I was quite lucky to have joined a team at Buro Happold that was already working on some incredible, high-profile projects. One of the first was the King Abdullah Financial District (KAFD) Metro system in Riyadh with Zaha Hadid Architects, an extraordinary building with complex, organic forms. It was a real challenge to light a space like that, especially at a time when flexible LED technology didn’t yet exist. It pushed us to be inventive and precise.
“With Richard Rogers, I worked on the Maryah Plaza development in Abu Dhabi, where we were involved in the lighting for the penthouse, façade, and external landscape, all of which demanded a balance between architectural integration and visual impact.
“One of my personal favourites was the Latvian Museum of Contemporary Art with Adjaye Associates. I had never lit an art gallery before, so I spent time visiting galleries around London to study how artwork was illuminated. The building had pitched ceilings, which made lighting the art particularly challenging. We modelled the space extensively and produced numerous lighting calculations, using different products to find the best solution.
“Today, I’m inspired by collaboration, whether that’s architects, artists, or even chefs. I love how each discipline has its own rhythm, and lighting has this unique ability to tie them all together. Travel continues to be a huge influence, too. I’m endlessly fascinated by how light takes on a different character wherever you go, the gentle warmth of daylight in Asia versus the cooler, more restrained tones that play across London’s architecture.”
Following her time at Buro Happold, Mistry went on to be Senior Lighting Designer at Light Corporation Group for a couple of years before the world changed drastically for all.
“In 2020, I was working on a series of restaurant projects (lots of Nando’s) when I was made redundant due to widespread restaurant closures during the global Covid-19 pandemic. It was such a surreal time with the industry at a standstill; I didn’t think anyone would be hiring. So, I decided to take a leap of faith, set up on my own, and see what happened.
“It was a life-changing two weeks. I lost my job, got married, and then set up Mistry Lighting!
“Work came very organically, mostly through word of mouth. I reached out to everyone I knew, setting up Zoom calls when we couldn’t meet in person. I’m extremely grateful to all the clients who trusted me with their projects; their support is what got me here – along with my family, especially my husband, who’s my constant sounding board.
“One project led to another, and within two years, I was at full capacity, even turning down work. I eventually started working with a business coach because, truthfully, I had no idea about the business side of running a business. It has been a steep learning curve, but a rewarding one.
“I still have moments of imposter syndrome, but looking back at everything that’s been achieved – the projects, the collaborations, the growth – I feel incredibly proud of how far I’ve come.”
Discussing this pivot in her career to becoming a studio owner, Mistry tells darc about her initial goals, expectations, and realities. “When I started, my goals were simple: to build meaningful relationships, create work I’m proud of, and keep learning. I didn’t set rigid targets, but I did hope to reach a point where people came to Mistry Lighting for its distinctive approach. I’m proud that we’re at that stage now, and are recognised for a thoughtful, personal way of working.
“The learning curve has been steep, and I’m still learning every day! When you run a small studio, you wear every hat: designer, project manager, business developer, social media manager, and accountant. It’s a lot to juggle.
“One big realisation for me was that a business isn’t truly sustainable if it can’t run without you. I’ve learned to lean on freelancers and collaborators more, bringing in support when needed. You really can’t do it alone, and that’s been a huge shift in how I operate.
“Running your own business can also be quite lonely at times, but I’m grateful to be part of an industry where people are genuinely supportive and generous with their advice. Having that network makes such a difference; it reminds you that even if you work independently, you’re never really on your own.
“We’re really lucky to work in such a social and supportive industry. There are so many opportunities to stay connected, through communities like Women in Lighting, the SLL, and the ILP, as well as events hosted by Light Collective. The [d]arc awards and LiGHT expo are also brilliant occasions to catch up with fellow designers and celebrate great work.
“It’s not just about the lighting industry, either. Attending wider networking events is so important, especially when you run your own business, you never know who you might meet or where the next collaboration or client opportunity will come from.”
Looking through Mistry Lighting’s portfolio, it’s clear to see that hospitality projects are a strong offering. “Some of my hospitality projects capture what I love most about lighting – spaces where light supports the brand story without overpowering it. One that stands out is Cut & Craft Manchester, a Grade II-listed restaurant where we layered soft, concealed architectural light with decorative fittings to create warmth and rhythm within the heritage fabric.”
When asked whether Mistry Lighting has a particular design identity when it comes to hospitality projects, Mistry says the studio doesn’t necessarily have “a single signature style”. “Each space is different, and that’s what keeps it exciting. I take the time to understand the client’s vision and the story they want to tell, then tailor the lighting to suit. It’s always a collaboration.
“Our approach is architecturally sensitive and emotionally driven. Every project begins with understanding how the space should feel, the story it wants to tell, and then we build layers of light to support that. It’s all about balance: atmosphere and function, beauty and efficiency, creativity and control.”
When it comes to balancing storytelling, functionality, and guest experience, Mistry Lighting implements a state of hierarchy. “Every space has a heartbeat, a focal point, and a rhythm, and lighting helps orchestrate that. Functionality underpins everything, but storytelling gives it soul. The best results happen when those two aspects are inseparable.
“It also comes down to really understanding the space, how it makes you feel, and how you want others to feel within it. That emotional connection guides every design decision.
“I believe lighting should feel effortless. In hospitality, people remember how a place made them feel, not what fittings were used. I aim to create atmospheres that are warm, authentic, and aligned with the brand identity, where lighting enhances mood, complements food and music, and shapes a complete sensory experience.”
Working across both architectural and decorative lighting design and specification, Mistry sees the two components as equals in a project setting. “Architectural light defines the structure and function, while decorative light brings intimacy and character. The key is restraint, using decorative pieces with purpose, not as embellishment. It’s about layering what’s revealed, what’s hidden, and what’s left in shadow.”
Noting one particular project in which decorative lighting made a transformative impact on the overall design narrative, Mistry reflects on her work for Gina, a small restaurant in London, which was completed earlier this year. “I worked closely with the clients, who are also the chefs, to shape the lighting narrative. The interiors were stripped back and crying out for feature pendants, so we collaborated with designer Naomi Paul to create beautifully hand-woven lights that complemented the space without distracting from the artwork on display. Without them, it would have looked more like an art gallery!
“The decorative lighting was crucial in creating a rich, intimate dinner-time ambience, paired with handmade wall lights. Using tactile, crafted materials brought warmth, texture, and depth to the interiors, transforming what was a simple space into one that feels layered and inviting.
“In general, clients today are more design-literate and value-driven. Guests expect environments that feel considered and personal, not just “Instagrammable.” There’s a real appetite for warmth, tactility, and authenticity, and lighting plays a huge role in creating that.”
Looking ahead, Mistry delves into the current industry trends that are influencing design. Examining the roles of technology, wellness, and sustainability and their abilities to shape the future of design, Mistry says: “These are no longer separate conversations; they’re intertwined. Technology allows us to be more precise; sustainability keeps us accountable; wellness reminds us why it matters. The future lies in subtlety, designs that are smarter but quieter, where technology serves human experience rather than spectacle.”
Innovations and attitudes that Mistry is particularly looking forward to for hospitality design touch on the controllability of lighting and local craft. “I’m excited about the growing accessibility of tunable white and adaptive lighting systems in hospitality, tools that genuinely enhance mood, comfort, and energy. At the same time, I love seeing a return to craftsmanship in decorative lighting.
“We’re working with clients who really value handmade light pieces and understand the meaning they bring to a space. There’s something so special about that; it creates a deeper connection between the design, the maker, and the atmosphere of the room.”
Regarding what we can expect from Mistry Lighting over the coming years, Mistry discusses her dream job, growth opportunities, her measure of success, and the advice she would pass on to anyone considering starting their own lighting design studio. “There’s so much potential in smaller, experience-led spaces, independent hotels, cafés, and cultural venues that prioritise intimacy and storytelling over scale. Working with a small bakery chain recently, for example, showed how good quality lighting can transform everyday spaces, creating warmth and a genuine sense of home.
“I’m excited about continuing to collaborate with passionate clients and exploring new sectors while staying true to what we love. The unknown is the exciting part; I put no limits on where we can go next. I want to keep the studio small enough to stay personal, but ambitious enough to keep evolving. Anything is possible.”
If the sky were the limit? “I’d love to design lighting for a boutique hotel. I’m a sucker for a good hotel, so lighting one would be an absolute dream! And, if I’m really dreaming big, a superyacht is also on the bucket list. I love a challenge.
“For me, success isn’t measured in money. It’s about the projects I get to work on and the people I collaborate with. As a British Asian woman running my own business, with a steady stream of meaningful work, all while raising a small family, I feel proud. That balance, however imperfect, is success to me.”
If you want to start out on your own, “know your why”, she states. “It’s easy to get caught up in what you think you should do, but the most sustainable path comes from being authentic. Be patient, stay curious, and build genuine relationships; that’s where the best work comes from.”
