What first drew you to product design and what brought you specifically to audio?

I spent much of my childhood bringing ideas to life in all different forms, usually while making a mess in the front room. It was my favourite thing to do, and I always knew that a creative career was in my future. Product design allows me to bring together all those creative areas I’ve always loved.

As for audio, I can’t say it was a lifelong ambition. I love music and spend many of my weekends going to gigs, so finding my way into the industry was a happy accident.

Is there a product you encountered early on, something you used or saw, that you still think about as a benchmark of great design?

I've always been drawn to products that age well rather than simply following trends. The designs I admire most are the ones that still feel relevant years later because they're thoughtful, well-proportioned and built with longevity in mind.

Was working in hi-fi a deliberate choice or something that found you?

It quite literally found me. I had just completed my degree and was exhibiting at New Designers in London when Charles and the design team approached me. We got talking about my project, a radio designed around the idea of authenticity, and from there, I decided to apply for the junior role at MAG.

What was the hardest design problem you had to solve on Silver Series 8G?

Working on a new generation of an existing range is always challenging, especially when you were the lead on the previous one, and I was particularly proud of Silver 7G. We were already in a strong position, so the question was how we could elevate the design even further. The outrigger feet on 8G feel like a real step forward. Bringing design cues from Platinum and Gold into the Silver level whilst maintaining the same strength and rigidity took a lot of development.

Is there a decision you and the design team made that you're particularly proud of during this project?

On Silver 8G, we sharpened some of the edges and moved away from the softer curves seen on the previous trims. They’re small details that might not be noticed immediately, but they have a real impact on the overall design, adding a new level of refinement to the product.

What are you hoping customers will feel when experiencing and listening to this new Silver range?

Our acoustic design team has done an incredible job; they sound fantastic. I hope customers can lose themselves in the clarity of the sound and become completely immersed in what they are listening to.

From a design perspective, I also hope the speakers feel at home in people's living spaces. Refined enough to make a statement, but subtle enough to integrate naturally into the home

Hi-fi is still a heavily male-dominated industry. Has that shaped your experience of working in it?

When I started at MAG back in 2012, I was joining a majority female design team, and that’s still the case today. That has definitely shaped my experience and shown me that there is absolutely a place for women in Hi-Fi.

Do you think diverse design teams make better products, and if so, why?

Definitely. If you want to design products that appeal to a wide range of people, then it’s important to have a diverse design team bringing different perspectives and ideas to the table. Everyone sees things through a slightly different lens, and that variety can only make the design process stronger.