Guest Blog: Oscar Munro

From childhood days spent surrounded by sketchbooks and swatches to sourcing discarded seatbelts in scrapyards, Oscar's journey into fashion and design has been anything but conventional.

With a creative upbringing, a passion for storytelling through materials, and an eye for giving waste a second life, his work sits at the exciting intersection of craft, sustainability and emotional expression. We sat down with Oscar to talk about his design roots, signature style, and what’s next on the horizon — including exciting new collections, collaborations, and a deepening exploration of garment-making.

Can you tell us a little bit about your background and what led you into the world of design and sewing?

I come from a design background — both my mum and dad are designers. My dad is a product designer and ran his own business, so I was always surrounded by his amazing sketch work. That definitely had a big influence on me. My mum was a textile designer and worked for a brand called Georgina von Etzdorf, which mainly designed scarves. I remember being really young and being around all these fabric swatches, experimental samples, and just this whole creative environment. It really left an impression on me.

At school, I didn’t really know what I wanted to do. I didn’t get the grades to stay on for sixth form, so I ended up going to college and studying art and design — which made sense given my background. I originally thought I’d go into product design, but I didn’t enjoy it. I didn’t connect with fine art either, but I really loved fashion. That’s when I started sewing and haven’t stopped since.

How would you describe your signature style and what influences your aesthetic the most?

My aesthetic is heavily influenced by the materials I use, which are always waste. It’s a total contrast to something like the red carpet or the catwalk — I’m often in scrapyards looking for seatbelts, old leathers, or other discarded materials. I might go looking for one thing but find something else that's been worn and aged, and that becomes the starting point for a new piece.

Using waste material means I’m never starting with a blank canvas. The material already has a story, a texture, a past. There’s something really inspiring about that — the idea that you’re continuing a journey rather than starting fresh.

In terms of my signature style, I’ve developed a cutting method that I call the “fourth dimension of cut.” It might sound a bit abstract, but it’s something I first explored at university. One example of this is the women's sound wave trousers on my website. They feature blue segments inspired by visualising sound waves and military medal ribbons. I’m really looking forward to exploring this technique further in future collections.

What's a typical day like in your studio or workspace?

Honestly, it changes all the time. I travel between Manchester and Altrincham, where I work with a few seamstresses. Recently, I’ve been spending a lot more time on my laptop — replying to emails, sorting admin — which feels a bit ironic when you think about how much of my work is hands-on and craft-led.

An ideal day for me would just be spent at the machine, sewing and creating something new. That’s when I feel most in my element.

You're based in the beautiful city of Chester — how does your location inspire your work, if at all? And can people buy your pieces locally?

Yes, absolutely. You can find my work in a Beepo pop-up shop on Saint Werburgh Street, right opposite Chester Cathedral. It’s a really exciting location, especially because I’ve got bags coming out this summer made from upcycled Chester Cathedral banners. There are already a few in the store, but they've sold really well, so I’m restocking soon.

There’s also a lovely shop in Hoole called Honeysuckle — it’s actually a florist, but they stock some of my pieces too.

That’s it for Chester at the moment, but I’m working on getting stocked in more local stores. The city has definitely influenced my style. I absolutely love Chester — it’s where I was born (in Hoole), and I feel really connected to it. The architecture, the history, the spiritual feel of the place — all of that feeds into what I do.

It’s a totally unique and creative city. I think most people who live here really care about it. There’s such a feel-good atmosphere, and honestly, I think Chester has helped shape me as a person. The people are kind and supportive, and there’s great food, great places to drink — I’ll probably be here for most of my life!

What’s been one of your favourite or most memorable pieces you've designed so far?

That would be the Soundwave women’s flares. They were part of my final year project at uni, and they’re really special to me. They marked the moment where I felt like everything clicked — both creatively and technically.

Funny story, my tutor later told me that I was actually the worst at sewing when I started. I even tried to switch courses at one point because I hated it! But she convinced me to stay, and over time, I grew to love it. Those flares were the first thing I made that I was truly proud of. They represented all the time I’d put into learning, the development of my signature technique, and a creative idea that really worked.

They’ve had a lot of attention, and I’m planning to make more soon. You’ll be able to find them online.

Do you have any tips for someone just starting out with sewing and design?

Absolutely. I’d say the biggest thing that helped me was learning to cut patterns. If you understand how something is constructed and how it fits together, sewing becomes much easier. You just need to get familiar with the machine, but if the pattern makes sense, the rest follows.

If you’re a total beginner, start simple — something like a cushion is great. It’s just a square, but it teaches you about seams, zips, and structure. Plus, it’s a blank canvas to get creative with, or keep minimal if you prefer.

What are your essential sewing tools you couldn’t live without?

Top of the list is an awl — although I’m never sure I pronounce it right! It’s such a handy tool. I use it constantly to help feed fabric through the machine. It gives me control over both the top and bottom layers, so they feed through evenly. That helps avoid one layer ending up longer than the other, which can throw things off.

A good pair of snips is also essential. I use them all the time for clean, precise cuts. And of course, a solid pair of fabric shears — always. But the awl is a bit of an insider trick. It’s great for prodding fabric through the machine when your hands just aren’t precise enough.

Another tip? Always press your fabric well before sewing. And most importantly: don’t be afraid to get it wrong. The stuff I made when I first started was honestly awful — I used to just hack things together. But that’s how I learned. Mistakes are part of the process. They’re ingredients for success.

Are there any sewing techniques or tips you’ve learned over time that changed how you work?

Definitely. One big thing is to focus on cutting first. If you’ve got a well-cut pattern, sewing becomes so much easier. Understanding how a piece fits together really builds your confidence.

Also, it’s okay to experiment and mess up — that's how most of my learning happened. You don’t have to make perfect garments from the start. Just keep going and be kind to yourself during the process.

What fabrics or materials are you loving working with at the moment?

Right now, I’m really into working with repurposed seatbelts. They stitch beautifully, especially on my Brother walking foot machine — it’s a Brother LS2-800A (or maybe 8000A!). 

I also love using hot air balloon offcuts — they’re fantastic for lining bags. And recently, I’ve been sewing with banners from the Manchester Art Gallery, donated from their Unpicking Couture exhibition. It’s such an exciting project — those bags will be available to buy in their shop.

Finally, what’s next for you? Any upcoming projects or collections to watch out for?

Yes! Keep an eye on my Instagram — I’ll be dropping more pieces from the abstract-style collection soon, and I’ll also be pushing further into garments.

Bags have been my staple — they’re accessible, useful, and great for reusing materials — but my dream is to create expressive pieces for the catwalk. Bags are practical, but I want to push my work into more emotional, conceptual territory too.

The Manchester Art Gallery collaboration is a big one, and I’m also working on getting into some new stockists, which will be announced on my website soon. There’ll be a full list of where you can find my pieces.

So yes — stay tuned, and thank you so much again for the support.

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Oscar’s work reminds us that design doesn’t always start with a blank canvas — sometimes it begins with a scrap, a story, or something that’s already had a life. His approach is both grounded and imaginative, balancing accessibility with artistic ambition. Whether he’s stitching repurposed seatbelts or dreaming of the catwalk, his commitment to creativity, sustainability, and craft is clear in everything he makes. With new stockists, gallery collaborations, and abstract pieces on the way, we can’t wait to see what comes next.

Thank you, Oscar, for such an inspiring and honest interview.