As we head into the heat of summer, things begin to cool down around the studio. Many clients are away for the season, and the punishing humidity here in Houston forces us to take things more slowly. Hopefully, you’re finding more moments of peace, time to reflect, and a few hours to enjoy what’s already the middle of 2025.
Can you believe it? The first half of this year has whizzed by. What you’ll find in this, our third installment of the DesignDash Magazine, is a collection of some of our favorite things from the past 6 months.
I’m most proud of the community that Laura and I have built, after officially launching back in January. The DesignDash community is full of talented, incredible designers, and we’re featuring two of them in this issue: Rhonnika Clifton and April Littmann. We love design and the amazing minds that make it happen, so I am absolutely thrilled to begin honoring the hard work of these brilliant women.
Interviewing one of our own at Laura U Design Collective was a real treat, and we’re publishing highlights in this issue. Megan Strasburg is our Director of Residential Building Design, and I can say with almost 100% certainty that I don’t know another person who connects to clients as impressively as she does.
She truly gets them, anticipating their desires and squashing their doubts with ease. If you’ve ever struggled with the “valley of despair” that looms in the middle of every construction project, you will love her insight.
There are so many women in this issue that I admire (check out the Creative Rituals article for more!), but it’s hard to compete with the investigative journalism of our editor-in-chief, Elizabeth Burton. From tariffs to jet-setting and Milan to the florals on your dining room table, she has written a fabulous set of articles that will keep you informed and compelled.
So, hopefully, you’re enjoying a breather this summer, getting some much-needed time to slow down so you can read this wonderful issue. And if you’re hoping to be a part of the magazine yourself, we happily welcome submissions. Just check out the last pages.
We have been floored by the work we’ve seen so far and cannot wait to publish them in upcoming issues and on the website.
Happy Summer!
THANK YOU FOR READING,
Melissa Grove
DESIGNDASH CO-FOUNDER
IN THIS ISSUE
1.
ADDING FLORALS TO MAKE EVERY INSTALL FEEL EDITORIAL
SOFT GEOMETRY: THE RETURN OF ROUNDED FORMS
TRAVEL DESTINATIONS FOR DESIGN INSPIRATION
4.
FEATURE: RHONNIKA CLIFTON’S KITCHEN RENO
2.
DESIGNING WITHOUT DESPAIR
3.
CREATIVE RITUALS FROM WOMEN, IN THEIR OWN WORDS
5.
FEATURE: CARLO RATTI & THE OLYMPIC TORCH
6.
8.
FEATURE: APRIL LITTMANN’S ORGANIC MODERN RENOVATION
7. WHAT TARIFFS & PRICING VOLATILITY MEAN FOR SMALL STUDIOS
9.
FLORALS FOR SPRING? GROUNDBREAKING.
HOW TO USE FLORALS TO MAKE EVERY INSTALL FEEL EDITORIAL
EVEN WITHOUT A STYLIST.
Yes, florals can be predictable especially in spring But arranged thoughtfully, they truly can be transformative. After all, they add emotion, texture, color, and movement to a space They create focal points, introduce natural shapes, and bring a sense of life that can make even the most carefully curated interiors feel more personal
Of course, the key is to escape clichés and think about scale, structure, and storytelling Before you rush to photograph another space for your portfolio, learn how to elevate your project with florals no stylist required.
Like great interiors, great floral design is all about layers Start with a base dense greenery, branches, or structural stems then layer in smaller, more delicate blooms Mix fresh and dried elements for contrast or pair sculptural branches with soft petals to create depth
Consider the surrounding materials, too: a rough ceramic vase, a marble plinth, or a textured linen tablecloth can all be part of a non-competing composition
Next, play with height and scale Not all florals have to be tabletop arrangements Tall, sculptural branches can anchor a corner or frame a piece of furniture. Low, sprawling bowls of wildflowers can ground a coffee table or wind their way down a dining table.
Think about the architecture of the room and choose vessels that play off it tall urns for entryways, wide, shallow dishes for dining tables, or clustered bud vases for a more intimate, collected effect.
Resist the urge to fill every inch Negative space can be just as impactful as a dense arrangement Leave breathing room around your florals to highlight their shape and shadow or let a single, dramatic branch extend into an otherwise empty area Restraint often feels more considered and editorial, so allow the arrangement to read as part of the architecture, not just an accessory.
“I must have flowers, always, and always.”
Claude Monet
When in doubt, simplify Sticking to a tight color story shades of cream, blush, and rust, or deep burgundies and near-blacks creates a more cohesive, editorial effect Alternatively, a single vibrant color against a neutral room seems intentional and impactful The goal here is to make florals feel integrated, not like a last-minute idea you had after arriving on-site
Perfection can be boring; it lacks dynamism and intrigue Let the twist of a branch, the bend of a stem, or the irregularity of an imperfect bloom simply be Don’t try to control everything Asymmetry adds narrative and life to an arrangement to ensure the space feels more personal and less staged Remember, a slight sense of disorder often reads more confidently than a tightly controlled environment
Vases are classic, but they’re not your only option Wall-mounted flower frogs, ikebana-style dishes, or even wide, shallow ceramics are a bit more artful and unexpected Found objects like vintage jars, stone basins, or sculptural metal stands can add character and help a room feel more curated
Again, florals should feel like part of the space, not just an afterthought For minimalist interiors, choose restrained, architectural arrangements For more maximalist spaces, go bold with layered compositions or trailing vines that reference the upholstery, wallpaper, or drapes. Choose florals that support your narrative.
Not everything has to bloom. Consider large, glossy leaves, sculptural branches, or wild grasses. Palm fronds, olive branches, or eucalyptus can bring texture and volume without the overt romanticism of flowers. This can be particularly effective in more masculine or minimalist spaces where a burst f bl i h bi bi
While real blooms are undeniably beautiful, they also come with a short shelf life and ongoing cost Faux florals, by contrast, are more low-maintenance and long-term but not without their challenges
If designing a vacation home, a high-traffic rental, or a client’s secondary residence, high-quality faux stems might be the more practical choice Just be sure to invest in realistic materials think soft-touch petals, wired stems, and hand-painted details. Don’t be afraid to mix real and faux for a more believable effect.
For primary residences, intimate spaces, or rooms where the client entertains, real flowers typically feel more personal and sensory. Plus, they encourage you to keep things fresh and seasonal, which is part of the charm
Ultimately, it’s about context and intention If you are purchasing florals specifically for portfolio photography or images shared to social media, it’s worth purchasing real cut or living plants.
Context matters, so consider how you will use these project photos in your portfolio, on social media, in emails to potential new clients, in print, and more
That breakfast nook in your most recent project might feel sunny, airy, and cheerful perfectly associated with spring The great room with soaring floor-toceiling windows and pale-neutral upholstery might feel just like summer That moody bar just between your client’s den and butler’s pantry might evoke the intimacy and coziness of wintertime
Think about the perceived seasonality of these spaces when selecting florals for your photography session and consider swapping in a few different arrangements if you want more versatile imagery
Like art, the right floral arrangement can change the entire energy of a room. It can create a sense of seasonality, relate a space to its surrounding environment, or add color and texture without overwhelming the architecture. Employed thoughtfully, florals become part of the room’s vocabulary.
As you plan your next project photography session, don’t just check a box with a basic bouquet or send your intern out for a quick grocery store run Take the time to consider form, scale, color, and context Approach florals as you would any other design element with intention and a clear point of view.
LAURA U DESIGN COLLECTIVE
SINCE 2007, LAURA U DESIGN COLLECTIVE HAS CURATED AND REFINED WHAT IT MEANS TO LOVE HOW YOU LIVE. A MULTI-DISIPLINARY, FULL-SERVICE INTERIOR DESIGN FIRM. WITH EXCEPTIONAL CARE, WE CURATE SPACES THAT CELEBRATE HOW YOU LOVE TO LIVE.
OUR HIGHLY COLLABORATIVE, AWARD-WINNING TEAM WILL HELP YOU ACHIEVE YOUR GOALS FOR A DISTINCTIVE DESIGN, INSPIRED BY WHAT YOU FIND MOST IMPORTANT AND BEAUTIFUL . BASED OUT OF OUR STUDIO IN HOUSTON, LUDC SERVES CLIENTS IN TEXAS, ASPEN, AND BEYOND.
(LEFT) RIVER OAKS MODERN PROJECT, LUDC (RIGHT) RIVER OAKS MODERN PROJECT, LUDC
A SUGAR LAND TRANSFORMATION ROOTED IN TRUST, TEXTURE, AND TIMELESSNESS
Few spaces in the home shoulder as much responsibility or potential as the kitchen It must be practical yet inspiring, timeless yet current, tailored yet inviting to both guests and residents For designer Rhonnika Clifton of RJ Clifton Design + Build, reimagining a 40-year-old Sugar Land kitchen was less about cosmetic upgrades and more about redefining how a space can serve, surprise, and reflect the people who live within it
With a bold vision, a palette rooted in natural beauty, and a mantra of “Design Outside the Lines,” Clifton turned a dated layout into a layered, high-functioning stunner
But this project was not without its challenges; what began as a modest remodel quickly evolved into a full-scale reinvention The original layout was scrapped, structural changes were made, and the material palette once safe and subdued was completely reimagined At the center of it all is a breathtaking slab of White Beauty marble Around it, she built a space that blends rich walnut tones with sculptural lighting, layered textures, and custom details we adore
Despite her busy schedule, Rhonnika made time to sit down with us and share the story behind her most ambitious kitchen project to date
DesignDash: You recently renovated a 3,096-square-foot home in Sugar Land’s Sugar Creek neighborhood What was the homeowner’s initial vision for the kitchen and how did that evolve once you began collaborating?
Rhonnika Clifton: The homeowner’s initial vision was to remodel her kitchen, leaving the existing layout, and incorporating a color palette of earthy greens, rich wood tones, and a touch of black. The problem? The color palette and materials selection were rudimentary and didn’t match the client’s verbal vision of a modern kitchen design.
“Let’s just say... they trusted the process. And the results? Speak volumes.”
Rhonnika Clifton of RJ Clifton Design + Build
DD: You describe your process as “designing outside the lines.” How does that mindset present in this particular space?
RC: This space perfectly exemplifies our tagline: “Design Outside the Lines”! Bringing this phrase to life means styling spaces that feature bold colors, prints, and patterns through paints, textiles, and furnishings.
So, when it came to designing our largest kitchen remodel, I knew we had to infuse that same spirit into a space filled with hard surfaces
DD: How did you balance the mid-century aesthetic with functionality in this project?
RC: Balancing the mid-century style with functionality in this kitchen remodel was straightforward once I successfully communicated my design vision to the homeowners From there, they easily expressed their needs throughout the space.
The wife, a passionate baker, and the husband, an avid cook, both cherished their various gadgets and electronics. They knew they needed sufficient storage to replace their narrow, shallow cabinets and had already chosen their preferred appliance brand. This made our task of combining form and function much simpler.
DD: The White Beauty marble is absolutely stunning What made you choose this stone, and how did you build the rest of the palette around it?
RC: Yes, I couldn’t agree more, the stone is absolutely stunning! During the initial consultation, the clients confidently shared that they’d already selected their materials and simply needed the firm to help pull the overall kitchen design together But the moment I reviewed those selections, my design instincts kicked in They needed elevating, and I knew exactly how to do it.
Enter: White Beauty. I first laid eyes on this masterpiece stone months before at the Kips Bay Showhouse and told myself right then and there, “One day, this stone and I are going to create magic.” So, I asked the clients to trust me. To give me full creative license to refine their selections and present a new, elevated vision at the design presentation. Let’s just say they trusted the process And the results? Speak volumes
DD: The contrast between warm walnut cabinetry and matte black elements feels very intentional but a bit unexpected Can you walk us through your thought process behind that pairing?
RC: I have to give the client some credit here As I mentioned, they came to the table with what they believed were their final material selections green base cabinets, wood uppers, ivory flooring, and black appliances But the moment I reviewed the palette, it felt visually heavy and stylistically dated To bring it into the present, I reimagined the entire scheme: a striking stone featuring rich shades of green, gray, black, and white became the centerpiece
I paired it with light gray porcelain flooring, warm walnut cabinetry throughout, crisp white walls, and layered in matte and polished black accents for contrast and cohesion. The result is a refined, modern space with depth, balance, and edge.
DD: You describe the client as “savvy;” were there any materials or finishes that you had to “sell” them on, or were they on board with your design vision from the beginning?
RC: Yes, the clients, particularly the wife, were quite savvy because, unlike many other clients I’ve worked with before, they came to the table with a clear, tangible vision That early clarity gave me a strong foundation to build on and allowed the design process to move more efficiently and with greater precision
Although the clients initially believed their selections were great, they agreed to trust my refined vision and gave me full creative control to design the space.
DD: This kitchen was completely reframed from its original layout. What were the biggest spatial challenges, and how did you resolve them?
RC: Yes, this kitchen was a full-on spatial transformation. Through thoughtful design, we widened openings, shifted countertops, and made room for a proper working island, something the original layout definitely didn’t allow. It ended up being one of our biggest transformations to date, and not just on the surface. This Sugar Land, TX home is over 40 years old and wasn’t built to handle today’s modern cabinetry So, before we could even think about installing that gorgeous stretch of frameless cabinets, my contractor had to spend a few extra weeks re-framing and reinforcing the walls All worth it to make sure the finished product didn’t just look good, it lasted
DD: Storage appears to be both generous and hidden Can you talk about your cabinetry strategy and any custom features?
RC: Sure! The original cabinets were builder-basic and original to the home, plenty of them However, most were too narrow or too shallow to actually function for the client’s baking dishes and appliances So, our challenge was to create a layout with real, usable storage I mixed in fixed and adjustable shelving, pull-out drawers, and even built a custom charging pantry just for their vacuum And because no family member gets left behind, I designed a custom base niche for the cat’s water and food bowls, with a storage drawer tucked underneath. Aesthetically, I kept the backdrop light, bright, and neutral to let the rich walnut flat-panel cabinets and dark countertops really pop.
DD: There isn’t much natural light in this space but it feels quite airy and open.
RC: No, there’s not much natural light in the kitchen, and that was 100% intentional. Originally, there was a window above what’s now the range hood that let in tons of light, but once I decided to give the clients a new working island (which meant relocating the stove), I knew I’d need that wall for their specified 48” dual range and statement hood. So, down went the window
To offset the loss of natural light, I did three key things: 1) designed a layered lighting plan with overhead task and accent lighting, 2) widened the doorway to the adjacent office and added framed glass doors to pull in more daylight from the glass patio doors in the space, 3) and wrapped one full wall in painted white cabinetry with white walls, a white ceiling, and light porcelain flooring surrounding, all of which bounce light beautifully instead of soaking it up
DD: The fixture over the island is sculptural and striking. What was your inspiration behind that selection?
RC: Thank you! This fixture was a very intentional choice, especially since I made the call to remove the main source of natural light in the space Once I walked the clients through how we’d make up for that loss using layered lighting, I went on the hunt for the perfect ceiling fixture, something that wouldn’t just look good, but would actually “work” It needed to complement the recessed can lights while also pulling its weight as a task light over the island
DD: How involved were the clients in the design process? Were there any “nonnegotiables” from their side?
RC: The clients were very hands-on throughout the design process, but in the best way. They came prepared, had done their homework, and had a solid grasp of construction…they even tackled their demo! Their biggest non-negotiable? The budget. But once they saw what it would take to get a near-perfect infrastructure, we quickly reevaluated and reprioritized to make sure
...the foundation was solid, because great design starts behind the walls. So, an initial $100,000.00 budget ballooned to a final $250,000 all-in budget.
DD: You clearly infused artistic flair throughout; which design detail are you personally most proud of?
RC: This is a tough question to answer because there are so many details incorporated into this kitchen that I love, but if I had to choose one, it would be the cutout detail on the island stone
DD: How does this kitchen reflect the broader ethos of R J Clifton Designs?
RC: This kitchen design and construction is such a great example of what R J Clifton Designs is all about taking what a client thinks they want, digging deeper, and delivering something they didn’t even know they needed It reflects our core belief that everyone is entitled to great design, and though it should be beautiful, it must also be functional, thoughtful, and personal, first! This space tells the story of collaboration, trust, and transformation We reworked the layout, upgraded the materials, and made sure every decision, from the lighting plan to the cat’s custom feeding station, served a purpose At the end of the day, that’s what we do: we create, change, and curate spaces that work hard, feel good, and reflect the people who live in them.
“The result is a refined, modern space with depth, balance, and edge. It ended up being one of our biggest transformations to date, and not just on the surface.”
Rhonnika
Clifton of RJ Clifton Design + Build
DD: As a mentor and coach through The Educated Designer, how does this project reflect the principles you teach others?
RC: This project is exactly the kind of real-world example I share with my mentees through my mentorship and coaching program, The Educated Designer It’s a masterclass in trusting your creative gut, making bold decisions, and not being afraid to pivot when something just isn’t working, even if the client originally thought they knew better
I always tell the designers I coach: “You’re not just there to decorate, you’re there to lead through design.” This awardwinning kitchen design shows how you can take a client’s vision, elevate it with intention, and still keep functionality at the core.
It’s about balancing the art of design with strategy, and knowing when to speak up and say, “There’s a better way, let me show you.” That’s the kind of mindset I push my mentees to adopt, and this project brought that philosophy to life.
DD: What advice would you give emerging designers tackling high-end kitchen renovations for the first time?
RC: My advice? Don’t go it alone! High-end kitchen renovations aren’t the place to “figure it out as you go ” Partnering with a seasoned designer (even in a collaborative or behind-the-scenes capacity) can save you time, money, and serious headaches.
Think about it: you get the security of liability coverage, hands-on mentorship to help you navigate real-world challenges, and the benefit of a negotiated referral fee that respects your growth without putting your reputation (or the client’s investment) on the line. There’s no shame in asking for support…there’s power in it. The goal is to learn, not to gamble.
DD: What’s one feature in this kitchen that might be overlooked but you think deserves attention?
RC: One feature that might not grab your attention right away but totally deserves a shoutout is the full suite of ZLINE appliances The clients were sold on the brand from day one, and I’ll admit, I wasn’t familiar with it at first, but after working with it, it quickly earned a spot on my list of preferred vendors
The Black Stainless-Steel finish on the refrigerator, dishwasher, microwave drawer, and that powerhouse 48” dual fuel range brought in a bold, modern vibe that elevated the entire kitchen And performance-wise? These appliances showed up and showed out, built with the kind of quality and intention that checks all the boxes for clients who actually use their kitchen
Many thanks to Rhonnika for her interview and to her team at RJ Clifton Design + Build for sharing photos with us We encourage you to follow her firm on Instagram at @rjcliftondesignsllc, to explore her website here, and to stay tuned for her upcoming Women, in Their Own Words interview
“ Why did I do this to myself? ”
DESIGNING WITHOUT DESPAIR
None of us hear this question at the beginning of a renovation; clients are all smiles and excited energy at that point During the Pinterest-fueled enthusiasm of early planning, everyone is on board But somewhere deep into a renovation when a home has been torn apart, plastic sheeting is everywhere, and the client’s motivation has slipped away like smoke that question echoes endlessly.
But Strasburg’s role at the Houston-based interior architecture firm is also to shepherd clients through an emotional, financial, and deeply personal transformation. It will come as a surprise to no designer that this role demands as much empathy as it does expertise
And according to Megan Strasburg, Director of Residential Design at LUDC, it’s a perfectly valid question.
“I feel like the valley of despair always hits during rough-in,” she says.
“We’ve been staring at framing and electrical for weeks Nothing’s pretty It’s easy to forget why you started ”
Strasburg must make key decisions, work with builders, and lead her design team.
In a recent interview, Megan sat down with firm founder Laura Umansky and COO Melissa Grove to unpack the pain points, pitfalls, and profound wins that define a wellguided renovation From setting expectations to managing mid-project doubt to choosing where to splurge Megan’s message is that renovation doesn’t have to break you
But it will test you. Here’s how to pass that test with flying colors
“We’re not only being creative… we ’ re mitigating mistakes and saving money on the back end by putting that time into the front end to make it right ” Megan Strasburg
Clients rarely come to LUDC knowing exactly what they need. More often, they arrive disoriented armed with a few saved photos, a thousand contradictory thoughts, and no clear sense of where to start.
“They just don’t even know who to hire or where to go, ” Megan says “Especially on the renovation side They’re like, ‘What exactly do you guys do?’”
That early-stage uncertainty isn’t a flaw in the client; rather, it’s a symptom of a process that isn’t made transparent in our industry Most homeowners have no idea if they need to call a designer, a builder, or an architect first So they reach out to all of them at once. Or worse they delay. Megan’s advice is simple, but rarely obvious to the homeowner.
“Start with a designer for sure Without plans or any sort of direction, the builder can’t provide pricing or information yet ”
Once the design team is engaged, they can start assembling the rest of the crew: architect, contractor, engineer, and beyond
“It’s really about building that team,” Megan explains. “A lot of the time, clients are looking for someone to just facilitate and handle all of it because they don’t know how to guide a team that big ”
If the early phase is about orientation, schematic design is about translation turning murky desires and disorganized inspiration into something coherent.
“That’s when we ’ re showing them a floor plan,” Megan says “We’re visualizing it so clearly but they aren’t So how do you translate that with just one set of drawings?”
Schematic design is typically the point of departure for the rest of the process Here, trust is either established or compromised If the design concept doesn’t land, everything downstream can unravel
Show up to that first meeting with clarity, calm, and leadership. Your role is to provide the direction your clients didn’t even know they needed.
Don’t wait until you feel “ready” to start You won’t Hire a designer early
“From a client perspective, this is one of the most important phases,” Megan says “Because if we didn’t properly explain what was happening in the house in schematic, then when we get to the interior elevations months later, they’re going to say, ‘Wait, what is this?’”
MEGAN AND TEAM ON-SITE AT HUNTWICK FOREST
What’s often misunderstood is that establishing emotional alignment is a major part of schematic design This is when designers decode what clients mean when they say things like “inviting but elevated” or “open but cozy.” How you translate that into concrete, glass, textiles, and fine finishings makes all the difference
For the client, this phase can seem maddeningly abstract and feel incredibly exhilarating. The designer may also be excited, but she must slow down, listen closely, and push back when necessary instead of getting caught up A quick “yes” too early can evolve into an expensive “no” later
This phase is about accurate storytelling as much as structure Take time to understand not just what the client wants but why Make sure every early decision connects back to their real priorities.
If something doesn’t click, say so now not six months from now. You don’t need to speak “design,” but you do need to speak up The success of the project depends on shared clarity at this stage
The construction documentation phase is where communication and client management gets a bit trickier Once the design presentations taper off, clients often begin to wonder what, if anything, is actually happening.
“They’ve stopped seeing presentations selecting pretty things and seeing all of that come together, but they’re still getting billed,” notes Melissa Grove, “and that’s because that’s really the big bulk of the work ”
But when clients are getting antsy, Megan puts it more bluntly
“I always tell them, either we wait now, or we hold up construction later because at some point you're going to have to slow down to plan ”
“Action is the antidote to despair.” Joan Baez
MEGAN AND TEAM ON-SITE AT HUNTWICK FOREST
A MOODBOARD FOR HUNTWICK FOREST
The construction documents phase is heavy with coordination, precision, and invisible labor. It’s also absolutely critical.
“You may have this amazing concept, but if you can’t translate that into a set of drawings problem,” Megan says “That’s what makes or breaks a project We are going to bring the client the solution not the problem ” And they have to trust that
What happens in this phase might not be worthy of Instagram or Pinterest, but it’s where the foundation of a well-executed project is laid. Elevations, electrical overlays, and plumbing plans will never dazzle on a mood board, but they are the guardrails that keep beautiful ideas from going sideways during construction.
It’s not glamorous, but this phase is where your expertise shines brightest For clients, this is where trust is either rewarded or eroded Communication, even in the absence of “visual progress,” is essential.
Educate proactively. Don’t assume clients understand the significance of this phase. Offer process check-ins, timelines, and behind-the-scenes insight to keep them engaged and informed.
Your team is working, even if you can’t see it. Your future frustrations are being resolved on paper. Be patient. You’ll thank yourself later.
As we all know, this stage is where that “why did I do this?” whisper reaches a fever pitch The home is a construction site Dust hangs in the air Milestones are few and far between Everyone is exhausted Absolutely nothing looks finished (or even remotely functional)
“That point when clients say, ‘Are my walls still open?’ That’s the valley of despair,” Megan says. “But it’s valid. You can’t go back. The only way is through.”
“Trees that are slow to grow bear the best fruit ” Moliere
MEGAN AND TEAM ON-SITE AT HUNTWICK FOREST
HUNTWICK FOREST UNDER CONSTRUCTION
As Marion Zimmer Bradley once wrote, “The road that is built in hope is more pleasant to the traveler than the road built in despair, even though they both lead to the same destination.” The project will wrap, the homeowners will return, and their lives will go on. But in the interim, managing their expectations and leading them with hope rather than letting them wallow in despair is key
To do this, Megan revisits old design boards She reminds clients of their motivations of aging parents coming to live with them, of romantic dinners in the new dining room, of endless entertaining throughout their gorgeous outdoor space. She anchors them in the vision they’ve forgotten
“This will be worth it when your whole family is sitting here,” she tells them “Eating Thanksgiving Hosting Christmas That’s the why ”
Renovation, at this stage, feels endless For clients especially those remodeling primary residences the construction fatigue is just a small part of their emotional exhaustion. Life disruption is ongoing and getting harder to deal with.
At the same time, designers often struggle to be both calm in the storm and the coach who keeps spirits high all while managing their own stress and uncertainty.
If the groundwork was well-laid if the concept was clear, the team strong, and the trust intact this phase, while difficult, will pass.
Channel empathy. Stay steady, visible, and encouraging. Clients are looking to you not just for design direction, but for emotional reassurance
Put bluntly, this sucks. That’s normal. Keep your eyes on the goal Remember that you’re building a life here, not just a bunch of walls
“’For a while’ is a phrase whose length can't be measured At least by the person who's waiting ”
― Haruki Murakami
MEGAN AND TEAM ON-SITE AT HUNTWICK FOREST
THE LUDC TEAM AT HUNTWICK FOREST
Every renovation has friction. Builders fall behind. Decisions are delayed. Schedules slide. Tensions rise. The closer we are to completion, the more fragile everything feels.
But at LUDC, Megan’s approach is calm and collaborative. There is no blame.
“The finger-pointing point that’s something we do not do,” Laura Umansky says
Instead, the team meets internally first to align on an issue and its resolution before bringing anything to the client.
“We bring the solution to the client not the problem,” Megan reminds readers
Even when relationships with partners become difficult, Megan’s approach stays the same
“You don’t ever want to team up It’s a fine line advocating for the client but not ganging up on the builder,” she explains “We’ve got to preserve that trust with everyone ”
Professionalism matters most here. It’s easy to panic when things go sideways, but staying composed, organized, and focused on the solution protects the client, the timeline, and the integrity of the entire project.
A project is never just a project; when working with builders, architects, and vendors, every interaction you have could spill over into the next renovation Stay neutral but decisive Protect the client’s interests while preserving respect for partners
If your team isn’t pointing fingers, trust them That takes a lot of integrity
When a project wraps, it’s a little surreal for both client and designer. The last box is carted out, one more decorative object is shifted to another shelf, and you welcome clients into their renovated home for the final reveal All of a sudden, it’s just done
MEGAN AND TEAM IN THE STUDIO
MEGAN ON-SITE AT HUNTWICK FOREST
There’s no more waiting for tile deliveries or marking up change orders No more weekly site visits or latenight emails The home is finished and yet, in a way, this is just the beginning The beginning of dinners cooked in that dream kitchen Of holidays hosted in a space that finally makes sense Of morning light filtering into the breakfast nook just right.
“This is why we do it All those long, messy months ”
But as the designer, you are “done-done” and that finality comes with mixed emotions The process is never perfect It’s long, complex, and full of decisions that push clients and designers to the edge sometimes tipping them into that “valley of despair.”
However, when that process is guided with expertise and empathy, it’s also transformative not just for the house, but for the people who live in it
“You think you want to supervise your renovation,” Megan says with a laugh as we close out the interview. “But trust me You don’t Just rip off the band-aid! Build a great team instead ”
You want to live your life while your team builds your future You want guidance Leadership Confidence And most of all, you want someone who sees the end of the road and takes you there “in hope…not in despair.”
BY THE DESIGNDASH EDITORIAL TEAM
HUNTWICK FOREST UPON COMPLETION
W E W A N T T O P U B L I S H Y O U !
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SOFT GEOMETRY: THE RETURN OF ROUNDED FORMS
TREND IS EVERYWHERE FROM HIGH POINT MARKET TO MILAN
After years of angular minimalism and sharp-edged modernism, the curve is making a decisive return From bulbous sofas to pill-shaped mirrors and architectural arches, designers are leaning into softness not as nostalgia, but as an emotional and material counterpoint to a world that feels increasingly harsh
Whether it’s a rounded countertop edge or a fully upholstered kidney sofa, these forms are diverse and versatile. This isn’t “blobject” kitsch redux it’s quiet, sculptural, and grounded in material sophistication
“Curved furniture is a great way to break [up a space] and add visual interest,” said interior designer Rachel Reider in a 2025 trend interview with House Beautiful. “We’ve been seeing curves come back in a big way over the last year or two, both in furniture and architecture.”
Aline Asmar d’Amman, whose soft-edged installation "The Power of Tenderness" captivated visitors at Milan Design Week 2025, put it succinctly in an interview with Women’s Wear Daily: “Tenderness isn’t a sign of weakness, you know It’s a sign of strength ”
This revival of softness might seem solely aesthetic, but it's also philosophical. As the design world shifts its focus from stark minimalism to organic modernism, this new wave of soft geometry signals a deeper desire for comfort, warmth, and connection in our built environments
Throughout this piece, we’ll explore where these curves are showing up, what’s driving the trend, and what it means for the future of design
THE UTTERMOST
While soft forms feel current, their lineage stretches across eras and continents From the opulent curves of Art Deco to the sculptural furniture of the 1970s think Vladimir Kagan’s serpentine sofas or Joe Colombo’s space-age seating curves have long expressed sensuality and fed our fascination with futurism
“It’s not about retro or revival,” said architect Mark Lee at the Knoll presentation in Milan while chatting with the Women’s Wear Daily team “These curves are anthropomorphic. They speak to comfort, to friendliness not excess.”
Lee and Sharon Johnston’s Biboni sofa described as “a portmanteau of Bibendum and macaroni” captured this idea with plush scallops and folds wrapped in bouclé
Across continents, designers are exploring the emotional resonance of softness: how a curve can comfort, cradle, or connect.
“It’s not about retro or revival,” said architect Mark Lee at the Knoll presentation in Milan. “These curves are anthropomorphic. They speak to comfort, to friendliness not excess. ”
SHOWROOM AT HPMKT
THE ADRIANA HOYOS SHOWROOM AT HPMKT
The curved silhouette is no longer solely centered on sofas. This year’s High Point Market and Milan Design Week confirmed what many designers have already embraced: soft geometry is permeating every category of home furnishings from architectural elements to case goods to lighting
“Curved everything sofas, chairs, even beds are bending the rules (literally),” said senior Laura U Design Collective interior designer Olevia Nguyen after April’s High Point show.
Kelly Wearstler’s Zuma dining chair and Lorenza Bozzoli’s Thumb armchair for Fratelli Boffi demonstrate how soft geometry meets statement form. At Moroso, Patricia Urquiola’s Gogan sofa takes inspiration from river stones: asymmetrical, weighty yet soft, balanced on subtly inclined volumes
Notably, curves have expanded beyond their previously entirely symmetrical forms Asymmetric curves seen in Monica Armani’s Chapeau table for Lago or Expormim’s Mediterranean-inspired Meridies outdoor collection signal a new era of naturalism and unpredictability These pieces ripple, dip, and swell in unexpected ways
Architectural Digest’s trend report from Milan confirmed the shift: "What we hadn’t noticed so obviously, until now, is a growing love for the irregular, asymmetrical curve " At the Bocci apartment, organic lighting forms shimmered like melting glass, underscoring the trend’s evolution from mere aesthetics to emotional storytelling.
“I saw this across all materialities glass, wood, metal whether from young brands using 3D printing or a 730year-old Murano glass company,” said designer Maria Lomanto to House Beautiful “Nature is not only back it’s alive, and it’s melting, dripping, waving in a breeze ”
Even accessories like door handles (Gulla Jónsdóttir’s Ring for Lualdi) and side tables (Christopher Stuart’s Alt Table) are embracing sculptural curvature Whether quiet or confrontational, the curve now invites interaction and emotion at every scale of the home
H Y N O W ?
After years of stark minimalism and digital fatigue, it was during the pandemic that both designers and consumers began gravitating toward forms that soothe, ground, and reconnect us to something more elemental. But the trend has only recently accelerated.
THE UTTERMOST SHOWROOM AT HPMKT
THE DOVETAIL SHOWROOM AT HPMKT
“Just because you are soft doesn't mean you are not a force. Honey and wildfire are both the colour gold.”
Victoria Erickson
This emotional turn is echoed in materiality. From stone to velvet, curved furniture often pairs with tactile surfaces that invite comfort and slowness. Designers are channeling nature not just as inspiration but as an ethos flowing forms that mimic water, wind, or the human body.
In WWD’s Milan Design Week recap, Knoll’s Biboni sofa was described as "a warm embrace," while Patricia Urquiola’s Pacific sofa "creates a sense of calm and containment " These pieces are designed not only for the eye but for the body and mind
There’s also a subtle countercurrent to fast-paced consumerism Curves take time Whether in handcrafted ceramics like Bari Ziperstein’s Tube Chair or Giopato & Coombes' ethereal lighting, these shapes signal care, detail, and permanence
Our industry is still recovering from, adjusting to, and actively working within global instability be it economic, ecological, or emotional. It’s no surprise that interior design is bending toward softness and away from rigidity.
Designers are embracing this movement not just for aesthetics, but for what it offers the people who live with it. As Rachel Reider put it in an interview with House Beautiful, curved pieces "break up a space and add visual interest" but they also do something much more significant They shift how we move, how we relax, and how we relate to our environment
As Milan Design Week and High Point Market both revealed, the future of design may be fluid, but it’s far from uncertain We still need designers those trained to blend function with feeling, atmosphere, with empathy Our world often feels sharp, biting, and brittle, but it is the designer who helps us find the human element of home.
TWIN TABLES IN A LAURA U DESIGN COLLECTIVE PROJECT
CREATIVE RITUALS FROM OUR “WOMEN, IN THEIR OWN WORDS” INTERVIEWS
TAP INTO YOUR BRIGHTEST IDEAS WITH A WELL-TIMED RITUAL
Much as we might wish it to, creativity doesn’t follow a straight line and it certainly doesn’t do our bidding. It drifts, loops, disappears, then returns sometimes uninvited, sometimes summoned As designers, our work must balance the evocative with the functional
We are bound by time project stages, client requests, meetings with builders and vendors but we are bidden by beauty
In this context, inspiration can feel like a mercurial (even disrespectful) guest: generous one day, evasive the next So, in uncertainty, we rely on ritual Not because ritual guarantees brilliance but because it fosters the fertile ground upon which creative brilliance may take root and grow
In our Women, In Their Own Words interviews, we heard again and again how designers turn to ritual not to control creativity but to court it. Rituals are bridges between the mundane and the magical
They give form to the formless and soften the transition from the external world to the internal one Rarely grand and infrequently aesthetic, these moments are acts of quiet preparation, even devotion The beauty of rituals is that they are deeply personal. In their repetition, the deepest parts of us surface.
We hope you find inspiration in what the following women have shared and that you honor their contributions as you seek rituals of your own
SARAH CHOUDHARY, CAMILLA VAN DEN TEMPEL, AND ANTONIA CAICEDO
For designers, creativity is both an inherent personality trait and a skill to be cultivated As Joseph Campbell once said, “Ritual is...being reminded of the wisdom of your own life.”
But contrary to the popular image of the creative genius struck by sudden inspiration, real-world creativity is often less about lightning bolts and more about steady, disciplined effort.
In this article for Psychology Today, neuroscientist Shane O’Mara discusses this reality by drawing on insights from Mason Currey’s book Daily Rituals: How Artists Work Currey’s research reveals that many of history’s most influential artists, writers, and scientists relied on daily rituals to fuel their creative work
These routines varied widely, but common elements included early rising, dedicated work periods, regular walks, and consistent sleep patterns For example, Beethoven composed some of his greatest works during long, solitary walks, while novelist Marilynne Robinson credits her “benevolent insomnia” for some of her best writing.
readiness, rituals are gentle signals to the brain: it’s time to begin.
For designers, this might look like a quiet morning spent flipping through fabric swatches, sketching freely before the day’s demands begin, or revisiting a well-worn mood board.
As neuroscientist Shane O’Mara suggests, rituals help reduce anxiety, offer a sense of control, and create a familiar mental architecture in which creativity can more easily unfold In the same way that a beloved playlist or a thoughtfully arranged workspace can coax the mind into a state of
These acts are small, even ordinary, but in their repetition, they become sacred They reduce the friction of beginning and smooth the edges of resistance They ease us into rhythm Into flow
Over time, these rituals both prepare us for creative work and sustain it
“A ritual is the enactment of a myth. And, by participating in the ritual, you are participating in the myth. And since myth is a projection of the depth wisdom of the psyche, by participating in a ritual, participating in the myth, you are being, as it were, put in accord with that wisdom, which is the wisdom that is inherent within you anyhow Your consciousness is being re-minded of the wisdom of your own life ”
Joseph Campbell
FABRIC SWATCHES PINNED TO A BOARD IN THE LAURA U DESIGN COLLECTIVE STUDIO IN HOUSTON
At DesignDash, we’ve always been drawn to what lives beneath the surface of creative work the quiet labor, the inner negotiations, the long, uncertain middle between vision and execution That’s why we created Women, In Their Own Words: a series of first-person reflections from women shaping the design industry with clarity, courage, and creativity.
These conversations aren’t puffed up with accolades or polished for performance They are honest They speak to the fullness and duality of our design lives the early doubts, the slow build of confidence, the rituals that tether us to the work when inspiration flickers
Time and again, we have heard how these women return to small, steady practices to stay productive but also to stay connected to themselves, to their spaces, and to the purpose behind what they create.
For this piece, we’ve gathered insights from voices like Jamie Young, Camilla van den Tempel, and others who have spoken openly and generously about their experiences. They remind us that in the quiet repetition of ritual, something essential something enduring can take root
“Before starting a project, I close myself off from external distractions and focus on creating internal images While I naturally observe the spaces I am about to design, I try to imagine what could unfold within them, turning inward rather than seeking external inspiration. I strive to remain unaffected by outside influences, concentrating instead on what would be most suitable in relation to the task at hand ”
“My best work is as I’m drinking my first-morning coffee, kids are off to school, on my laptop, and in my bed I’m in peek flow? No distractions and can tap into a deep intuitive state I do this at the beginning of projects and come up with all the big ideas to send off to my team to develop more ”
“The human soul can always use a new tradition Sometimes we require them ” ― Pat Conroy, The Lords of Discipline
CAMILLA VAN DEN TEMPEL OF & TEMPEL
“How but in custom and in ceremony Are innocence and beauty born? Ceremony's a name for the rich horn, And custom for the spreading laurel tree ”
W.B. Yeats
“I do have a bit of a ritual before starting any project I always begin by clearing my workspace completely physically and mentally It’s almost like hitting reset Then I spend a few quiet moments sketching freely, not with any outcome in mind, just letting ideas flow
It’s my way of tuning in, grounding myself, and creating space for something new to emerge It may seem simple, but that pause at the beginning helps me approach each project with fresh eyes and an open mind ”
“I need to be in the right mindset to start something new. Every time I need to design a new collection, I make sure I get into my ‘do not disturb’ mode so I can focus solely on my creative process.
Unplugging a little from my day-to-day tasks really helps ”
“I get in the right headspace, let go of everything else, this usually involves meditation and self-care.”
“Pray! I always pray for the family we are designing for that we may serve them well and bring the project to life to fulfill the clients’ greatest dreams for their home ”
ANTONIA CAICEDO, DESIGN DIRECTOR AND VP AT JIMECO
JAMIE
DESIGN SPOTLIGHT
CARLO RATTI’S MILANO
CORTINA OLYMPIC TORCH
A TORCH FOR THE FUTURE OF FRIENDLY YET FIERCE COMPETITION
Few design objects carry the symbolic weight of the Olympic torch It must be elegant yet durable, iconic yet invisible, ancient yet forward-looking For the Milano Cortina 2026 Olympic and Paralympic Games, the challenge of reimagining this global symbol fell to architect, engineer, and curator Carlo Ratti, whose design strips the torch down to its essence placing the flame, not the form, at center stage
With the unveiling of the new torch coinciding with his appointment as curator of the 2025 Venice Architecture Biennale, Ratti is busier than ever.
Still, he took time to speak with DesignDash
We discussed what it means to design an object so steeped in ceremony and meaning one that must perform under pressure while quietly reflecting the values of sustainability, restraint, and collective authorship
From wind tunnel simulations and bio-LPG burners to Sori Yanagi’s 1964 design, Ratti shares the philosophy and precision behind this remarkable object a torch that, in his own words, "isn’t really a torch" at all Below, his full responses thoughtful, candid, and just as refined as the flame they frame
We hope you enjoy our Q&A with Carlo.
Milano Cortina 2026 has unveiled its Olympic and Paralympic torches, named Essential, in a dual launch across Milan and Expo 2025 Osaka an event that not only introduced a design but also a philosophy Sleek, minimalist, and unmistakably Italian, the torches are a celebration of innovation, sustainability, and national identity Designed by Studio Carlo Ratti Associati and developed by Eni and Versalis, Essential distills the Olympic spirit into a refined object that places the flame both literal and symbolic at its core
Crafted from recycled materials and powered by renewable bio-LPG, the torches exemplify the Games’ growing commitment to environmental responsibility Their open structure reveals the inner workings of the flame for the first time, turning function into storytelling With two distinct finishes blue-green for the Olympics and bronze for the Paralympics the torches speak to the strength and unity of athletes while echoing the natural beauty of Italy. Essential is a symbol of the legacy Milano Cortina 2026 hopes to leave: one of thoughtful design, meaningful innovation, and global solidarity through sport.
“It’s not a torch seeking attention it recedes, so that the flame can speak.”
Carlo Ratti, Designer of the 2026 Olympic Torch
The Minister of Tourism Daniela Santanchè, the President of the Lombardy Region Attilio Fontana, the Public Residential Building Councillor of the Municipality of Milan Fabio Bottero, Engineer Giuseppe Ricci (Eni-Versalis), Andrea Cassi (Carlo Ratti Associati), champions Bebe Vio and Stefania Belmondo, Brand Identity and Look of the Games Director Raffaela Paniè, CEO of Cavagna Group Davide Cavagna At the Milan Unveiling
DesignDash: The torch is a powerful global symbol. How did you approach designing something so culturally and emotionally charged?
Carlo Ratti: We began with ethics before aesthetics, so to speak Rather than following the typical approach building a shell around a core, as in car design we did the opposite and removed everything that was not necessary The burner, developed with Cavagna Group, became our starting point It was not hidden; it was revealed Everything else followed Stripping away rather than adding became a form of reverence for the flame, which we wanted to become the true protagonist
DD: You’ve described the torch as a “design that, in a way, isn’t a torch ” Can you unpack that idea a little more for us?
CR: Because the object functions almost entirely as a support for the flame, rather than something to admire in isolation It’s atmospheric, even elusive Its iridescent PVD-coated surface reflects rather than asserts itself It’s not a torch seeking attention - it recedes, so that the flame can speak, in snow, in sky, in motion.
DD: How did the concept of "Essential" evolve, and what were the biggest conceptual challenges in reducing the design to its barest form?
CR: We started with a basic question: What is truly necessary? "Essential" wasn't a stylistic choice but a design position We looked to precedents Sori Yanagi’s torch for the 1964 Games, for instance, was a powerful inspiration and asked: what can be removed, not added? The challenge was in the precision Less isn’t just less; it is a lens to focus on what matters most
DD: The design centers the flame rather than the object. Was this an aesthetic, symbolic, or technical choice – or all three?
CR: First and foremost, it was ethical and symbolic the others followed. Symbolically, the flame is the continuous thread that links...
CARLO RATTI’S “ESSENTIAL” TORCH FOR THE MILANO CORTINA 2026 OLYMPIC AND PARALYMPIC GAMES
CARLO RATTI’S “ESSENTIAL” TORCH FOR THE MILANO CORTINA 2026 OLYMPIC AND PARALYMPIC GAMES
...us back to Olympia. Technically, we needed to stabilize it in motion. Aesthetically, reducing the object makes the flame more visible, more present it becomes the phenomenon, not the form.
DD: How do material choices like the recycled aluminum/brass alloy and bio-LPG speak to your broader goals around sustainability in design?
CR: Before discussing materials, for us sustainability begins with restraint The first act of sustainability is to do less The torch weighs just over a kilogram, and is made of 89% certified recycled material
The handle uses a Versalis-developed polymer derived from renewable sources The flame runs on bio-LPG, produced from waste oils, fats, and agricultural residues Designing sustainably is not about grand gestures but quiet discipline
DD: As architects and designers, we often balance innovation with tradition How did you approach this balance in designing an object so deeply tied to ceremony and history?
CR: Tradition isn’t static it evolves, and so do the rituals around it. The Olympic ceremony continues to change, and its objects must reflect that. We sought to honour the gravitas of the torch, but without making it monumental. Its form gestures toward the moment of the Olympic “kiss” the hand-to-hand exchange between two torchbearers - the most human part of the ritual.
DD: The torch is both a symbol and a tool. How did you design for performance (like refillability and durability) without compromising elegance?
CR: This was one of the most collaborative aspects of the project a confluence of many hands and minds. With Versalis and Cavagna Group, we developed f ll bl b h b d h meant we could significantly reduce the num compromising form or function
DD: Collaboration played a major role in this project from Versalis and Eni to Cavagna How do you navigate collaboration across disciplines and industries?
CR: As problems grow in complexity whether at the urban scale or in industrial design our responses must be collaborative. The torch is the work of many: Cavagna led on engineering, Versalis and Eni brought expertise in materials and supply chains. Our studio’s role was to orchestrate. In a way, the architect today must be a choral conductor, not a soloist an idea I explored over a decade ago in the book Open Source Architecture.
THE MINISTER OF FOREIGN AFFAIRS AND INTERNATIONAL COOPERATION
ANTONIO TAJANI, THE CEO OF THE MILANO CORTINA 2026 FOUNDATION
ANDREA VARNIER, MARIO VATTANI, COMMISSIONER GENERAL FOR ITALY AT EXPO 2025 OSAKA, THE CEO OF VERSALIS ADRIANO ALFANI, TORCH
DESIGNER CARLO RATTI FROM CRA-CARLO RATTI ASSOCIATI STUDIO
DD: You’re known for integrating technology with urban life Were there any digital tools or datadriven insights involved in this project?
CR: Absolutely Designing a torch isn’t about how it looks in a vitrine - it’s about how it behaves at 10 km/h in crosswinds. We used simulations, wind tunnel tests, and digital twins for fluid dynamic analysis. The flame had to respond not just persist. Data became the lens through which we could shape behavior.
DD: What lessons from this project do you think architects and designers can apply to their own work – especially those running their own practices?
CR: First: always challenge the brief Had we followed a traditional path, we might have produced a decorative shell
Second: design from the effect you want to produce The torch isn’t about its shape it’s about what it enables: fire, motion, and ritual Reverse-engineer from that outcome
DD: As the newly announced curator of the 2025 Venice Architecture Biennale, how do you see this project aligning with the themes you're interested in exploring there?
CAROLINA KOSTNER, MARTINA CAIRONI, AND THE MINISTER OF FOREIGN AFFAIRS AND INTERNATIONAL COOPERATION ANTONIO TAJANI.
CR: Though small, the torch engages with many of the themes we’ll explore at the Biennale Intelligens Natural Artificial Collective speaks to hybrid intelligence and cross-disciplinary collaboration
In many ways, the process behind the torch mirrored this bringing together different domains to respond to a shared challenge.
DD: Finally, for younger architects or designers who admire your work, what advice would you give about designing with purpose in a world facing urgent environmental and social challenges?
CR: Always remember what a design project is: a way to shape the future The word project itself comes from pro-icere to throw forward But before projecting forward, we must understand the present
Today, we have unprecedented tools to understand it with data: a new kind of listening that allows us to see the present more clearly, and to imagine the future more responsibly
Many thanks to Carlo Ratti and his team for participating in this interview.
CHAMPIONS
CARLO RATTI’S “ESSENTIAL” TORCH FOR THE MILANO CORTINA 2026 OLYMPIC AND PARALYMPIC GAMES
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5 TRAVEL DESTINATIONS FOR DESIGN INSPIRATION THIS SUMMER
JETSET TO DOMESTIC AND INTERNATIONAL INSPO SPOTS
Every designer has hit that wall when no "new" idea seems original and nothing on their mood board feels right Many of us will pore over that assemblage for hours until our vision blurs or spend another late night researching without any real direction.
But what we really need is to get up, get out, and look at something completely different As designers, we often talk about inspiration as if it’s something we can summon on demand While ritual lays the foundation for inspiration in our daily lives, certain ideas can only emerge when we’ve left our regular routines behind and when we’re out in the world
Travel has a way of shifting perspective and opening a closed, cluttered mind
With its blurred edges and longer daylight, summer encourages this; you're not escaping work but expanding it The twists of a wrought-iron balcony in Savannah, the chalky palette of a Lisbon facade, the saturated primary colors of a Mexico City mercado all of it is material Texture Reference Spark!
The following five cities are so much more than a change of scenery Here, you'll find color, contrast, character, culture, fresh context all of which are good for the creative soul
This summer, we encourage you not to frantically seek the elusive creative spark needed to make that next project a success Instead, look up, get a little lost, and let inspiration find you
And while travel is rarely seamless, it certainly doesn’t have to be chaotic As a companion to this article, DesignDash Co-Founder Laura Umanksy shares her favorite ways to stay grounded and connected on the road from what she packs to how she lets each place shape the work that follows
From the Black Diamond in Copenhagen to Mexico City’s Soumaya, here’s where to go and what to see as designer this summer. 5 T R A V E L D E S T I N A T I O N S F O R
E S I G N I N S P
We didn’t choose these cities at random. Each one boasts something distinct for the design-minded traveler: a unique color story, a point of view, a material language you can’t find anywhere else Some are known for their architecture, others for their craftsmanship, their light, their layered history But all of them share one thing in common: they wake something up that laid latent a little too long They remind you to look a lot closer, to linger a bit longer, to notice what might have gone unnoticed back home
To create this list, we did what we always do as designers we combed the forums and dug through design sites. We asked fellow creators where they go when they need a reset. We spent more time than we’d like to admit on Reddit threads and travel blogs, sifting through recommendations not solely for the must-see sights but for the antique shops, food markets, museums, and local haunts.
What follows is a mix of those finds, seasoned with personal favorites and trusted tips curated not for tourists, but for those of us who see the world through a designer’s lens
If you’re feeling foggy, over-referenced, or like every idea you’ve had lately has already been done go to Copenhagen Copenhagen will remind you why you fell in love with design in the first place You’ll walk down a quiet street and spot a chair through a window and think, “Of course ” Everything just makes sense here quietly, elegantly, and without trying too hard
Start at Designmuseum Danmark to get your bearings and take a thoughtful, beautiful look at Danish design across generations This museum sets the tone for what you’ll see everywhere else in the city: objects that are both useful and quietly poetic.
In its permanent collection, you’ll examine work by Arne Jacobsen, Poul Henningsen, Kaare Klint names you know, yes, but seeing their pieces up close, in context, is a different experience. There’s also a rotating calendar of contemporary exhibitions that connect historical design with what’s happening now Leave Designmuseum on foot; Copenhagen is entirely walkable
“Wherever you go becomes a part of you somehow ” Anita Desai
BLACK DIAMOND BUILDING IN COPENHAGEN
From there, take the long route, pay attention to the light, and make your way toward Illums Bolighus, which feels much more like a gallery than a department store Floor after floor of furniture, textiles, lighting, and tableware all of it beautifully displayed, all of it impossible to abandon
Just down the road is Hay House, which is brighter and more playful, filled with color and cleverness. And if you seek moodier, more sculptural pieces? Head to Frama. Normann Copenhagen and Fritz Hansen are equally worth the detour if you want to see how legacy brands are playing with form and trend in today’s interiors.
Don’t miss Torvehallerne, either not just for smørrebrød and coffee (though both are excellent), but for how beautifully everything is arranged. We love the care and character with which objects are presented here whether they’re tulips or tins of fish.
Of course, Danish Modernism is a major draw in Copenhagen and most of us will find ourselves seeking inspiration in this iconic movement We went down the Reddit rabbit hole for you Here’s what designers recommend
Take the self-guided Arne Jacobsen architecture tour in Klampenborg, which includes some of his most iconic buildings
AN EXHIBITION WITH JACOBSEN'S FURNITURE ETC AT SAS ROYAL HOTEL IN COPENHAGEN 2000, IMAGE CREDIT TO JONN LEFFMANN
Download the "Se op!" (“Look Up!”) podcast series from the Copenhagen Museum for guided walks focused on architectural history (Google Translate makes it workable even if you don’t speak Danish)
For something guided, register for a Danish Architecture Center (DAC) walking tour. Slow Tours Copenhagen or Architours are ideal if you want something more bespoke.
If you’re anywhere near the Radisson Collection Royal Hotel (the former SAS Royal Hotel), stop by the front desk and ask about Room 606 the only preserved Arne Jacobsen-designed hotel room still in existence
For a quieter, yet equally iconic experience, visit the Finn Juhl House at Ordrupgaard Museum It’s beautifully preserved and unlike most design museums, it actually feels real and lived-in
As we know you will find, Copenhagen doesn’t overwhelm its visitors nor does it perform for their benefit, but it will quietly shift the way you think about design and daily life
“The real voyage of discovery consists not in seeking new landscapes, but in having new eyes ” ― Marcel Proust
If your work is starting to feel too polished, too careful, too expected, go to Mexico City CDMX will remind you how vibrant, engaging, and deliciously rule-breaking design can be Here, history meshes with modernism and tradition lives alongside experimentation Nothing stays in its lane for long
Start with Luis Barragán You could plan an entire trip around his work alone and many designers do Make reservations well in advance (we’re talking weeks or months) for a tour of Casa Gilardi his final built work, full of saturated light, unexpected silence, and color combinations that seem absolutely impossible until you’re standing in them.
Casa Pedregal is another Barragán essential; pair your tour with lunch at Tetetlán This galleryrestaurant hybrid housed in a former horse stable that serves Oaxacan dishes alongside natural wine and Mexican ceramics
Nearby, the Museo Casa Estudio Diego Rivera y Frida Kahlo, which was designed by Juan O’Gorman, is worth a visit for its bold use of modernism, color, and space not to be confused with Casa Azul, Frida’s better-known (and always busy) home and studio in Coyoacán.
Next, visit Biblioteca Vasconcelos, which is a vast, floating steel-and-glass library designed by Alberto Kalach that feels like something out of a sci-fi film. Then head to Tianguis Lagunilla on a Sunday morning. It’s one of the best flea markets in the city
Need a coffee break? Go to Cafe Tormenta in Roma Norte or grab a pastry from Panadería Rosetta This neighborhood is packed with designforward stops from Mooni Art Gallery (great for affordable emerging works) to AGO Projects Esperanza Home, IKA, Columpio, and Simple by Trista are also worth wandering into
“Cities were always like people, showing their varying personalities to the traveler.” Roman Payne
CASA GILARDI MUSEUM IN MEXICO CITY
BIBLIOTECA VASCONCELOS, ALSO KNOWN AS THE MEGABIBLIOTECA, IN MEXICO CITY
Where to stay? Design lovers gravitate to Octavia Casa in Condesa for its earthy, minimalist interiors, or Ignacia Guest House for its vibrant color and mix of old and new For something more dramatic, Hotel Volga is a brutalist dream
And the food? Well, you’ll want to plan your days around it Rosetta, Pujol, Contramar, Masala y Maiz, and Blanco Colima all live up to the hype and then some. Of course, some of the best meals in Mexico City are found on sidewalks and inside markets. Try the tacos al pastor at La Chaparrita de Coyoacán or the street elotes outside Alameda Central. Bring your sketchbook, wear your walking shoes, and snack with abandon.
While you find calm and context in Copenhagen, you’ll leave Mexico City with momentum and a bolder, richer way of thinking
If you're overstimulated by trend cycles or burnt out from too many open tabs, Savannah will recenter you This city moves slowly and it’s all the better for it Walk a few blocks beneath the live oaks and you’ll understand that design here isn’t about spectacle but atmosphere
Start at the SCAD Museum of Art This museum is an impressive example of adaptive reuse It was built inside a former railway depot and has since been reworked with purpose, restraint, and a strong point of view. New ideas don’t need new buildings.
From there, walk; Savannah asks that you meander through its 22 public squares. Jones Street is the one you’ve seen in photos, but walking any block in the historic district reveals something special.
Design inspiration here is layered and low-key. You’ll find it in places like The Paris Market, where the upstairs café blends French fantasy with Georgia sunlight, and the basement is packed with curiosities vintage mirrors, linen upholstery, bentwood chairs Nothing in this store is sterile and everything is worth studying
MUSEO SOUMAYA IN MEXICO CITY
HISTORIC SIDEWALKS IN SAVANNAH
For something more industrial, walk a few blocks to 24e Design Co It's a little more masculine, a little more sculptural wood, metal, leather and a good counterpoint to the more romantic spaces nearby
When you’re ready to break for dinner, The Olde Pink House is your next stop not for the food (though it's excellent), but for the architecture Each room is different, lit mostly by candlelight, with creaking floorboards and sloped ceilings.
In the morning, seek ways to re-contextualize Savannah’s past and present. Start with Factors Walk; here, cobblestones, old tunnels, and elevated walkways tell Savannah’s original design story one built on function, trade, and weathered by time.
Then visit Gryphon Tea Room, which is set inside an old apothecary and make a stop at the surprisingly Brutalist gallery, Laney Contemporary There are so many corners of Savannah that reward the curious: Soho South Café, Crystal Beer Parlor, The Design District off Whitaker Street
Like Copenhagen, Savannah doesn’t rush to impress you It changes your pace, your eye, and your relationship to space. It reminds you that imperfection, context, and charm are all design values, too.
If you’re feeling uninspired, go to Tokyo This city isn’t just full of good design; it is good design You’ll walk into a knife shop and find a better display system than you’ve seen in a gallery You’ll order lunch at a quiet counter and wonder how the chef achieved that stunning shade of celadon. You’ll hop off the subway with endless ideas for your next studio layout.
Tokyo is overwhelming in the best way, but because of that, one must begin with what’s grounding: architecture. Kengo Kuma. Sou Fujimoto. SANAA. Jun Aoki. Herzog & de Meuron. Their work is woven into the city’s fabric from quiet side streets to towering Ginza facades.
Make time for the Tokyo International Forum (Rafael Viñoly), the Prada and Miu Miu flagships in Omotesandō, the Shizuoka Press Center (Kenzo Tange), and the mind-bending 21 21 DESIGN SIGHT by Tadao Ando
Next, walk to the Nezu Museum in Aoyama or head to the Sumida Hokusai Museum, where Kazuyo Sejima’s angular structure houses the legendary artist’s works and some likely painted by his equally talented daughter
“Nobody
can discover the world for somebody else Only when we discover it for ourselves does it become common ground and a common bond and we cease to be alone ”
― Wendell Berry
HISTORIC SAVANNAH, GEORGIA
On the “stay” side, BnA’s art-driven hotels in Koenji and Akihabara feel much more like creative residencies than accommodations Trunk Hotel in Shibuya mixes reclaimed materials and a social ethos, while Hoshinoya Tokyo offers near-total silence and a rooftop onsen above the city
When it comes to food and drink, Tokyo blurs the line between design and experience in the most elegant, intriguing ways. At Yakumo Saryo, nourishment is treated as ritual each dish and gesture as carefully considered as the space itself. For something more cinematic, head to Zoetrope, where rare Japanese whiskeys are poured before a backdrop of vintage silent films.
Need a reset? Head to Takeshita Street in Harajuku. Yes, it’s loud. Yes, it’s commercial. But it’s also wonderfully chaotic a riot of signage, fashion, and color that charms even the most serious This street reminds us that Tokyo contains multitudes and that contrast can be its own kind of inspiration
You won’t see it all Don’t try The point isn’t to tick off every name and building and store It’s to let the city recalibrate your design eye
Like in Copenhagen, we turned to designers, locals, and the occasional Reddit deep-dive to build this list Here’s what we heard: Sekaido in Shinjuku is a five-story art supply store that’s part pilgrimage and part paradise Hands offers everything from leatherworking tools to plexiglass forms you didn’t know you needed
For more collectible pieces, try Somewhere Tokyo, which is a Meguro gallery where Postmodern chairs sit next to Memphis lamps Casica is another highly-recommended shopping stop, with its wild objects, vintage lighting, and a small café
But don’t stop there. Shopping in Tokyo means embracing contrast. You’ll find elegant washi paper at Haibara and stunning vintage furniture at Pejite Aoyama.
TAKESHITA STREET IN TOKYO
NEZU MUSEUM INTERIOR IN TOKYO, PHOTO BY WPCPEY. LICENSED UNDER CC BY-SA 4 0 CREATIVECOMMONS ORG/LICENSES/BY-SA/4 0
If Copenhagen is for clearing your head, Milan is for filling it boldly, gloriously, romantically, and without restraint. As anyone who has attended Milan Design Week will tell you, this city is original, opulent, and unexpected.
Start at the Triennale Milano in Parco Sempione, which houses the Museo del Design Italiano The permanent collection traces Italy’s design evolution from the 1920s onward, with work from legends like Castiglioni, Sottsass, and Ponti Then move on to the ADI Design Museum, where every Compasso d’Oro winner (Italy’s highest design honor) is archived Don't forget to book a tour at the Achille Castiglioni Foundation
Once his studio, this space now holds hundreds of prototypes and objects from one of Italy’s most brilliant minds
Wander the bohemian Brera district with its antique shops, jewel-box galleries, and the Pinacoteca di Brera. Stop by Laboratorio Paravicini for hand-painted ceramics that feel more like heirlooms than souvenirs. Head toward Zona Tortona and stop at Rossana Orlandi Gallery (which somehow still feels like a secret), then browse at Nonostante Marras if you love maximalism.
Don’t skip Nilufar Depot. This soaring warehouse space by gallerist Nina Yashar honors both midcentury icons and emerging talent with equal reverence If you seek some quiet time alone, spend an hour at Villa Necchi Campiglio A perfectly preserved Rationalist home with interiors by Piero Portaluppi and Gio Ponti, you might recognize it from the film I Am Love
For something more modern, make your way to Fondazione Prada Even if you don’t step inside a single gallery, the gin distillery turned Rem
“Whatever Milan tells me to do, I will do ” Filippo Inzaghi
AERIAL VIEW OF MILAN, ITALY
CONTEMPORARY ARCHITECTURE IN MILAN
N A
If you’re headed to any of the above cities for a work trip, keep Laura’s advice in mind
keep your tools simple and smart.
iPad comes everywhere,” Laura says. “It’s perfect sketching ideas on the fly and capturing highality photos and notes. Everything syncs to the d, so I can share with my team in real time no matter where I am in the world.”
lso never travels without a tape measure
“Markets, conferences, site visits, shopping it’s always in my bag,” she says. “You never know when you’ll find something worth measuring.”
Koolhaas-designed compound is worth exploring Also on the property, Wes Anderson’s Bar Luce is the ideal setting for an afternoon espresso or aperitivo
Speaking of aperitivo: order a Negroni Sbagliato at Bar Basso, the very bar that created it. Milan invented fashion-forward cocktails, after all! For dinner, try the Michelin-starred AALTO, whose menu blends Italian and Japanese influences in a dining room as elegant as the cuisine.
Milan is not as showy as Paris, nor is it as ancient as Rome. But for those who live and breathe design, it's an endless font of inspiration Wander, gaze, pause The city will do the rest
For projects that require physical materials or fullsize drawings, she recommends thinking ahead.
“If I need samples or printed docs on-site, I’ll ship them to the hotel in advance or have them plotted at a local printer Most hotels are more than happy to receive things on your behalf and I don’t have to haul tubes through TSA ”
But her best advice is the least technical: let the place influence the work
“We designed a home in Pebble Beach for longtime clients, and everything from the palette to the textures was shaped by the landscape,” Laura says. “They have this amazing collection of contemporary art, and somehow, it felt totally natural inside an interior inspired by the California coast.”
We close out this article with travel tips from Laura U Design Collective founder and DesignDash cofounder Laura Umansky.
In short: pack light, stay open, and let the world work its way in.
“Leave home, leave the country, leave the familiar Only then can routine experience buying bread, eating vegetables, even saying hello become new all over again.”
― Anthony Doerr
SHOPS IN MILAN
ANN SACKS DESIGNER TILE
FOR OVER FOUR DECADES, ANN SACKS HAS BECOME SYNONYMOUS WITH UNPARALLELED CRAFTSMANSHIP AND INNOVATION IN THE WORLD OF TILE AND STONE. SEARCHING THE GLOBE FOR THE FINEST NATURAL MATERIALS, THEY HAVE METICULOUSLY CRAFTED AN EXTENSIVE PORTFOLIO THAT EMBODIES TIMELESS SOPHISTICATION, REDEFINING THE VERY ESSENCE OF HOME.
ANN SACKS BRINGS UNSURPASSED ARTISTRY, CRAFTMANSHIP, AND QUALITY TO KITCHENS, BATHS, AND OTHER SPACES IN THE HOME. SPECIALIZING IN HAND-MADE CERAMIC TILE, MARBLE, AND STONE, DESIGNERS OFTEN TURN TO ANN SACKS FOR THEIR CLIENTS.
(RIGHT) MOUNTAIN LANE SHOW HOUSE, LAURA U DESIGN COLLECTIVE (LEFT) GREEN TREE, LAURA U DESIGN COLLECTIVE
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DESIGN FEATURE
APRIL LITTMANN’S ORGANIC MODERN RENOVATION
A FAMILY-FOCUSED RETREAT ROOTED IN COMFORT YET CRAFTED WITH INTENTION
Designing a home that feels as special, expansive, and grounded as the land upon which it sits is no small feat, but April Littmann of Neighbor Interiors met that challenge with quiet confidence and a deep respect for natural beauty Set on 27 acres in Grapevine, Texas, Littmann designed this family home to blur boundaries between indoors and out by layering soft textures, clean-lined furnishings, and warm organic elements into a space that is equally refined and livable
Brought in during the framing stage, Littmann and her team were tasked with furnishing the entire home, from custom drapery and rugs to statement pieces and thoughtfully curated decor objects, all while navigating a compressed timeline and an early movein. Still, Neighbor Interiors delivered, tailoring this home to the needs of a busy household with four daughters, two dogs, and a love of laid-back luxury.
We hope you enjoy our Q&A with April Littmann.
DesignDash: Tell us about the project what was the client’s initial vision, and what made this one unique?
April Littmann: This project is especially unique because of the location The home is situated on 27 acres in Grapevine, Texas which having that much space in this area is somewhat unattainable Our client really wanted to focus on bringing the outdoors in and incorporating an organic aesthetic
DD: What was your primary design goal for the space?
AL: Our primary goal for this space was to create an elevated design, but also family friendly for their four daughters and two dogs
“True luxury lies in the quiet details: natural textures, thoughtful craftsmanship, and effortless functionality.” April Littmann of Neighbor Interiors
DD: Were there any specific constraints (budget, square footage, timeline) that shaped the final outcome? Was the original scope/vision different from what we see now?
AL: Yes, we were on a tight timeline. Our design firm was brought into the project at frame stage and although that would seem like enough time to procure the entire home, the client ended up moving in early during construction.
This put a rush on the furnishings, and it was a bit of a scramble at the end We opted for multiple installations as items were coming in to ensure the clients would be comfortable as their home was nearing completion
DD: Did you incorporate any custom pieces, vintage finds, or personal touches worth highlighting?
AL: Yes, we designed a custom, white oak 11’ dining table with a custom rug from Stark
DD: What was your favorite design decision in the project and why?
AL: The custom table in the dining room. It’s such a statement piece, highly unique, and is the first thing guests see when entering the home.
DD: How would you describe the design style of this project and is it unique to your firm or typical of your firm’s aesthetic? If not, was the aesthetic more personal to the client?
AL: I would describe the design style of this home as modern, clean-lined, neutral, and organic This aesthetic is our favorite design style to capture Although we work with many styles, it was a joy to have a project that really resonates with our design firm’s visual brand
DD: Were there any materials, color palettes, or brands you especially loved using here?
AL: We loved working with Taracea for the entry console.
DD: From where did you draw inspiration (a location, a piece of art, a feeling, the client’s family)?
AL: The home’s surroundings and the client’s family. The home is surrounded by trees so when you look out the large windows, all you see is green. We wanted that to be the backdrop to the interiors which drove our decision to go with a neutral color palette
We did design for more color in the 4 daughters’ bedrooms and their upstairs game room That was fun to work with each girls’ personality and bring their visions to life
DD: What’s one challenge you faced during this project and how did you overcome it?
AL: With the client moving in mid-construction, we were challenged with expediting furniture Then, when furniture arrived, we were challenged with working around construction crews At one installation, there were about 10 trades in the home along with the client’s family It was a team effort all working towards the same goal to get the clients settled into their new home
DD: What did this project teach you about design, client relationships, or yourself?
AL: It taught me how much I truly love an organic and natural design style It also taught me how designing for children can be tough – tougher than the parents! Young girls have lots of opinions!
DD: Were there any “happy accidents” that ended up being major wins?
AL: The client found a live 9’+ tall fiddle leaf tree on Facebook Marketplace for their entry. It’s fabulous and perfect next to the baby grand piano.
DD: What advice would you give another designer approaching a similar type of project?
AL: Start with the client’s story, it helps gather inspiration and understand their family needs and lifestyle. Also, create a mood board first to ensure design visions are aligned Then, for the organic look, layer, layer, layer and add a lot of textures!
DD: How does this project reflect your overall design philosophy or evolution as a designer?
AL: This project is a clear reflection of our design philosophy, which centers around laid-back luxury. This is a style that prioritizes comfort and elegance without ever feeling overdone. We believe that true luxury lies in the quiet details: natural textures, thoughtful craftsmanship, and effortless functionality. This home embodies all of that. It feels elevated but never flashy, relaxed yet refined.
Most of our clients are drawn to our firm because they share that same sensibility They value beautiful design, but even more so, they value how their home supports the way they live Whether that means space to entertain casually, areas to relax as a family, or simply a place that feels deeply personal and grounded This project, like many in our portfolio, represents our evolution as designers by moving away from trends and toward a timeless, intentional way of designing It's about creating homes that are lived in, loved, and quietly luxurious in every way
DD: What’s next for your studio and how can our readers follow your work?
AL: We are excited to capture photography of a few long-term projects coming up in mid-fall that are nearly completion Also, we have our eyes set on a new office and looking forward to designing a space for our team that is equally beautiful but functional Our work can be following at neighborinteriors.com, Instagram @neighborinteriors, or on our podcast, the Neighbor Interiors Podcast
Many thanks to April for her interview and for participating in our Women, in Their Own Words series. Read her article here.
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WHAT TARIFFS & PRICING VOLATILITY
M E A N F O R S M A L L S T U D I O S
What to do when uncertainty drives fluctuations and frustrations.
Small interior design studios aren’t in the habit of monitoring global shipping indexes or tariff legislation but lately, many don’t have a choice.
From the cost of a single brass sconce to the lead time for custom cabinets, every line item is now a moving target. Projects that once took six months now stretch to nine or twelve. Budgets are blown before the first coat of paint hits the wall, and clients are growing wary not just of the price tags, but of the process itself
“Tariffs are a very scary reality at the moment,” Martyn Lawrence Bullard tells Architectural Digest, reflecting on the growing cost of imported materials and the compounding economic strain o creative professionals
“TARIFFS ARE A VERY SCARY REALITY AT THE MOMENT.”
Let’s look at how this volatility is playin out in real studios, how designers ar adapting in real time, and what it migh mean for the long-term future of creativ businesses that have traditionally thrive on stability, not chaos
“The very word has already created havoc in many industries, and ours the design community is also gearing up for a rocky road.”
This isn’t just about logistics the way it was during COVID; it’s about the erosion of creative control, the fragility of trust between designer and client, and the daily calculus required to keep projects (and profits) afloat.
“Everyone is trying to stay ahead of rising costs,” Caron Woolsey tells BOH’s Caroline Bourque “Early planning and flexibility are more important than ever ”
So, what’s a small design firm to do? Discuss the evolving landscape, band t th d fi t f d
WHY IS THIS HAPPENING?
Many of us had hoped this volatility would be just a blip in the cost of goods, but the most recent round of tariffs layered atop decades of globalized production and just-in-time sourcing have altered how products are made, moved, and priced for the long-term. While it’s still unclear just how long these policies will last, the impact is already affecting our workflows and profit models.
And while the levers being pulled may be located in Washington, Beijing, or Brussels, the consequences are landing squarely on the desks of boutique designers, fabricators, and small studio owners across the country.
In April 2025, President Donald Trump rolled out a sweeping set of import tariffs dubbed “Liberation Day” by the White House that shocked markets and sent ripple effects through nearly every product category in the home industry
A blanket 10% tariff on all imports was just the beginning China, already hit with a 20% levy earlier in the year, was slapped with an additional 34% charge Vietnam, the U S ’s largest furniture importer, was hit with a staggering 46% tariff. Goods from India, Indonesia, and the European Union also saw double-digit hikes.
“Even orders that are already in production may now come with an additional surcharge if the vendor cannot absorb all of the import taxes,” reported Business of Home. “Designers in the procurement phase are likely to feel the impact first.”
Furniture is particularly exposed
Over the past two decades, case goods manufacturing has migrated en masse to Asia, and lighting often requiring complex component sourcing remains largely tethered to Chinese factories “Lighting is definitely going to get hurt,” said sourcing expert Suren Gopalakrishnan in an interview with BOH’s Fred Nicolaus, noting that even fixtures made in India rely on Chinese parts
Beyond tariffs, global instability continues to clog the arteries of trade The war in Ukraine and escalating conflicts in the Red Sea region have disrupted major shipping routes, leading to backlogs and higher freight costs Several designers compared the delays to those experienced during the height of the COVID-19 pandemic
THE SILVER SHIP BY JAMES JEBUSA SHANNON (AMERICAN, 1862-1923)
“THE TARIFFS ARE [FRUSTRATING] BUT THE UNCERTAINTY FROM CONSTANT PIVOTS IS WHAT’S GRINDING EVERYTHING TO A HALT.”
“We had a tile that was supposed to arrive in late April that just got pushed back to late July,” Portland designer Kevin Twitty told Carolina Bourque in this article for BOH, echoing the déjà vu of stalled timelines
Domestic production isn’t immune Labor shortages, wage inflation, and rising material costs are making local sourcing more expensive, not less “Even domestic materials are affected,” said Paul Lordan, co-owner of Massachusetts-based Steele Canvas, tells Architectural Digest “Either because demand is higher as others scramble for U S -based vendors, or because foreign components used by domestic suppliers are tariffed ”
In response to the uncertainty, many vendors are shifting to dynamic pricing eschewing fixed quotes in favor of ultra-short validity windows. Designers like Miriam Silver Verga tell Business of Home’s Caroline Bourque that they now warn clients that prices are only guaranteed for 14 days. Others are working with 48-hour timelines.
“Some vendors have paused new orders altogether,” said Rob Fuller, CFO of MR Architecture + Decor “They’re waiting to see how tariffs shake out before committing to pricing The bottom line is, we’re greatly impacted but there’s still a lot of uncertainty ”
WHY IS THIS HAPPENING?
For small studios, the impact of tariffs and pricing volatility is no longer an abstract concept Rather, it’s showing up in inboxes, invoices, and uncomfortable conversations with clients “We’re not just reselecting materials we’re rethinking entire scopes,” says San Francisco designer Kristen Peña of K Interiors to Bourque Where a few years ago a project detour might mean swapping out one fabric for another, now it can mean scrapping a furniture package entirely or redesigning around what’s actually available.
Take the case of a side table that was once quoted at $1,500. Today, that same piece might come back at $2,400 with a lead time of 10 to 12 weeks. "We have six-month lead times,” Moooi West Coast sales manager Laszlo Perlaki tells Dezeen’s Max Fraser “So what about those orders that are now in production? It's hard to go back to the customer and say they owe more money "
Theresa Butler, a designer based in Atlanta, describes the state of communication with vendors as all over the map: “Some are overcommunicating we’re getting dozens of emails with updates on pricing and delays Others are going radio silent ” That silence, she says, is often the most difficult to manage
While the answers aren’t always firm, the effort underscores how vital those relationships truly are. Some vendors are preserving designer loyalty by overcommunicating. In an environment where unpredictability is now the norm, that kind of transparency goes a long way
For studios that had already started leaning into domestic sourcing, the payoff is now tangible. Blair Moore, founder of Moore House Design, built her business model around U.S.based artisans and vendors, partly in response to the first wave of Trump-era tariffs in 2018. “Rather than relying on imports or mass-manufactured goods, we made a clear decision to source as much as possible domestically,” she told Business of Home.
That decision has not only minimized exposure to global shocks it’s reinforced the studio’s sustainability values and storytelling edge Banafsheh Soltani, founder of Bana Design, echoes that shift in Architectural Digest: “If tariffs expand, I’ll need to make more strategic sourcing decisions, educate clients about alternatives, and potentially adjust timelines It reinforces the value of good design over just ‘stuff ’”
Once a stylistic, project-by-project choice, vintage and antique sourcing is now a more strategic one Domestic and repurposed items are not only tariff-free but often more readily available and they align with growing consumer interest in sustainability and uniqueness
Studios are also evolving operationally More designers are adding tariff-specific clauses to proposals, as advised by design business coaches like Melissa Galt These clauses make it clear that pricing is based on current market conditions and may need to be adjusted if external policies change
Miriam Silver Verga’s firm has started issuing quotes with a two-week shelf life Kevin Twitty has shortened his to just 48 hours, reflecting how volatile pricing has become Scottsdale designer Britany Simon added a dedicated line item for tariffs on client invoices and freight tracking documents helping preempt confusion or tension at later stages Still others are taking a more holistic approach to cost recovery
Amid constant policy shifts and material cost spikes, designers are adjusting not just their sourcing but how they engage with clients For many, this means leaning into transparency rather than shielding clients from instability.
Clients are increasingly brought into discussions about trade policy, product sourcing, and even speculative pricing. As I+S Design noted, ASID anticipates that designers will need to “negotiate competing priorities” more directly by balancing aesthetics, durability, and budget.
This shift is also influencing client behavior. In a Forbes interview, Havenly CEO Lee Mayer noted a sharp drop in early interest and engagement: “On April 2nd, [sample fabric swatch requests] fell off a cliff and have not recovered.” While revenue remained steady in some areas, she expressed concern over what she called “up-funnel demand” a sign that clients are hesitating earlier in the design process.
When price changes appear on invoices without warning, designers are left holding the bag in client conversations
Not all vendors are handling the turbulence equally and designers are noticing that gap For many studios, transparent communication from suppliers has become a key differentiator When vendors explain the rationale behind pricing changes especially when it’s tied to tariffs or supply chain disruptions designers are better equipped to have open, honest conversations with clients.
Some have earned praise for proactively sharing how tariffs are influencing costs and timelines. That kind of clarity makes financial planning much easier; it also strengthens the trust between designer and client at a time when so much else feels uncertain.
Of course, not just furnishings and fixtures are affected In an interview with Business of Home, Winn Galloway, CEO of Lindye Galloway Studio in Costa Mesa, notes that contractors are also reacting to the uncertainty “Some are adding contractual carve-outs or issuing inflated bids up front,” she says, describing it as a form of risk management pricing in the unknown
LAURA U DESIGN COLLECTIVE FOUNDER AND DESIGNDASH CO-FOUNDER LAURA UMANSKY ONSITE REVIEWING PROJECT PAPERWORK
Liz Williams in Atlanta has started mirroring vendor behavior, including dedicated tariff line items on client invoices and importantly, not applying her usual commission rate to those charges
HOW DESIGNERS ARE RESPONDING
If the past year has taught designers anything, it’s that thriving is equally rooted in agility as creativity. Operations, sourcing, and client communications... they all require flexibility. Despite the uncertainty, small studios aren’t sitting still. They're experimenting with new strategies, pouring energy into existing relationships, and finding exciting ways to expand
A recurring theme across studios is the value of tight, transparent relationships with vendors. “We’re calling our vendors, saying, ‘Hey, if we get the order in and locked, can we secure pricing?’” says Kristen Peña in conversation with Bourque.
Still, many designers are finding creative traction in constraint Value-engineering once reserved for commercial jobs is now common in residential work, often initiated by the clients themselves While frustrating at times, these discussions have the potential to foster a more collaborative and pragmatic client relationship.
O P P O R T U N I T Y P R E S E N T S I T S E L F
While the volatility has upended traditional sourcing and quoting norms, it has also created unexpected space for innovation and for small studios to double down on what sets them apart.
For some, the crisis is accelerating long-overdue shifts. According to Dezeen, companies like East Fork which manufactures entirely in the U.S. are now seeing consumer interest rise as the price gap between imported and domestic goods narrows. “If tariffs drive up prices on imported home goods, the narrowing gap could make more consumers opt into a product with deeper values and story,” said CEO Alex Matisse
Others are using this moment to revisit core business strategies “We’ve implemented a surcharge some level of a partial offsetting surcharge to try to calibrate those cost increases,” said Franco Bianchi, CEO of U S manufacturer Haworth, acknowledging that adaptation doesn’t always mean absorbing the hit; it means recalibrating intentionally
Even industry leaders feeling the pressure are voicing cautious optimism. “As the current trade policies continue to unfold, we are closely monitoring developments and remain in active dialogue with our global partners,” said Laura Anzani, U.S. CEO of Poliform, in a statement to Dezeen. “We are confident in our ability to adapt and respond with the integrity that our community has come to expect.”
These are not silver linings so much as strategic recalibrations But they suggest a path forward: that firms rooted in craft, clear values, and client trust may not only survive the volatility but emerge more defined and buoyed by it
WHAT IF THE TARIFFS DISAPPEAR?
If the courts ultimately block the so-called “Liberation Day” tariffs, as the U.S. Court of International Trade recently ruled, the design and furnishings industry would face a complicated, but hopeful, reset.
Suppliers and studios would likely roll back surcharges tied to those tariffs, offering immediate budgetary relief However, analysts caution that reversing prices and confirming pending projects will take time supply chains, quote systems, and confidence need space to recalibrate
Manufacturers that had diverted sourcing to alternate countries may face a slow reversion Businesses built buffers and dual-sourcing models that won’t be unwound instantly even with tariffs gone. Strategic shifts tend to lag behind policy changes.
The court’s ruling restored clarity about executive and Congressional responsibilities in
trade policy. By emphasizing that tariff authority lies primarily with Congress, it sets a precedent likely to limit future unilateral trade moves, but we cannot possibly know for sure.
Although this block is meaningful, the administration is appealing and may explore alternative legal avenues like Section 232 or 301 This will likely leave the industry in a cautious posture Many of us are unlikely and unwilling to move on so quickly after months of turbulence
A return to tariff-free markets could ease costs and stabilize projects, but the experience is unlikely to erase any lessons learned Now equipped with robust quoting practices, flexible sourcing, and transparent client communication, designers and vendors may well continue to wield those tools long after the immediate crisis fades
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