The Quarterly, Issue 2

THE

INSIDERS GUIDE 06

DLN FAVORITES 07 INDIA TRAVEL 48 REPORT FROM PARIS JOURNAL CITY OF LIGHTS

PROJECT STUDY

ALL TOGETHER NOW BY AHMAD ABOUZANAT 24

THIS IS THE BED I'M GOING TO DIE IN BY LUCIE AYRES 28

WHAT'S OLD IS NEW BY HEATHER CHADDUCK 32

Cheers to Jamie Drake

On the final night of the Mexico City Summit, the DLN presented the Design Leadership Award to Jamie Drake. Read what his colleagues had to say.

The fashion house is continuing its expansion into luxury residences with DLN collaborations along the way.

DEATH AND JOY IN OAXACA

20 ⬤ THE JOY OF THINGS 40 ⬤

JUST BACK FROM MEXICO 18

⬤ STARK’S DTC EVOLUTION 44 ⬤

The Ralph Lauren Tree of Life

As the iconic brand celebrates 40 years of Ralph Lauren Home, we talked to DLN Members who worked in various roles at Ralph Lauren about its influence on their careers.

ARTISAN SPOTLIGHT

RUCHIKA GROVER’S ART OF STONE 21

MEET THE CEOS

THE LEADERS OF TWO NEW DLN PARTNERS SHARE THEIR INSIGHTS ON THE INDUSTRY 42

EAR COMMUNITY,

Who knows why we remember the things we do?

Some sense memories come back to me daily, weekly, monthly: the peaceful sound of water lapping in an Alabama cove I frequented as a young man, or the cool, pine-scented breeze rustling through the trees on my first day of college in Maine. Other sensations disappear as soon as they are felt.

Management and leadership lessons aren’t much different. Some pass us by, leaving little impression. Others are seared into our minds, becoming a fundamental part of who we are and how we operate as leaders. If you could peek into my head, you would probably see this one (often attributed to Stephen Covey, but passed down to me by an acolyte of American executive Jim Barksdale):

“The main thing is to keep the main thing the main thing.”

For me, it’s the leadership mantra to end all others—the meta-mantra. And it guides everything I do. Every organization or business has a primary driver of purpose or profit, but in a world of unprecedented distractions, it is all too easy to get caught up in diversions, side quests, and noise. These can cause us to lose our way and waste energy and effort on initiatives that don’t speak to our core mission.

ED ION

We do this at our peril.

So, what is the DLN’s “main thing”? Not our mission statement, but our daily mission: the goal that motivates and animates everything we do? When you strip away the bells and whistles, it is pretty simple: We want everything we do and create to be useful to you, our Members and Partners.

Being a creative entrepreneur is not easy. Most designers are driven by creative passion, not an obsession with spreadsheets, yet business demands cloud their days. Likewise, executives at design companies operate in an unusually informal, idiosyncratic market—one with no roadmap. The DLN was founded on the notion that, under these conditions, our best resource is each other.

That is why you are holding this publication in your hands. I conceived of The Quarterly as a community resource, and as you peruse our second issue, I encourage you to use it that way. Build on the ideas shared in these pages. Reach out to the Members and Partners featured within. It is only through collaboration, mutual support, and the pursuit of best practices that we elevate ourselves, our peers, and our industry.

And if The Quarterly helps you execute your “main thing,” whatever it may be, we will have achieved our own mission. As I celebrate two years with the DLN, I can think of no higher calling.

Michael Diaz-Griffith Executive Director and CEO

By the time this second issue of The Quarterly is in your hands, I will have just completed a year in my role with the DLN. In that time, the most striking impression I’m always left with after every experience with our community is all of your seemingly insatiable creative curiosity.

Our Members have an incredible ability to find both visual and leadership inspiration in every experience—whether it’s appreciating the colors in San Miguel de Allende or observing the management style of a new hotel group—and never lose the excitement of translating that influence to their work. Our Partners are constantly seeking to evolve both how they create product and how they share stories with the design community.

As I see it, the purpose of the DLN’s content, from the Journal to The Quarterly to the Partner Sourcebook to our new Masterclass video series, is to share this prolific creative spirit (and the many lessons that come with it). I soon realized that the best way to do that is to, quite simply, let you speak for yourselves. Our Members and Partners are the best experts in their field, so it only makes sense that you are the ones driving the content we create.

As a result, you’ll notice more first-person stories in this issue of The Quarterly, and more narrative storytelling in the accompanying Partner Sourcebook. For our DLN Masterclass, we’re asking Members to relay expertise in smart, succinct videos which will serve as invaluable resources for others.

Of course, most of this content is aimed towards our community itself. But with the immense talent amongst our Membership, it only felt right that we create an editorial product to deliver the best of that talent to a wider audience of design lovers, too. That’s where THE LIVING ROOM comes in.

I couldn’t be more excited about this new venture with Assouline, which I see as both a major new part of the DLN program and also as, well, a no brainer: You do the best work in this industry, so there’s no one better equipped to deliver the ultimate compendium of the best of design today. I am so excited to see it complete. As always, my inbox is open to pitches, ideas, and feedback; in the meantime, please enjoy (the freshly-redesigned) Issue Two of The Quarterly

Hadley Keller Director of Editorial and Community Engagement

INSIDERS GUIDE

THIS JANUARY, OUR COMMUNITY MEMBERS

GATHERED IN PARIS FOR DÉCO OFF AND MAISON&OBJET. THEY SHARE THEIR FAVORITE SPOTS FOR THOSE LOOKING TO TAKE A TRIP TO THE CITY OF LIGHT.

Deyrolle “I love the taxidermy and gardening store Deyrolle. Nothing like it anywhere. Where else can you buy a stuffed giraffe, a butterfly, or fabulous wellies for gardening, all in a charming and eccentric store?” –Ankie Barnes

46 Rue du Bac, VII, Paris

La Tuile à Loup “is a ceramics lover’s dream. Its founder, Eric, is a veritable curator of assorted artful plates, platters, tableware, and decorative pottery—there’s always something new to see.” –Hadley Keller, Caroline Gidiere

35 Rue Daubenton, V, Paris.

Adieu “has the most comfortable and indestructible Parisian-designed and -made shoes. I wear them all year long and can’t wait to go back for more.” –Gillian Gillies

7 Rue d'Aboukir, II, Paris.

Bar Hemingway: at the Ritz 15 Pl. Vendôme, I, Paris.

Café Lapérouse: for lunch, or L’Avenue for people watching. Recommended by Caroline Gidiere.

Ralph’s: 173 Bd Saint-Germain, VI, Paris.

Camille: “A short walk from Musée National Picasso-Paris, Camille has a beautiful vibe and cozy interiors. The salads and steaks are great and the homemade crumble aux pommes (apple crumble) and crème brûlée are a must.”

–Ahmad AbouZanat

24 Rue des Francs-Bourgeois, III, Paris.

Le Voltaire: Recommended by Caroline Gidiere. 27 Quai Voltaire, VII, Paris.

LouLou: “offers delicious Italian fare in a beautiful, Joseph Dirand-designed setting on the grounds of the Louvre.” –Paloma Contreras 107 Rue de Rivoli, I, Paris.

Soho House: “I am a member of Soho House, so I always pop into the Paris club for dinner. It’s in a beautiful 19th-century building in Pigalle. Poet Jean Cocteau once lived there with his family, and they have an impressive collection of French art. They also make a great burger!” –Lucinda Loya

5 Rue la Bruyère, IX, Paris.

114 Faubourg at Le Bristol: Recommended by Caroline Gidiere. 112 Rue du Faubourg Saint-Honoré, VIII, Paris.

Renaissance Paris Vendome Hotel: “Very central, not a crowded area, and an easy walk to the Left Bank and the Marais.” –Josh Wiener, Silver Lining

4 Rue du Mont Thabor, I, Paris.

J.K. Place: “Designed by Michele Bonan, the place is perfectly located on the Rue de Lille in my favorite neighborhood, the 7th Arrondissement. The major sites and design quarter are within walking distance, but it is the fabulous service and chic design that will keep me coming back.” –Paloma Contreras

82 Rue de Lille, VII, Paris.

The Hôtel Mansart: “At the corner of Place Vendôme and Rue des Capucines, this hotel is in a 1720 building by John Law, which was based on plans by Jules-Hardouin Mansart (1646–1708), Louis XIV’s chief architect. We have stayed there before in the junior suite; it’s a great location and price. The room is huge, with a duplex dressing room and bath, and has great views.” –Laura Casale

5 Rue des Capucines, I, Paris.

Hôtel Providence: “I adore this charming place—especially the top room with its sloped ceiling and terrace. It’s set on a side street, with not much traffic but tons of outdoor café tables.” –Hadley Keller

90 Rue René Boulanger, X, Paris.

Officine Universelle Buly “for fabulously scented body oils, lotions, and handmade combs and brushes.” –Caroline Gidiere Multiple locations.

Lemaire “Tailored and understated, Parisian fashion house Lemaire never disappoints. I have several prices from their twisted collection; they look odd—misshapen, even, on the hanger—but once you put them on, magic simply happens, and you and the garment are transformed. Believe me, make time when you are in Paris to visit one of their beautiful showrooms.”

–Gillian Gillie. Multiple locations

Casa Lopez: Recommended by Caroline Gidiere. 26 Bd Raspail, VII, Paris

Musée Carnavalet: “We are looking forward to going to the Musée Carnavalet, the museum of the city of Paris. It was closed for years for renovations and is now reopened.” –Laura Casale

23 Rue de Sévigné, III, Paris.

Hôtel de la Marine: “Every admirer of architecture and design must visit the Hôtel de la Marine. The 18th-century Ange-Jacques Gabriel building was once home to the Garde-Meuble, the office responsible for royal furnishings, before becoming the headquarters of the French Navy after the French Revolution. In its 200+ years as a naval office, it saw a series of renovations covering the original 1750s architecture, until a massive restoration between 2015 and 2021. The interiors rival Versailles, and it’s right in the middle of the city.” –Hadley Keller

2 Pl. de la Concorde, VIII, Paris.

Carpenters Workshop: “I make a point of stopping by Carpenters Workshop in Le Marais for their rotating exhibits of unique and artful furniture by emerging artists.” –Lucinda Loya

54 Rue de la Verrerie, IV, Paris

Bourse de Commerce - Pinault Collection: “I love the Museum at the Bourse de Commerce - Pinault Collection. The modern architecture inside the original building is inspiring, and the concrete work is magnificent.” –Josh Wiener, SilverLining

2 Rue de Viarmes, I, Paris.

PARIS DESIGN WEEK PICKS

DLN MEMBERS SHARE THEIR STANDOUT FINDS AFTER A WEEK OF COLLECTION LAUNCHES,TOURS, AND, OF COURSE A LITTLE ANTIQUE SHOPPING.

LladróBooth

Cecilia Ramos

The standout moment for me was visiting the Lladró booth at Maison & Objet. It showed the power of transformation in reimagining a heritage company for relevance in the 21st century. Not only was the booth beautifully designed—highlighting a variety of light fixtures and sculptural objects, including whimsical displays of floating birds, fish, and raindrops—but the brand messaging was super relevant to the now. This company, rooted in craft and tradition, embraced technology to double down on their savoir-faire through VR. Beautiful and inspiring!

CabinetdePorcelaine

Laura Casale

I came across a lovely shop on the left bank, Le Cabinet de Porcelaine. There were beautiful porcelain foxgloves and magnolias, flowers wrapping lanterns and adorning sconces, and flower and iron candelabra. The owner presented her work, which [represents]centuries of tradition and craftsmanship from the 1740’s, to become part of Royale de Sevres. I found a simple sconce I have already encouraged a client to use, and I thought the products very well- priced.

FleaMarket

Denise McGaha

I loved seeing the modern tapestries everywhere in the flea markets! I have collected these for years and it is exciting to see them in every color, ushering in a new season where COLOR IS BACK!

Féau Boiseries

Tanis Paul

My highlight would have been the private tour that I had of Féau Boiseries. It is one of the largest cataloged collections of wood carvings, details, and panels, and is an amazing resource for architects, designers, and clients worldwide. It is seriously one of the most comprehensive and well-organized collections that I have ever seen. They have a team of 35 people that can source period pieces for you, or design/ replicate, depending on the era. I was completely blown away!

AlexanderLamont

Jean Larette

Part of Alexander Lamont’s new Cicada line inspired by nature, ritual, and craft, the Amadeo Cabinet in straw marquetry with burnished brass hardware that was showcased at his pop-up shop in Saint-Germain is an absolute show-stopper.

GalerieGlustin

Lizzie Dinkel

There was so much I saw and really loved, like this vignette I saw at Galerie Glustin at the flea market. I just love the old boiserie walls contrasting with the more modern, furniture and objet the mirror, curvy cabinet, and ceramic lamps in these soothing tones of pale bluegreen and cream. They’re all such different pieces but it somehow works in a way that feels so French and wonderfully stylized.

LaTuileàLoup

Caren Rideau

My absolute favorite was visiting La Tuile à Loup and seeing his collection of French pottery. For textiles, I was excited to see Kit Kemp’s new embroidered fabrics. And of course, I especially admire seeing all of the talent of interior designers and architects around the U.S. and Europe come together to celebrate fabric, art, photography, and fashion.

L.V.Foundation

Jiun Ho

We were happy to host a pop up featuring our newest collection, which was inspired by Mexico —site of the DLN Summit! Our most standout memory, though, was definitely hosting our soirée with Workshop Collection and La Manufacture Cogolin at the Louis Vuitton Foundation during the Mark Rothko show.

Maison Pouenat

Anna Agapova

My new HORAS table, created in collaboration with renowned French company Maison Pouenat, was presented during the Déco Off in an exhibition displayed at Pouenat Gallery as part of the Haute Facture Tour. The HORAS table is inspired by the passage of time: The marble countertop with the round metal platform in the center resembles the face of a clock, and the shape of the metal legs reminds us of hourglasses.

PierreFrey

Cynthia Walter

There were many M&O finds but this young talent stood out: Alan Louis, from France and living in Lisbon. Outside the fair, seeing the private rooms of Marie Antoinette beautifully, exquisitely restored in Braquenié by Pierre Frey was such a special experience.

PierreFrey

Georgia Zikas

My single favorite take away from my latest Paris trip was the theme of “strengthening my vendor relationships.” It was important to me to meet my vendors on their soil, their turf—not only out of respect for all the times they have traveled to see me in the U.S., but also to further appreciate the artistry and the behind art stories that can only be shared intimate in meetings. One specific vendor relationship that was strengthened for me was that with the nearly 100year-old Pierre Frey brand. Touring their corporate offices, with a private look at Pierre’s family apartment ”above the shop,” was truly memorable. Beautifully decorated and adorned in company history, it was designed for modern living and a youthful family. It was incredibly relatable. Upon my return this week, my team has already specified a beautiful Pierre Frey rug for a new project and wallpaper too. They will continue to be a go-to for us!

Féau Boiseries

Kristen Rivoli

This one is easy!

My favorite place from this year’s Déco Off has got to be my visit to the Féau Boiseries workshop/ studio. The work they do is so important to preserving the foundation of the classic architecture and design language. The provenance of most of their inventory is such an interesting piece of information to share with clients, and to have the ability to customize the size, finish, and details of the panels makes it even more special to a project. During Déco Off, they displayed the very modern, sculptural pieces from the Invisible Collection juxtaposed with the classic, detailed boiserie panels. It was a perfect balance of tension.

Marmi

Courtlandt Pennell

Here we have Courtlandt Pennell of Desiron and Stephanie Porzio of Kate Verner + Associates at the Marmi Stone pop-up in Paris. Magd Riad was showing us his new beautiful Hamilton bathtub.

MartaSalaEditions

Courtney Yanni & Meghan DeMaria

Moss Design

Our favorite experience was the apartment designed with Fromental wallcoverings and furniture by Marta Sala Éditions, dubbed “The New Gilded Age.” We went in the evening and it was as if we had stepped into a glowing jewel box: a golden mural in the family room juxtaposed with modern art and furniture, chrysanthemums climbing the walls in the study, and the richest chocolate velvet with gold embellishment cocooning another space. It was truly magical.

BOOKSHELF

READ

DEFINING CHIC: CARRIER AND COMPANY INTERIORS by Jesse Carrier and Mara Miller Rizzoli

Having launched our first book, Positively Chic, seven years ago, we thought we knew everything we needed to know about publishing a book. We’ve learned that practice makes perfect! While working on our latest, Defining Chic, we were reminded that it takes a village—a very talented village—to publish a bestseller.

SHAMSHIRI: INTERIORS by Studio Shamshiri Rizzoli

MICHAEL DEL PIERO: TRAVELED AND TEXTURAL by Michael Del Piero, Beta Plus

DESIGNING ROOMS WITH JOIE DE VIVRE: by Amanda Reynal Abrams

MEMORIES OF HOME: INTERIORS by Heidi Caillier Rizzoli

I learned how much work has to be done on the front end to figure out exactly what you want the book to look and feel like—and how to ask the right questions to your publisher to ensure that happens.

TIMELESS BY DESIGN by Nina Farmer Rizzoli

Until this book, I had not stopped to reflect on the common threads that tie my work together. The writing process was a great opportunity to solidify the design ethos of my studio.

page 43.

The 2024 Design Leadership Summit in Edinburgh will kick off with a reception aboard the Royal Yacht Britannia. For more on Summit plans, see

THE RALPH LAUREN TREE OF LIFE

As the iconic brand celebrates 40 years of Ralph Lauren Home with a new book, its influence has never been more clear. The best proof of this? Many of today’s most celebrated interior designers are alums of “the University of Ralph”, as several of them lovingly call it. We talked to DLN Members who worked in various roles at Ralph Lauren about its influence on their careers—and the design world at large.

Clockwise from top left : A bar design by Joy Moyler; a sitting area by Noz Nozawa; Mark Cunningham's Bellport home; a serene space by Michael Cox.

What was the biggest lesson you took from your time at Ralph Lauren?

JOY I learned to fully immerse myself in every possible creative opportunity around me, from rigging mannequins to working with the windows team; to not limit myself to my immediate responsibilities; that everything you do and touch is a learning experience and everyone around you is bringing something wonderful to the experience.

MARK The value of working with a strong team and giving people the room to learn and grow—as well as fail.

NOZ The power of conceiving of and implementing a full, complete experience when it comes to brand and lifestyle. From the store architecture and decor to the merchandise and how we were trained to fold and display everything, to the way we were taught to dress while on the floor-mixing and matching RL current season apparel with past seasons’ and more affordable retail as associates, to the iconic scents of each department... to this day I use those lessons as I think about my own brand.

MICHAEL Accountability and determination—never accepting no for an answer (I tracked down an FAA official at home on a weekend to get an airport opened to land a plane of furniture from South America to make a showroom deadline).

How does your Ralph Lauren training most show up in your current work?

JOY I refer to the RL Experience as “Ralph Lauren University.” I came to RL with a wealth of interiors and architectural knowledge and experience and already having had a hand in product design and retail design. Designing retail spaces and showrooms at RL truly taught me the importance of “lifestyle creation”— the value of a sensory experience and holding the shopper in your hand from the moment they hit the threshold. RL taught me the power of visual imagery and lifestyle branding. “If you see it, you can live it”: This ethos remains the thread of all my projects today.

MICHAEL Attention to detail. Our clients appreciate the comprehensive way we design their homes and consider and

incorporate all their creature comforts.

MARK My time at RL emphasized the importance of constantly looking at things with a fresh eye and staying curious. Working on so many different projects there helped me realize that having a point of view or brand doesn’t mean you are committed to staying in one lane, and that’s a freedom I am grateful to feel in my practice now. I’ll add that my experience in retail and merchandising at RL has certainly influenced the way I buy for and style projects now.

NOZ My training on attention to detail (specifically, that every single detail counts but they are not all meant to be “perfect”) shows up all the time. I think often about the style of bowtie we were taught to tie back when I worked there (undersized asymmetrical knots, which you achieved by shortening the bowtie to a shorter length than you’d normally take, which would lead to the wider part of the “bow” sitting inside the knot). On the other hand, I think about the meticulously perfect way we were instructed to fold polo shirts and cashmere sweaters—using crisp sheets of printer paper to ensure each sweater felt lofty and bouncy. That dichotomy of perfect and deliberately imperfect is everything.

What is it that has made Ralph Lauren’s style so timeless?

MICHAEL Aspiration. The company created the “lifestyle” that defined what success looked like and lived like for the last five decades.

MARK In my opinion, the brand has become the icon that it is because its narrative—Ralph’s distinct vision for it— hasn’t wavered from the start, but he’s been able to adapt, grow, and reinvent it so that it’s always felt fresh.

JOY RL is a legendary, iconic brand because it changes but holds true to who it was from day one. In short, always being relevant! It expresses itself through classical fashion, furnishings, and accessories infused with the past and present. It doesn’t follow trends. There is always something relatable and sentimental: You always remember that first Polo shirt! Most importantly, Ralph Lauren is never trying to be someone else.

NOZ NOZAWA

Sales Associate, Philadelphia store 2006–2007

MARK CUNNINGHAM

Creative Director, Beverly Hills store; VP of Creative Services in New York, 1987–2000

MICHAEL COX

RLHC sales; flagship Manager of RLHC Product Manager of furniture, fabric, wallcovering, and paint; Design Director of furniture, Director of Ralph Lauren Interiors, 1991-2001.

JOY MOYLER

Architectural Project Manager and Designer Creative Services, 1998-2006.

BLUEPRINT FOR SUCCESS

by Donna Mondi DLN Member

The system that enables Donna Mondi to set tangible goals and track metrics in a creative business.

IN THE DYNAMIC WORLD OF INTERIOR DESIGN AND ARCHITECTURE , success is often shaped by visionary leadership and strategic planning. Over the past decade, I have found unparalleled success through the Entrepreneurial Operating System (EOS), a comprehensive toolkit for business optimization. The EOS, detailed in the book Traction by Gino Wickman, provides a structured approach to goal setting, performance tracking, and fostering accountability within a team. This system has become the cornerstone of my firm's growth. Here’s how we use it.

DEFINE BRAND PILLARS AND CORE FOCUS. A critical step in the EOS journey is determining how you define your brand and what it represents. The Vision/Traction Organizer, accessible online at eosworldwide.com, is the linchpin of this process. It encapsulates our purpose and the core values that guide our design philosophy. With a clear understanding of our identity, we can then embark on a strategic planning journey that’s broken into three parts: a ten-year, three-year, and one-year plan. Once we’ve set annual goals that support the ten-year outlook, it’s easy to decide what we need to do on a weekly and monthly basis to hit those targets.

ESTABLISH GOAL SETTING, MEASURABLES, AND METRICS. To ensure progress, we track measurable metrics through a comprehensive scorecard. Weekly billable hour goals, monthly revenue targets, expense budgets, quarterly royalty fees, and the number of new client inquiries are all monitored monthly. I've even incorporated a “failure budget,” aiming for no more than three nos each year—a radical concept I discovered through a podcast. This practice ensures I avoid playing it safe and consistently strive for more. Indeed, this year, we achieved our goal, all the while securing far more yeses that have propelled our growth.

MAINTAIN DAILY PRACTICES. My daily routine begins with identifying the top three tasks for the day, ensuring I spend time on what is most important. I use several tools for this:

• On days I’m struggling to maintain focus, I use a Pomodoro timer.

• Project management and process optimization are streamlined through Notion.

• I rely on Canva to create a vision board graphic that serves as my screensaver. This daily visual reminder of our seven key annual goals keeps me focused and motivated.

After more than ten years of following this system . It’s incredible to go back and review where I thought I wanted to be and see how far I have exceeded my expectations. By aligning the team with a clear vision, fostering accountability, and leveraging practical tools, businesses can navigate the complexities of the industry and thrive in a competitive landscape.

The newly-opened W Edinburgh, designed by Jestico + Whiles, is one of the properties where the DLN will stay during the 2024 2024 Design Leadership Summit.

Cheers to Jamie Drake

On the final night of the Mexico City Summit, the DLN presented the Design Leadership Award to Jamie Drake.

“HE’S A WALKING ENCYCLOPEDIA OF DESIGN,” says Jamie’s frequent collaborator and longtime friend, Janice Parker. “There really isn’t a furnishing, a fabric, a piece of art, sculpture, antiques, history that he doesn’t know. And he has this incredible ability to cycle through everything to see how things will work together and also to understand the people that he is designing for.”

With a place on the ELLE Decor A-List and the AD100 Hall of Fame, his fingerprints on New York’s iconic Gracie Mansion, and “a shelf full of awards,” as his partner, Caleb Anderson, quips, it’s no secret that Jamie has a place in the design history books. But talk to anyone who knows him well, and the first word out of their mouth to describe this bastion of style is almost always “kind.”

“Jamie is one of the most talented people I know, but more importantly, he’s kind,” effuses former New York City mayor Mike Bloomberg, a client and friend of Jamie’s for over three decades.

“He’s always been one of the first people upfront to say ‘I want to support you,’ and I really appreciate that about him,” says AD Editor-inChief Amy Astley. “It shows real leadership and sets the tone for others.”

In his own life, Jamie sits on the board of no fewer than five nonprofits: the New York Community Trust, Parsons School of Interior Design, the

Kips Bay Boys & Girls Club, Alpha Workshops, and the Historic House Trust of New York City. At our Design Leadership Dinner, he announced that he has accepted an invitation to serve as President of the Board of the New York Community Trust, a position in which he will no doubt excel.

For Jamie, philanthropy goes much deeper than writing a check—or even encouraging others to write checks: “He studies and really pays close attention to all the grants that we make,” says Amy Freitag, president of the New York Community Trust. “He takes time to really understand the work as systemic, as long lasting, that really the difference between charity and philanthropy that we really seek to make long-term sustainable change.”

As a leader, Jamie has served as mentor to many—most notably, of course, his now partner, Caleb, who initially joined Jamie’s firm as an intern.

“Jamie’s someone who is always thinking of the future and has always been willing to make an investment of his time and himself,” says Caleb. To Jamie, it’s a way of living. In accepting the DLA award in the glittering ballroom of Mexico City’s Casino Español, he relayed: “Taped to my mirror is a quote by Ralph Waldo Emerson that I read every morning: To know even one life has breathed easier because you have lived, this is to have succeeded.”

DLF ONSTAGE

On day one of the DLN Summit, MSU students Tyler Rutland and Elvis Scott took the stage to reflect on their experiences of the DLF’s Summer Horizons Travel Program.

So when it was time to graduate high school, I knew I’d leave…and so did my mom, who more than once said, “You have to get out of this.”

Elvis Scott

Opportunities aren’t always easily reached for a single mom, so, standing here right now, I am a spokesperson for gratitude.

Tyler Rutland

Tyler Rutland—Senior in the MSU School of Interior Design, 2023 DLF Summer Work Experience Cohort

Elvis Scott—3rd Year Student in the MSU School of Architecture, 2023 DLF Summer Work Experience Cohort

THE DLF EXPANDS OUTREACH TO CHICAGO WITH NEW DESIGN STUDENT MENTORSHIP PROGRAM

The Design Leadership Foundation has partnered with One Million Degrees to support architecture students in the Windy City.

AS A BOARD MEMBER OF THE DESIGN LEADERSHIP FOUNDATION for the past three years, it has been exciting to see how we have grown a small pilot program into a full-fledged platform offering life-changing experiences to students in the architecture and design world. As we announced in Mexico City, we are thrilled to continue the foundation’s growth in exciting ways that champion access and opportunity to design students who need support, providing them with tools and experiences that will help them become thriving professionals in our industry.

This fall, the Design Leadership Foundation kicked off our newest program: a mentorship opportunity for undergraduates at the City Colleges of Chicago. For this, we partnered with One Million Degrees, a Chicago-based nonprofit that I have seen make incredible strides in our community by assisting students as they complete a college credential and improve their economic mobility. Along with academic, financial, and career-development support, personal coaching is one of the core opportunities they provide— and with the DLN’s incredible network of professionals eager to share their experience and knowledge, we were an obvious partner for this program.

by Shea Soucie DLN Member

One of the most helpful aspects of One Million Degrees’s coaching platform is that it is open to any licensed and practicing professional, so we are able to invite junior team members at DLN firms to join and not limit the opportunity to partners or senior-level staff. One Million Degrees also provides two different ways to be a mentor: The coach can either sign up to lead as many monthly one-off group sessions as they can, or elect to be paired with a student for 1:1 sessions each month for the entire academic year. Both models enable coaches to be involved based on their availability and preferred level of interaction. We are thrilled that the Chicago community has already shown incredible support for the program, with over a dozen DLN firms already active!

We were also excited about the overwhelming response from Summit attendees requesting similar programs be rolled out in their regions. That is very much our hope, and the DLF is looking into bringing similar opportunities to other member cities, increasing our involvement in our local communities and inspiring the future leaders in our field.

Join us in making these opportunities possible by giving a tax-deductible donation to the DLF, or become personally involved by volunteering at one of our mentorship opportunities, hosting a student in our summer work experience, or joining a board committee. Scan

DESIGN LEADERSHIP FOUNDATION

TEAM WORK

A responsibility matrix may be the key to successful cross-discipline collaborations. Below is an example of the form Historical Concepts shares with interior design collaborators; use this as a guide for your own breakdown.

DURING A RECENT DLN COMMUNITY ROUNDTABLE on collaborating across disciplines, Member Kevin Clark of Historical Concepts shared an example of the responsibility matrix which his team uses to delineate ownership of design tasks between interior designers, landscape architects, and any other professionals involved in a project.

DIVISION OF SERVICES

INTERIOR DESIGNER CONTRACTORS / ARCHITECTS

DRAWING DELIVERABLES

SITE PLAN

FLOOR PLANS

ROOF PLAN

EXTERIOR ELEVATIONS

BUILDING SECTIONS

WALL SECTIONS

CORNICE DETAILS

WINDOW DETAILS

EXTERIOR DOOR DETAILS

EXTERIOR TRIM DETAILS

PORCH/COLUMN DETAILS

CHIMNEY/FLUE DETAILS

STAIR LAYOUT DETAILS

INTERIOR PERSPECTIVES/ VIGNETTES

INTERIOR ELEVATIONS

INTERIOR TRIM DETAILS/PROFILES

INTERIOR BUILT-IN/CABINETRY DETAILS

FINISH FLOOR PLAN

REFLECTED CEILING PLAN

STAIR TRIM DETAILS

FIREPLACE SURROUND DETAILS

WINDOW SCHEDULE

EXTERIOR DOOR SCHEDULE

INTERIOR DOOR SCHEDULE

STONE/TILE SELECTIONS, DETAILS & SCHEDULE

PLUMBING FIXTURE SELECTIONS. DETAILS & SCHEDULE

ELECTRICAL LAYOUT PLANS

ELECTRICAL FIXTURE SELECTIONS, DETAILS & SCHEDULE WALL/CEILING

FINISH MATERIAL SELECTIONS & SCHEDULE DOOR/WINDOW HARDWARE

SELECTION & SCHEDULES

CABINET HARDWARE SELECTIONS & SCHEDULE

APPLIANCE SELECTIONS & SCHEDULE

SPECIFICATION

“Every project benefits from the unique contributions of the design and construction professionals engaged to take a project from vision to reality. Collaboration and sharing of design ideas across disciplines is imperative and expected throughout the design and construction phases. However, the development of final drawings, schedules, and specifications always needs a singular owner.

This table represents our standard breakdown of drawing and deliverable ownership between HC and an Interior Designer. Our fees are reflective of this division of scope and our collaboration in the design phases. Should HG be requested to prepare selections, schedules, or detailed drawings of the selections in the right columns, these will be accommodated as an additional service.”

MEMBERS SHARE THEIR FAVORITE SUMMIT MEMORIES

“Oddly enough, I found the many bus rides to be memorable because close proximity often leads to easy connections.Talking with another DLN Member on the first day, we realized that my children’s camp counselor was his son’s best friend. Our whole bus was rocking on the way to the awards ceremony when a fellow passenger took control of the radio with a custom Spotify playlist. On a different ride, I really enjoyed bonding with other people over a shared love of Disney World.That conversation may lead to a possible connection in Orlando sometime soon. I can go on and on; the food, lectures, and tours were enriching, but the connections were my favorite part of the summit.”

Joel Arencibia, Silver Lining

“Jose Davila is one of my favorite artists and we’ve placed his work in past projects, so I really enjoyed learning more about his journey on the day of his talk. Less a favorite moment but a memorable one was when, with a lifelong bug phobia, I unexpectedly found out that I had eaten two scoops of grasshoppers in my soup. A lot of people thought it was a good idea and like them in Mexico, but I was mortified.”

Lucinda Loya

“The opening night. This is my second summit and I love that we were all gathered under one roof for the the entire night. The venue was amazing and the band was really incredible. We danced until we were out of breath.”

Ahmad AbouZanat

“Knowing I’d somehow magically found my people in a former warehouse turned artisan craft market for a day in Oaxaca. Witnessing our hosts present their prayers and offerings to their loved ones for Dia de los Muertos and then asking us to join them by lighting a candle, to surrender our armor and simply be. I’ll cherish this life-changing moment. Never will I look at the humble marigold quite the same!”

Gillian Gillies

MAGIC OF SAN MIGUEL

New Member Anelle Gandelman discovers San Miguel de Allende's transportive charm.

MY TIME IN SAN MIGUEL with the DLN was nothing short of magical. Having previously only visited Mexico’s beach resort areas, the city’s charm was an unexpected and perfect conclusion to the Summit in Mexico City.

San Miguel’s inviting, walkable streets, dotted with local stores and galleries, are not unlike those found in the Italian or French countryside—except in this case, the doorways were decorated for Day of the Dead, which gave the town a festive quality. But it was the won-

DEATH AND JOY IN OAXACA

How Mexican tradition showed Teresa Manns a new way to celebrate her late daughter.

WHEN THE OPPORTUNITY TO VISIT OAXACA WITH THE DLN as an extension to the Mexico City conference was offered, I jumped at the chance. Very much looking forward to learning about the artisans in the area, I was surprised that

derful group of people and an expertly curated itinerary that made the trip really special.

It was a treat to spend time at Jeffrey Wiseman’s private home, visiting one of his breathtaking projects and learning the difference between construction in Mexico versus the U.S. My biggest takeaway was the limitless possibilities that emerge when cost is not a constraint. So many things are possible in Mexican design that would be cost prohibitive in the U.S.

Other highlights included a private tequila tasting at Casa Dragones, cocktails at the home of Blackman Cruz, and a visit to Casa Sin Nombre, an incredibly conceptual private home that doubles as a furniture gallery. On top of that, we were granted the extraordinary opportunity to step into the wonderful home and iconic kitchen of Michelle Nussbaumer.

There was a memorable dinner at the hacienda of the super chic Claudia Grajeles, an evening that epitomized elegance and refined taste. Our group was also lucky enough to have lunch at the Provence-inspired home of Cris Briger, founder of

my biggest takeaway has been to embrace their annual Day of the Dead altar tradition. We lost our Zoe in June of 2018, just shy of her sixteenth birthday. She had been ill much of her life and did not survive liver transplant surgery. This was unexpected and very shocking to me, her father, and her brother. As all who have lost loved ones can attest, she remains very much a cherished part of our family and we keep her memory alive with anecdotes, songs, and visiting with her friends. We also celebrate her birthday each year by enjoying (choking down, really) her favorite McDonald’s Happy Meal. Increasingly, this tradition has bothered me as surely her palate would have evolved, yet our celebration of her remains frozen in time. With each passing year this becomes a painful reminder of the time with her that we have lost.

Casa Gusto Antiques, and learn about her design journey and subsequently her store. Whether it was the wine or the environment, I think we all felt transported that day.

by Anelle Gandelman DLN Member

Learning from our Oaxacan hosts that the Day of the Dead is embraced as a day of celebration and remembrance for loved ones that have passed away, and their belief that the spirits are able to visit with them during the annual thinning of the veil between our world and theirs, really resonated for me. Zoe’s spirit very much lives on, as has been made clear to me on several occasions. To celebrate, really celebrate, her life once a year feels joyfully appropriate and authentic to our family. So, when I arrived home from Oaxaca, I quickly sourced some marigolds (their color is thought to attract spirits) and made an altar for Zoe in our dining room. It included some of her favorite foods (chocolate and strawberries), a photo of her, a model horse, and a crown that she wore as often as possible. Each evening until the actual Day of the Dead I lit candles surrounding it, which I could see from the kitchen as I prepared dinner. This time of day was a favorite of ours. She often sat with me and chatted about school, or we sang songs together—which sometimes morphed into a dance party. I felt connected with her in a way that I had not in a long time, and plan to continue this tradition going forward. I hope that everyone reading this makes time to learn about this beautiful tradition.

by Teresa Manns DLN Member

DESIGN LEADERSHIP SUMMIT

Ruchika Grover's Art of Stone

Ruchika Grover is the founder of Borrowed Earth Collaborative, a maker of stone products that seeks to translate the power of the natural world into products for the home.

“We operate at the intersection of art, architecture, and design.”

How would you describe your practice in one sentence?

Essential and unnecessary, luxurious and absurd, delightful and excruciating.

Tell us a little about the history of your practice: Were you formally trained as an artist?

It took me a few years to truly start embracing the artist in me. Natural stone and marble is not the easiest medium to work with and requires heavy investment in infrastructure and material. I started traveling with my father, a marble and granite trader, when I was 14. My first job was as block marker, where I would travel with his clients to quarries all over the world and select material for them. This gave me an inherent understanding of the material and a great degree of comfort with it.

I wanted to pursue art, but I was raised to be a business woman. I studied business and entrepreneurship and I realized pretty early on that if I didn’t build something that allowed me to create and delight myself, I wouldn’t last long.

Since I didn’t have any formal education in art, architecture or design, I didn’t have any constraints. Every day was an experiment in my studio: I questioned every established practice and sought inspiration anywhere I could find. Over the years, architects and designers started bringing me on as a specialized consultant/artist on their projects—and 16 years later

I am still doing that.

Can you tell us a little about your process?

The intent is always to create something inspirational and in a direction which breaks conventional practice. I start with some sketches and a material palette, and simultaneously we start the modeling on softwares. I am very tactile and like to understand the material, the quarry, the movement of veins in the block and the formation, to best be able to accentuate the materiality and celebrate it. We always create a 3D model of the pattern using CAD software.

Since most of my work is dimensional, the play of light and shadows is an inherent part of the development process. The prototyping process involves extensive prototypes on ten to 12 materials with different tools, combinations of finishes, and hand finishing. To design a series of four to five patterns we prototype and work on about 15 patterns which are then shortlisted. Developing a series of patterns takes anywhere between six to ten months. Each pattern is a combination of CNC milling and hand carving, making every tile unique and distinct.

What is the most important consideration when hiring for your practice?

Besides the technical skill needed: the right balance of left-and-right brained. We operate at the intersection of art, architecture, and design, so understanding the material and the business of it is important at every stage of development.

RARE CRAFT

Inside the Studio of the Last Surviving Horsehair Weavers.

ON A GATE OUTSIDE A SMALL, STUCCO BUILDING in the town of Challes, France (population: 1,220) is a modest black sign emblazoned with the gold silhouette of a horse. Walk through this gate—into a dusty, unassuming courtyard—and you may have stepped back in time a few centuries. Here, at Manufacture du Crin, a handful of weavers are keeping alive a practice so intricate that it’s died out in all other locations worldwide: the art of weaving horsehair.

The weavers of Le Crin have been spinning horsehair fabric since 1814, long before advancements in technology all but eradicated hand looms, let alone hand looms where each inch of fabric may take hours to complete. But within the walls of its modest studio—which, save for the clothing on some of the weavers and the use of a few plastic storage bins, looks practically unchanged since its founding era—the practice of horsehair weaving is spun into the most high-end offerings of the textile company Métaphores.

Métaphores belongs to the textile division of another legacy French company which prides itself on painstakingly-detailed craftsmanship: its sister brand, Hermès. Beyond their obvious shared equine themes, Métaphores boasts the same fastidious dedication to precision, quality, and historic savoir-faire as its fashion world cousin. Many of the weavers at Le Crin learned to weave from their own parents or grandparents; even those with this basic knowledge will work two years in the workshop before they can truly master the craft, which starts dozens of steps before a shuttle ever moves across a loom.

First, comes the hair, which arrives in two-to-three foot bunches, which are hand-combed to remove any knots before they are sorted, strand by strand using tweezers, into groups by color. With like-colored strands together, warps are tied onto bobbins in a technical process that takes around four hours. Finally, weft threads are laid in a trough, where they are inserted, into the warp as their weaver throws a special hooked shuttle to catch them.

In a small factory in southern France, artisans weave with a breathtakingly delicate material: single strands of hair.

Woven together with silk, raffia, and other rare materials, the horsehair threads lend a unique structure to the textiles of Métaphores. With more shimmer than raffia but more structure than silk and a heavy, satin-like hand, they make for an enticingly textural fabric. Textiles with horsehair from Le Crin (distributed as Métaphores in the U.S. through Kravet) have hung in the likes of the Louvre, the Elysée Palace, Buckingham Palace, and the White House where a red jacquard-style was commissioned for the Reagans. They each began with a single hair.

Top: Finished horsehair textiles from Le Crin; bottom : sorting horsehair and raffia by color in the workshop.

By Ahmad AbouZanat DLN Member

TOGETHER NOW

Project AZ’s Ahmad AbouZanat explains why an accurate budget is a key to creative collaboration.

COLLABORATING WITH ARCHITECTS AND BUILDERS has always been the part I most enjoy about any design project. My degree and education is interior design and planning, but my professional training for the first eight years of my career was at architectural firms. This taught me to look beyond the decorative elements when it comes to remodels and use architectural details as a base for every project. For this project on Grand Street in New York City, the aim was to create a space that reflected the clients’ interests and personality—all within a completely custom footprint that made use of every inch of square footage and accounted for unchangeable obstructions, like a structural wall and a water main.

Since the project entailed many customized details (mostly through millwork), we needed partners who have executed similar projects with similar budgets. The project budget dictates the quality level we’re sourcing or fabricating for each project. I always do my best to push my vendors and collaborators to provide the best they can within my client’s budget. I worked as a furniture and lighting designer for a little over three years, so I learned to present detailed drawings for execution. Even when working with smaller shops and fabricators, I find that presenting them with custom details upfront (and the illustrations of how to make it work) encourages them to go past the generic solutions and details they typically present.

On the initial call with my clients, I ask that before they share their budget with me, they set their contingency budget on their own. My advice is that it’s 15 to 20% of the overall budget (depending on the scope and scale of work) and when I price out the project, I set aside another 10% on the back end. It’s a practice that I learned at one of the design firms that I worked for back in 2009. While this may be considered a high percentage, in the event we needed to tap into it, it eliminates the stress of the added costs. For projects where we do not have a need for the contingency budget, the clients are always pleased that they’re comfortable spending more towards the end of the project and this gets them excited about finishing touches like accessories or small upgrades that they thought might not be possible.

In addition to having that safety net, we make a habit to finalize the design before pricing the contracting work out. Together, these practices reduce the client’s stress about unexpected expenses or change orders. They also gives us assurance that we are committed to our professional partners on the job in order for them to deliver the best outcome.

ARMANI ' S GROWING WORLD

The fashion house is continuing its expansion into luxury residences with DLN collaborations along the way.

SOMETIME BETWEEN PANEL DISCUSSION and breakout groups at the DLN’s Business Forum last year, Armani/Casa’s Joel Robare struck up conversation with Ariel Simm and Robin Feuer of high-end drapery studio RoseHyll. The timing couldn’t have been more perfect: Armani was deep in development of a Manhattan showhouse meant to spotlight the brand’s capabilities in the luxury residential market. The groundwork was laid or a push to high-end apartment living that is now manifested in The Giorgio Armani Residences, its newly-announced luxury condominium property and retail flagship on the Upper East Side.

“They came to us with these really beautiful Armani fabrics, which were so fun to work with,” says Robin. “They really underscored the vision and the mood of the space.” RoseHyll ended up completing six pairs of stationary ripple-fold curtains for the space, which was a harbin-

ger of things to come for Armani. Now, the brand is doubling down on its investment in luxury residences, with The Giorgio Armani Residences at 760 Madison Avenue in a handsome, fluted Pietra de Luna granite building offering four- and five-bedroom apartments plus a duplex penthouse with sweeping views of Central Park. Below these residences, the design of which was guided by Mr. Armani himself, is the longtime Armani store on 65th Street, which is slated for an overhaul too, nearly 30 years after its debut. Once reopened, the space will comprise showrooms for Giorgio Armani, Armani/Casa and, the Armani/Ristorante. It’s a major step for Armani—and no one is more excited to see where that leads than the team behind RoseHyll. “Through this project, we not only gained a work partnership, but a friendship,” says Ariel. Here’s hoping more collaborations await in Armani’s new era.

THIS IS THE

We all have that one client who really pushes us, who keeps us on our toes, and who insists on detailed analysis of colors, fabrics, and wood stains in a way that forces us to pull deep into the why of our decision-making. We recently photographed a project for one such client in Manhattan. Their passion for design resulted in many long, colorful, in-depth discussions and a suite of stunning, exquisitely layered rooms.

LIKE US, OUR CLIENT IS A FIRM believer in the old adage “buy once, cry once” i.e. it’s always better to pay more for an item of exceptional quality and longevity than to give in to the false economy of an inexpensive item that will end up in a landfill after a few years). At our photo shoot, while admiring her gorgeous custom bed, she said to me, offhand, “This is the bed I’m going to die in.” Though the wording may have surprised me, the concept made perfect sense.

The idea of investing in forever furniture as though it’s a forever home has definitely become a trend in the post-pandemic design industry. As with fashion, consumers are understanding that the best-made, best-designed pieces are timeless

—and can be repaired or customized instead of being replaced. We’re seeing a growing unease with the environmentally destructive phenomenon of disposable furniture, especially foreign-made furniture that often arrives broken, but can’t be returned due to the exorbitant shipping costs (often, shockingly, the vendor’s advice is to trash it while a replacement is sent).

Aside from lasting a lifetime, many widely available design classics actually appreciate over the years. The Eames chair that my husband and I bought almost 20 years ago, for example, would now sell for more than twice its mid-2000s retail price on sites like Chairish or 1stdibs. Like real estate, in other words, the

right furniture can be an investment with utility. Buying such pieces also means supporting North American workers and smaller businesses. And for those who’ve been priced out of the property market—or need the flexibility of renting due to work—owning a selection of carefully curated forever furniture means that no matter where you live, you’ll always feel at home. And why not take the time now to think about the furniture that will surround you on your last days? None of us wants to have the sad experience of poor Oscar Wilde whose famous last words were: “This wallpaper and I are fighting a duel to the death. Either it goes or I do.”

I AM GOING TO DIE IN ED

by Lucie Ayres

Member

Edinburgh Castle, the Calton Hill Folly, and the city's historic streets will serve as backdrop to the 2024 Design Leadership Summit.

HAT'S

OLD IS NEW

by Heather Chadduck DLN Member

After a year in Colonial Williamsburg’s Nelson-Galt House as its second Designer in Residence, Heather Chadduck reflects on bringing new life to such an historic home.

RESIDENTIAL dwelling in Colonial Williamsburg has been the greatest gift to this native Virginia girl. The home itself is a simple wood frame structure with dormers and a cedar shake roof, and when I walked inside for the first time, it felt familiar—and I knew almost instantly what this 1695 structure needed.

I followed the guidelines and restrictions placed on the property, and in a way, I believe it forced me to be more creative.

The program has allowed me to become a better designer, stylist, and American, having steeped myself in the history and importance of this special place, just steps from the original capital of Virginia. We’ve met local antique dealers, artisans, and craftspeople—who loaned us furnishings, reupholstered tattered pieces, and created decorative paintings—many of

It’s been a family affair. I included bespoke antiques from my family home.

whom have become friends, and I have added to our roster of experts in our design program.

It’s been a family affair. I included bespoke antiques from my family home and hosted birthdays and holiday meals in the rustic dining room.

My brother made the butcher block countertop in the scullery-style kitchen, and my sister was the seamstress for drapery and slipcovers throughout the house. Two years later, it’s time to turn the keys over to the next steward of this incredible home. It is bittersweet, as it’s truly been a love letter to Virginia, to Williamsburg, and the Nelson-Galt house. The idea that I will forever be connected to a house of this age and pedigree is an incredible gift.

I am just another chapter in history for this house, whose owners include Thomas Nelson, a Virginia governor and signer of the Declaration of Independence, and the Galt family, who lived here for almost 200 years. I feel an affinity for Sally and Lizzie Galt, sisters who made it known they did not want to leave, much like me.

Perhaps I, too, will return as a kind and welcoming spirit to the home, tip-toeing up and down the creaky stairs, gently opening and closing doors, and ringing the tiny bells on the Christmas tree.

OFFICE SPACE

Kesha Franklin stakes out a new home for Halden Interiors in New Jersey.

IN SEARCHING FOR A LOCATION for my interior design studio, I wanted a space that was integrated into a bustling community and garnered notability near and far. Montclair is that city. It was a no-brainer when I found the brick and mortar along Bloomfield Avenue’s business district: I knew this was Halden’s new home.

The two-level rental needed lots of work. It was previously used as an IT office so design was null and void, with dated commercial carpet, fluorescent lighting, plastered walls, and a bathroom that left nothing to the imagination. The space needed a complete overhaul… and that’s exactly what it got.

The renovation included installing luxury vinyl flooring throughout both levels. I covered the walls in a textured vinyl grasscloth, installed

by Kesha Franklin DLN Member

recessed lighting, and created a sophisticated, organic environment that echoed a swanky Manhattan apartment, layered in neutral shades of white, nude, taupe, and blush and punctuated with walnut wood tones and black and brass accents.

I started designing in 2009 and have always worked out of my home office. So, after 14 years, making the decision to operate my business outside of my home was a big step—and one that I quickly realized was long overdue. The day of the ribbon-cutting was emotional because it acknowledged the hard work that I had put into building my firm. The turnout that day showed me that I am respected and supported by my peers in the design industry, which is a great feeling.

STATE OF THE ART

Chubb Looks to DLN collaboration for its debut booth in the VIP lounge at Art Basel.

WHEN DLN PARTNER CHUBB SIGNED on to host a space in the VIP lounge at Art Basel Miami Beach last year, the company wanted to do something to stand out from the crowd. “In the past we had showcased artwork by the New York Academy of Art Chubb Fellowship artists in a ‘white cube’ lounge, similar to the exhibiting galleries,” says Chubb SVP Laura Doyle. “As an insurer of fine homes and collections, we wanted to update our lounge to showcase living with contemporary art and design.”

So, the company turned to the DLN, which connected Chubb with San Francisco-based Member Noz Nozawa. Noz conceived of a bold, electric space featuring a graphic rug that nods to Keith Haring and a painterly wall treatment by Porter Teleo which served as a backdrop for artwork by students at the New York Academy of Art, whose participation was supported by Chubb. In keeping with the collaborative spirit of the DLN, Noz looked to Partner Lutron to light the space in the form of fixtures from the Ketra line.

“I could not have asked for a more supportive, excited team to work with to create an eye-catching, welcoming space that spotlighted the NYAA Chubb Fellows and invited connection”, gushes Noz. Talk about a winning team

OVEABLE FEAST

by Kathryn O’Shea Evans

How an employee giving notice inspired a new expansion strategy for DLN Member Bill Bickford.

THERE’S ONE THING BETTER THAN A FLEXIBLE WFH JOB , and that’s a flexible WFA (work from anywhere) one. Some in-the-know designers and architects are launching outposts wherever they—or their employees —want to live, thereby keeping their staff happy while expanding their client base in the process. “We can do what we do anywhere,” says Bill Bickford, founding partner of Northworks Architects & Planners. The firm launched in Chicago and now has 72 employees at seven brick and mortar offices spanning the nation, including in Jackson, Wyoming; Aspen, Colo.; and Palm Beach, Florida. “The beauty of our practice is that we don’t have just one style, we don’t have just one context,” he says. “And the more that we grow in these different regions of our country, the more styles we take on.”

While Northworks has retained its deep Midwestern roots, expanding has also allowed the veritable family tree of their business to grow lush. “The mountain west has been a great growth area for us,” Bill says. “We started an office in Bozeman, Montana, based on one project that a Chicago client took us to. But then we realized that Montana State’s architecture program is very strong, so we’ve hired a few people out of MSU. Bozeman’s been great.” The firm tries to own all of their real estate, too: “We try to invest in these areas and be our own landlord… it helps with long-term planning.”

And to think it all started with an employee, Rachel Wray Thompson, AIA, who had one foot out the door. “We had this great employee, now a Partner, who joined us a long time ago, and her husband is a doctor

Top: Northworks employees at an annual company retreat.

who was transferred from Chicago to a hospital in Philadelphia,” Bill recalls. “We said, ‘Let’s just keep working! Keep your projects, we’ll figure it out.’ We found a small studio in Old City, and now Philadelphia is a really great market for not just projects, but for amazing people. We’ve hired out of Penn, Drexel, Temple. Philadelphia has a great work ethic, just like Chicago.”

As a Partner, Rachel heads their Philadelphia office, which now has 12 employees—many of whom work remotely for the firm’s other sweet spots. “The Philadelphia team helps Jackson, and our small office in Aspen. It’s really hard to hire people in these resort towns,” says Bill. And yet hanging a shingle in such illustrious destinations—like the Northworks sign in the heart of Palm Beach—can be a boon for business.

Advertising in the local design magazines gets the word out that you have boots on the ground, but Bill has also found that word spreads very fast. “Once you get into projects and you’re working with a few teams and consultant groups, you really start to meet anyone you should meet,” he says.

But above all, employees are very happy with the WFA flexibility. “The relocation to Philadelphia has been impactful beyond what we all could’ve imagined,” Rachel says. “The original proposition allowed me to continue practicing at a firm I loved and did not want to part from. What was initially an experiment in remote work turned out to be so successful that we were able to have the confidence to expand our practice to a national level.” Call it the new and improved version of the old adage: location, location, location.

“Expanding our practice to a national level, fueled by the success of remote work, has not only kept our employees happy but also broadened our design styles across diverse regions a testament to the transformative power of WFA flexibility.”

Northworks projects in (from top to bottom) Joshua Tree, CA; Buchanan, MI; and Carbondale, CO. SPOTLIGHT

At the 2024 Design Leadership Summit, DLN Members and Partners will have a chance to explore historic McEwan Hall––the ceremonial heart of the University of Edinburgh campus and venue for the Summit’s General Sessions.

CRAIG AND COMPANY USES HAND DRAWINGS TO CONJURE A SENSE OF PLACE

It’s a familiar argument in architecture and design circles—should designers know how to hand draw? In celebration of those in the “yes!” camp, we spotlight a hand-drawn rendering from our Membership.

rendering also evokes an inviting and warm quality that allows our clients to see it in a more personal way, making it feel like the space is truly their own. As the design develops, we’ll often switch to photorealistic renderings as the details become more granular. It’s all about using drawing techniques and images to move from the general to the specific.

THE JOY OF THINGS

Mally Skok on why she’s staunchly anti-New Year’s purging

by Mally Skok

DLN

Member

WITH EVERY NEW YEAR COMES A CHORUS of (mostly) well-meaning voices urging you to declutter, to purge your environment in order to purge yourself of old habits so as not to leave the burden of the relics of your life to your poor children to deal with! Really? What a dreary thought.

month that you need that very thing and you have to run to the shops to buy another one? That’s quite the opposite of conscious consumption.

But more importantly, I feel that surrounding ourselves with “things” anchors us to our living spaces and our place in the universe. These spaces are sacred to us, and the placement of the objects is just as important. We need to see our stuff to feel whole!

“As the design develops, we’ll often switch to photorealistic renderings as the details become more granular.”

by Joan Craig DLN Member

“I feel

that surrounding ourselves

with ‘things’ anchors us to our living spaces and our place in the universe. These spaces are sacred to us, and the placement of the objects is just as important. We need to see our stuff to feel whole!”

Sure, it’s important to keep a constant stream of awareness of the objects that surround us. Things lose their usefulness, or no longer have the allure that they had when you first bought them; these things can always find a new home. But how often have you been tempted to throw something away only to find the next week or

Take, for instance, my oyster plate collection. When we first moved from London and bought our house in Cape Cod, we were surrounded by the most marvelous mom and pop antique barns. Every weekend, I perused the dusty shelves looking for that beautiful, $16 Chinese export plate, and my eye became a little more educated with each trip. Then, I discovered my first oyster plates. I had seen a trio of them on a shelf at the barn down the road from our house a couple of times, but they were a big number for me. David and I were in serious startup mode at the time and our budget didn’t really have a line for painted antique oyster plates, but I was so captivated by them that I carved the money out of our housekeeping funds. They are now some of my most treasured possessions—and the beginning of a lifelong collection. Now, I only buy the ones that are unique, a true bargain, or beckon to me more than I can ignore.

I do not take my purchases lightly; they are always well-considered, especially at my stage of life where I am grateful to have everything I truly need. And yet, I’m not ready to declutter; I still want my life busy and full of wonder! My things calm me, they don’t stress me out—that’s worth more than any New Year’s resolution. And as for leaving a mess to the children, that’s what estate sale companies are for!

Top drawing: A lobby rendering for a New York apartment project by Craig & Company

NEW MEMBERS Welcome

James Shearron BORIES AND SHEARRON ARCHITECTURE New York NY @BORIESANDSHEARRON

Richard Bories BORIES AND SHEARRON ARCHITECTURE New York NY @BORIESANDSHEARRON

Rena Sarant RENA SARANT INTERIORS New York NY / Paris @RENASARANT @STUDIOSARANT

Heather French FRENCH & FRENCH INTERIORS Santa Fe NM @FRENCHANDFRENCHINTERIORS

Darren Franks DARREN FRANKS & ASSOCIATES INC . Santa Monica California CA @DFAFINISHES

Matt French FRENCH & FRENCH INTERIORS Santa Fe NM @FRENCHANDFRENCHINTERIORS

Michael Ellison STUDIO MICHAEL ELLISON New York NY @STUDIOMICHAELELLISON

Benjamin McGriff MCGRIFF ARCHITECTS San Francisco CA @MCGRIFFARCHITECTS

Marea Clark MAREA CLARK INTERIORS San Francisco CA @MAREACLARKINTERIORS

Deborah Costa DESIGN ALCHEMY Sausalito California CA @SHOPDESIGNALCHEMY

Kristine Renee DESIGN ALCHEMY Sausalito California CA @ SHOPDESIGNALCHEMY

Heidi Caillier HEIDI CAILLIER INTERIORS Tacoma WA @HEIDICAILLIERDESIGN

Nina Farmer NINA FARMER INTERIORS Boston MA @NINAFARMERINTERIORS

Sasha Bikoff SASHA BIKOFF INTERIOR DESIGN New York NY @SASHABIKOFF

Ruchika Grover BO RROWED EARTH Los Angeles CA @RUCHIKA_GROVER

Nina Magon NINA MAGON STUDIO Houston TX @NINAMAGONSTUDIO

Sophia Loyzaga LOYZAGA DESIGN Mexico City @LOYZAGADESIGN

Kelly Hohla KELLY HOHLA INTERIORS San Francisco CA @KELLYHOHLA

Adam Blackman BLACKMAN CRUZ Los Angeles CA @BLACKMANCRUZ

Billy Cotton BILLY COTTON INTERIORS New York NY @BILLYCOTTON

Clive Lonstein CLIVE LONSTEIN INC. New York NY @CLIVELONSTEIN

Mark Cary CHAD DORSEY DESIGN Dallas TX @CHADCALEBDORSEY

Betsy Berry B. BERRY INTERIORS Charleston SC @BBERRYINTERIORS

Leslie Banker LESLIE BANKER & CO. New York NY @LESLIEBANKER

Caitlin Hill C&C CONSULTING Barrington RI @CITRUSANDCEDARS

Laura Kirar LAURA KIRAR DESIGN Yucatan Mexico @LAURAKIRAR

David Cruz BLACKMAN CRUZ Los Angeles CA @BLACKMANCRUZ

Maria Wu STUDIO WU Castro Valley CA @STUDIOWUINTERIORS

Vassar Pierce KEELER & COMPANY Boston MA @KEELERANDCO

Kristen Peña K INTERIORS San Francisco CA @KINTERIORS_SF

Jessica Davis ATELIER DAVIS Atlanta GA @ATELIER_DAVIS

Rachel Reider REIDER + CO Boston MA @RRINTERIORS

Giulio Capua GCAP LLC Mount Kisco NY @GCAPUA

Kam Davies DAVIES DESIGN GROUP Basalt CO @KAMDAVIES

Holly Hollenbeck HSH INTERIORS San Rafael CA @HSHINTERIORS

Amy Carman AMY CARMAN DESIGN Wauwatosa WI @AMYCARMANDESIGN

Melissa M. Wilson THE CULTURED SPHERE Atlanta GA @THECULTUREDSPHERE

Anna Ruby OHANA REAL ESTATE INVESTORS Cabo MEX @OHANADESIGNSERVICES

Raymond Schneider CORBIN COMMUNICATIONS INC. Staten Island NY @RPS_CONSULTING

Mark Tremblay MARC-MICHAELS INTERIOR DESIGN INC. Winter Park FL @MARCMICHAELSID

Mariann Claggett KITCHEN DESIGN GROUP Pacific Palisades CA @THEKITCHENDESIGNGROUP

MEET THE CEOS

The leaders of two new DLN Partners share their insights on the industry.

What is the single biggest change your industry has seen in the past five years? How have you grappled with or made the most of that?

RICHARD The biggest challenge we face every day is also part of what makes New Ravenna special: the complexity of our custom products. We have an enormous palette and even larger set of designs. The number of potential combinations is in the millions. Add to that a production system with over 30 different processing nodes (try 30 to the 30th power on your calculator!) and you can see the degree of complexity we manage. Coordinating this with handmade products while achieving our lead-time standards is a daily miracle but one underpinned by comprehensive thought and understanding of system dynamics. We love the idea of bringing the ancient art of mosaics to modern manufacturing theory. Quick Response Manufacturing has been a godsend that has helped the company overcome one bottleneck after another.

LAUREN On the Wells Abbott multiline showroom side of our business, I think the biggest change has been how designers and their assistants source products. As has been the case in the retail sector, we have seen designers and their assistants rely much more heavily on online sourcing rather than shopping in person. We need to stay ahead of the market and where it is going, and for us this meant investing heavily in a robust websites several years ago that could enhance the sourcing and shopping experience for designers and their assistants.

On the Wells Textiles side of our business I would say that the biggest change is the rise in digital printing capabilities for fabrics and the number of brands embracing the process. Both Rose Cumming and Classic Cloth are collections rooted in old-world craft and methods, so digital printing is not part of our process. We have tried to stay true to the ethos of both brands (artisanal madeby-hand “small batch” fabric weaving and printing). As the industry changes we will

naturally have to adapt, but this is an area where we are still assessing the best way forward, and I don’t see us abandoning the classic handmade foundation on which each brand was built.

What are you most excited for in the future of your business?

RICHARD We are looking at the future by looking at our past. Often people are not aware of the connection we have to the city of Ravenna, where some of the most gorgeous Byzantine mosaics in history can be found. We’re going to explore and highlight our Italian roots in future collections. We see so much interest in Europe now that it seems natural to go back home, so to speak.

LAUREN At seven years old The Wells Companies has only just emerged from start-up mode and we are continuing to grow aggressively. I’m excited to continue to follow opportunities as we move forward, but I am also excited to continue to ease into a measured cadence as an organization. We have been fortunate to grow a company with divisions that function in nearly every part of our industry vertical. I’m looking forward to growing each of those internal divisions and finding ways to enhance and support our industry.

What is the most important lesson you have learned about leadership over the course of your career?

RICHARD Leading New Ravenna through the transition of buying it and through challenges like COVID have really hammered home some of the important lessons I learned in the Army. One: keep focused on the long-term goal. The daily challenges of sales marketing and manufacturing can be really distracting but, if you lose focus on your long term vision, you just end up tacking back and forth between whatever fires are burning and the idea of the day. Leaders must keep the organizational compass pointed in the right direction. Two: Plan carefully, execute rapidly. Inertia and complacency are business killers.

Succeeding in the marketplace requires constant evolution, but it can be scary. Most organizations are capable of more change than they expect, but change (small or large) is ten times harder if not planned well.

LAUREN Surround yourself with other strong positive, capable, confident, grounded people who share your values—and then recognize their contributions.

As a new Partner, what are you most excited to share with the DLN community?

RICHARD The DLN community would probably be amazed at our custom capabilities. I believe they are second to none worldwide. If you can envision it we can do it. We have gorgeous stocked readyto-ship products as well but with so many DLN Members working on projects that require world-class functional art we can definitely support their vision.

What are you most excited to get out of the DLN?

RICHARD We love the chance to learn and be inspired from other designers and manufacturers. Seeing the work they are doing designing gorgeous spaces or building successful businesses keeps us energized.

LAUREN I look forward to meeting new people both designer Members and Partners. I’m also very excited to learn from industry leaders.

LAUREN HUDSON President and CEO

THE WELLS COMPANIES

RICHARD WALTERS

CEO NEW RAVENNA

FIRST LOOK

A UNESCO WORLD HERITAGE SITE and a city that has nurtured some of the greatest minds in philosophy, economics, finance, literature, law, medicine, engineering, and architecture, Edinburgh is the perfect setting for the 2024 Design Leadership Summit. Edinburgh comprises two distinct areas: The Old Town, dominated by a medieval fortress, and the neoclassical New Town, had a far-reaching influence on European urban planning from the 18th century onward.The juxtaposition of these two contrasting historic areas gives the city a unique character and provides ample opportunity to explore medieval and Georgian sites, as well as modern masterpieces.

Summit attendees will take in keynotes from the famed McEwan Hall at the University of Edinburgh, designed by architect Sir Robert Rowand Anderson, before enjoying afternoons spent on behind-the-scenes tours at private homes, castles, museums, botanical gardens, distilleries, and more.

Those who want to kick things off early will have the option to participate in a pre-Summit dinner on the Royal Yacht Britannia, the royal family’s private yacht (and one of the late Queen Elizabeth II’s most beloved residences ) the night before the Summit’s Welcome Reception. Our beloved Dine-Around experiences will be back this year in venues including the National Galleries of Scotland, Gleneagles Townhouse, Broomhall House, and more.The National Museum of Scotland, meanwhile, will serve as the backdrop to the Design Leadership Award Dinner.

The DLN has arranged for exquisite hotel accommodations across both the New and Old Town, with competitive group rates at the Virgin Hotel, the Kimpton, Rocco Forte’s Balmoral Hotel, and the just opened W Hotel, situated in the heart of the new St. James Quarter. Room blocks and registration for this year’s Summit open in May 2024.

BEST OF BOTH WORLDS

Chad Stark explains how his family company has expanded into DTC while still prioritizing the trade audience.

LATE LAST YEAR, FOURTH-GENERATION

FAMILY-RUN DLN PARTNER STARK opened its orders beyond the trade for the first time with a new website that includes stocked inventory available to consumers. It’s all part of an increased effort for “transparency and convenience” that CEO Chad Stark says is improving interior designer relationships while expanding to new audiences. Here Chad opens up to the DLN about why it works.

“Our policy is that if a designer is sourcing from us and their client goes around them and buys from us directly we give the designer a check for 25% of what the customer paid.”

I know this new element of the business was a long time coming. Can you tell us about how you got here?

When I joined the business 12 years ago, I really began re-educating myself on the trade-only model. It’s something our industry was built on, but it really only exists in the home industry. So I immediately started thinking, How can we do things that trade-only companies can’t, but that retail can’t either?

We like to call ourselves “trade-preferred.” We’re a company that easy to work with; in a world of convenience we need to give convenience to our customers wherever they are. Through many previous iterations of our site designers were saying “I don’t want to remember a login; I just want to get my products as quickly as possible.” So we began offering samples on our site the same way we would to anyone in store. This brought about interest to consumers and the general reaction from designers was, “I don’t care who you sell to as long as I get special treatment.”

What have been the biggest benefits of opening to consumers?

The reality is that our stock section only makes up 9% of our sales, but it opens up our audience immensely. Designers who already work with us see all these styles and then can customize them; designers who previously hadn’t worked with us now will, because for the first time they can see pricing and they realize what a wide range we have. So overall, it’s helped the business immensely and we haven’t had anyone who’s upset about it. One of the most prominent ways we aim to protect the design trade is with our

commission protection promise: Our policy is that if a designer is sourcing from us and their client goes around them and buys from us directly we give the designer a check for 25% of what the customer paid. It’s our attempt to continue to reiterate to the interior design community that expanding access doesn’t mean abandoning the trade; it just means opening doors to the four out of five people who don’t work with designers.

Was there any adjustment you had to make to your production to allow for this expansion?

Five years ago we looked at our inventory and realized with handmade, we were always running out of samples. So we said, “We don’t want to market something if we don’t have inventory.” After all, if you can’t see it you can’t sell it. If that means we sell fewer SKUs but can better support the SKUs we sell, that’s a better experience. Sampling is an essential part of the sale, and that needs to be available. So we had already changed that strategy and that decision enabled us to do something that now ends up being convenient for the homeowner as well.

What’s thew most important takeaway from this strategic shift?

We can walk and chew gum at the same time. We can do more than one thing as a business; that doesn’t mean we’re losing our core business, it means we are diversifying and growing. Active interior designers still do 85% of our sales, but we also can build models that are sustainable and scalable while we maintain focus on that group. We’re a company that plays to win, not a company that plays not to lose.

FULL CIRCLE

by Meredith Ellis DLN Member SPOTLIGHT

The New York opening of James Showroom carries special significance for its founder.

AS A CHILD, MY FASCINATION WITH DESIGN TOOK root as I accompanied my mother into antique stores and showrooms in the Dallas Design Center. Those early memories shaped my journey into the world of interior design, setting the stage for a career that would come full circle. My mother's influence was the spark that ignited my passion.

The first chapter of my career unfolded as a shopper for Bunny Williams Interior Design, where my job was to seek out the newest textiles available to the design industry. Working under Bunny's guidance, I learned the importance of keeping track of new launches. The exposure to the best of the best at Bunny's became my foundation for developing a critical eye and understanding of quality.

My path then took me to Michael Smith in Los Angeles, where I continued to refine my aesthetic. I embraced the notion that interiors needed a touch of the unexpected a bit of edge to feel authentic. This philosophy has woven into my own textile line, where I strive to bring a unique aspect to each design.

Returning to Texas in 2010, I recognized the need for more design resources in my hometown of Austin. This realization led to the opening of James Showroom, introducing the boutique, artisanal textile lines I had discovered in New York and Los Angeles. The success and buzz from the showroom propelled us to expand to Dallas and Houston, creating a network of resources for the design community.

My first love, textiles, took center stage as I officially launched my namesake textile line in the spring of 2023. In the fall of 2023, a full 25 years after embarking on my professional journey, we opened James New York at the Interior Arts Building—the very building where I began my career at Bunny Williams Interior Design. The building, with its familiar aura, felt like home from the moment I walked in. My journey from a shopper at Bunny Williams to launching Meredith Ellis Textiles and opening a showroom in the same building embodies the evolution of my design philosophy. It symbolizes the full circle moment of my career: a return to where it all began.

BRITISH INVASION

Soane Britain makes its American debut with a destination showroom on Madison Avenue.

A VISIT TO SOANE BRITAIN’S NEW OUTPOST on the Upper East Side is something like being invited for dinner at your chicest friend’s house. Ring the bell of a handsome Neo-Georgian townhouse off Madison Avenue and hop on the lift to the 4th floor: When the doors open, you’re enveloped in a sea of pattern from the beloved British brand (most of it new prints by Adam Bray). Step through the hall and into a living room of allover floral print, where dappled sunlight falls over the plush upholstery

and assorted antiques. The space even has a bedroom, complete with a brass four-poster bed and an en-suite bathroom, whose curtained tub and wicker vanity were the location for many designer’s selfie shoots during its opening week. The more utilitarian sample walls are tucked into their own room off of a smart dining area, offering a separate workspace apart from the invitingly livable living spaces.Though it’s not designed for overnight guests, trust us that you’ll be tempted!

Open now by appointment

22 East 65th Street, New York

VIRTUAL PROGRAMS

COMMUNITY CALL

The Cost of Construction Now Architects, builders, contractors, designers, and landscape professionals have a lot to learn from each other in managing inflated materials costs, renegotiating budgets, and otherwise adjusting business to the current cost of construction.

OFFICE HOURS

What Editors Want Now

Join an interactive discussion with top design-media editors about the state of the industry and what they want now in terms of projects, pitches, and storytelling

OFFICE HOURS

Branding The Right Way

Your brand is your business. Join a team of branding professionals to discuss best practices for marketing your company through visual, written, and stylistic branding, from printed materials to social media presence, logo design, and more.

COMMUNITY ROUNDTABLE

Working With a (Life) Partner

Our community comprises several professionals who are partners in business and romance. Get together to discuss effective teamwork, setting work/life boundaries, office dynamics, and more.

COMMUNITY ROUNDTABLE

Managing a Retail or Showroom Space

Operating a retail store or trade showroom can be a fulfilling creative outlet or a way to diversify your business, but how do you balance it with your design work? Members with shops, showrooms, and ecommerce sites talk about the right way to manage them all.

OFFICE HOURS

Hospitality Design

Join an interactive conversation with hospitality experts to learn more about designing hospitality projects, the creative process, cost planning, securing jobs, sourcing, and more.

COMMUNITY ROUNDTABLE

Optimizing Client Relationships

Not every client can be perfect—so how do you take steps to optimize the relationship? Discuss boundary setting, contract details, and communication strategies that make for smooth relationships.

OFFICE HOURS

Buying Art

Art consultants discuss tools for sourcing for and with clients, commissioning custom work, and shopping fairs, galleries, or auctions.

Community Roundtable: A group conversation about a designated subject, with all attendees invited to participate.

Office Hours: A drop-in style session where experts in a specific field will be on hand to answer questions, which can be asked live or submitted ahead of time.

VISITS

Amer Fort

Eco-Weave Udaipur

by Beth Diana Smith DLN Member

INDIA IS A DREAM TRIP for any lover of architecture, design, or history. There is so much to see, especially as it relates to historical sites such as temples, step wells, forts, and castles. From my initial observations of the cities that I visited Delhi, Agra, Jaipur, Ahmedabad, and Udaipur hold a lot of the history and architecture of India. Agra is where the Taj Mahal is and is the major feature of that city. Udaipur has a beautiful city palace and a great shopping district of small boutique shops outside of the city palace gates that include a lot of jewelry, home decor, and art. Mumbai is a much more modern city and I highly recommend visiting Sabyasachi, Fabindia, and several of the local shops and art galleries. It’s a big country, but a hopper flight is a great way to visit multiple cities and maximize your trip.

BETH'S FAVORITES

JUST BACK FROM INDIA SHOPS RESTAURANTS

RESTAURANTS

Patang Re-Evolve Restaurant in Ahmedabad: Amazing food and view; the restaurant revolves in a full circle every 90 minutes, giving a great view of the city.

Copper Chimney in Mumbai: Great food and dessert! And the design is great as well!

National Gallery of Modern Art in Delhi: If you want to see the modern and contemporary art of India including exhibitions, this museum is well worth the trip.

Lotus Temple in Delhi: The building itself is in the shape of a Lotus flower and is quite magical to see, especially as it sits on a beautiful landscape.

Chand Baori Step Well in the Abhaneri village of Rajasthan: This is one of the largest steps wells in the world and was built in 9th century AD. The water of this massive step well was reached by 3500 steps (13 stories deep) and has ornate carvings and details.

Amer Fort (aka Amber Fort) in Jaipur: A massive complex built in the 1600’s with pale yellow and pink sandstone and white marble. You’ll see stone friezes and incredible mirrored and painted details. Note that you can ride an elephant up to the fort’s entry, which is located at the top of a hill.

City Palace in Udaipur: Well worth the visit (including the museum)! You’ll need two to three hours to cover the palace, which was built in 1559, but the time will fly by as you get engrossed in the architecture, the intricate details, and the history.

Anantaya in Jaipur: Design shop carrying lighting, furniture and decorative objects. Indian craftsmen are used to make all of the products “for the sake of quality and a homage to his country’s craftsmen.”

Eco-Weave in Udaipur: A small boutique shop owned by a husband and wife (Sanjeev and Dimple Sharma). Ask to see the paintings on canvas!

Fabindia flagship store in Mumbai: There are several locations of this shop but this flagship store was the largest that I had seen. Fabindia covers everything from home to fashion and, it’s a great way to see the various techniques and aesthetics.

Sabyasachi in Mumbai: The most beautiful retail store that I have ever seen. Every detail was exquisite, from the architecture to interior design and the fashion.

Lotus Temple

FRESH LOOK

Dissecting the DLN’s new visual identity

EQUALLY INSPIRED BY CLASSICISM AND MODERNISM, and gesturing toward the hand drawn, our new look embodies the spirit of design integrity that animates the DLN community. To create our graphic system, we partnered with Studio Samuel, a Paris-based creative agency that shared our passion for building an organizational brand with a humane outlook. Refined and timeless, yet also stylish and audacious, our new look shifts between registers as easily as our Members and Partners slip between business casual and black tie. The result is a brand that plays well with others across a wide range of applications.

The design process drew on expressions of American ingenuity and European elegance, supported—and inspired—by hand drawing. Our new monogram evokes the connectedness of the DLN community, while the organic line that encircles it expresses the flourish of the human hand and suggests the letter D for Design.

As we launch our new look, we are mindful that the DLN is its Members and Partners. To celebrate your participation in our community, we devised the Member & Partner badge. DLN badges can be added to your own website and brand collateral, communicating to clients and colleagues alike that you belong to an organization representing the highest standards of quality, integrity, and professionalism in the design industry.

The Design Leadership Network extends its appreciation to Studio Samuel, our Leadership Advisory Board, and our greatest source of inspiration: our Members and Partners.

PETER SALLICK Founder

MICHAEL DIAZ-GRIFFITH Executive Director and CEO

HADLEY KELLER Director of Editorial and Community Engagement

MEGHAN BUONOCORE Director of Events

AMANDA OPPENHEIMER Membership Coordinator New Team Member

CHELSEA MILLER Operations Manager

Welcome Chelsea Miller to the DLN Team!

Chelsea Miller, a former DLN intern, has rejoined the team from McCann Health, where she focused on client relations, brand strategy, and promotional marketing for global healthcare brands.

As Operations Manager, she will be leading day-to-day business operations and managing virtual programming and community events. She is excited to pursue her passion for design and to support the DLN community's continued growth and success. You can reach Chelsea at: chelsea@designleadershipnetwork.org.

DESIGN LEADERSHIP NETWORK creative team the quarterly - issue two

MICHAEL DIAZ-GRIFFITH

HADLEY KELLER Creative Direction

STUDIO SAMUEL Art Direction and Graphic Design

XAVIER SALLUSTRAU Graphic Design

MARIE COGNACQ Illustration

The Design Leadership Network is a membership organization serving principals of architecture, interior design, and land-scape architecture firms, as well as leaders of related creative fields.

Through a slate of educational programming, digital resources, tailored experiences, and targeted discussion-based networking, the DLN champions community, collaboration, growth, and best practices in the high-end design industry.

We are supported by dedicated Partners, who represent top brands both within and outside of the interior design industry with a shared passion for supporting creative business.

11 East 44th Street, Suite 405 New York, NY 10017

UPCOMING CORE EVENTS

design leadership workshop

Client Experience Focus

Ojai, California

April 30–May 2, 2024

NINTH ANNUAL BUSINESS FORUM Hospitality Focus

New York City

June 5, 2024

BECOME A MEMBER

To learn more about DLN membership and begin your application, visit us online.

questions?

membership@designleadershipnetwork.org