MILAN 06 SalonedelMobile HIGH POINT 07 launchesandevents
SWEDEN 20
OJAI 38 DesignLeadership Workshop
RESOURCES
FORUM TOPICS TO INSPIRE
MEANINGFUL CONVERSATION 14
SUSTAINABLE DEVELOPMENT GOALS AT THE U.N. 16
SEO FOR CREATIVE BUSINESSES 17
Officine Gullo Makes Its New York Debut
LESSONS FROM
The Design Leadership Foundation Career Workshop
Hospitality Study
How Hart Howerton Designs “Complete Environments” Page 48
PETER SALLICK Reflects on 30 Years at Waterworks
COLLABORATIONS
WORTHEN + INTERIOR TALENT 33 THE BEAUX ARTS + KENDALL WILKINSON 47
STUDIES
JOHN RUSK
JOHN RUSK DESIGNS A HEALTHY HOME 11
JEAN LARETTE
JEAN LARETTE TURNS A COVER STORY INTO A BUSINESS STRATEGY 30
DERSHI P
EAR COMMUNITY,
On the first morning of our recent Design Leadership Workshop in Ojai, California I asked the participants—thirty dedicated DLN Members and Partners— to introduce themselves one by one.
As I watched on, I thought, This is the kind of intimacy our long-standing Members fondly recall from the very first Design Leadership Summit in Aspen, Colorado. The Summit may be bigger now, but that same kind of intimacy exists within the DLN today—right here, right now, in this room.
The Workshop model was designed to be time efficient, cost-efficient, and deep, both in terms of our committed exploration of a single topic (in Ojai, it was client experience) and in terms of the intimacy we develop with a small group of peers over the course of two-and-a-half days. DLN community members already share a lot of common ground, beginning with their principal status, design industry chops, and mutual commitment to upping their game. Give them a beautiful, somewhat remote venue that lends itself to focus; a brief reprieve from the daily grind; and a topic to intensively discuss, and magic happens. Perspectives evolve. Insights are awakened. But perhaps most importantly, bonds form. When you walk away from the Workshop, you have 30 new friends and collaborators. If I were to describe the experience in scientific terms, I would liken it to a centripetal force—one that pushes you toward the center of yourself, your practice, and our community.
The Summit, on the other hand, is a mighty centrifugal force. It pushes you up and beyond your comfort zone, rapidly introduces you to a myriad of new people and places and ideas, and expands our community forever. (We are still hearing about new collaborations between DLN community members and the Mexican friends we made in 2023 in Mexico City.) While the Summit contains an increasing number of smallgroup experiences and will never play host to more than 350 attendees (a guarantee I made last year), its larger scale relative to our other events allows us to leverage all sorts of advantages, from accessing never-before-seen venues to securing some of the world’s brightest minds as speakers. In the resulting experience, which is properly “once in a lifetime,” a different kind of magic happens. Energy surges. Inspiration erupts. New horizons emerge. This October, when the last bagpipe has sounded, you will look at life and your practice a little differently, and you will have dozens of new contacts and potential collaborators with whom to explore those horizons.
The Design Leadership Network offers more optionality to its Members and Partners than ever before, as this issue of The Quarterly attests, so whether you are pursuing depth or a wider scope in your explorations as a design leader—or both, across the span of a year—there is a DLN program or initiative for you. As you flip through these pages, I encourage you to consider which one to pursue next.
Then, dive in!
Michael Diaz-Griffith Executive Director and CEO
NSPIR ATION
Where are you right now?
And how is that place impacting your work? What about your mood?
I’ve been thinking a lot about environment, lately, and how we view its effect on our life (and no, not just because I’m nearly always traveling). As this issue goes to press, we are in final preparations for our Business Forum, which, for the first time this year, is based around the theme of hospitality. In our preparations for this event, I’ve been consistently reminded of the power that design has to shape an environment, whether it’s a favorite hotel or a personal home. It’s a theme that’s emerged in the lineup for The Quarterly , too, with many Members reflecting in this issue on the impact of changed environments, from the power of studying Scandinavian design principles on a trip to Sweden (p. 20) to the influence of time spent on a farm in developing new perspectives on business (p. 28).
In our interview with Jim Tinson on Hart Howerton’s site-specific process for developing large-scale properties (p. 48), Jim talks about exploring “a day in the life of a place”: What do people do there? How do they act? What kind of life do they carry out there? That’s the one connecting thread that unites design in any location, style, or project type.
I think that’s a big reason for this increased crossover between residential and hospitality, too: At the end of the day, we all want to feel good where we are, whether that’s home or a hotel, an office, a club, or even a dive bar (for proof of that, turn to page 32).
I hope that wherever you’re reading this, you’re feeling inspired.
Hadley Keller Director of Editorial and Community Engagement
Greatest Hits
Over 4,000 miles and nine hours apart, High Point, North Carolina, and Milan, Italy, seldom have much in common, except during the month of April, when they’re both magnets to the design industry. This Spring, DLN Members converged on the Italian city for Salone del Mobile, Fuorisalone, and Milan Design Week, taking in collection launches and exhibitions from Italian DLN Partners like Rubelli, Artemest, Armani/Casa, Officine Gullo, Loro Piana, Ralph Lauren, Kohler, and more.
MILAN
“Without a doubt, my highlight was the Ralph Lauren Palazzo soiree. The new 'Modern Driver Collection,’ infused with vintage automotive detailing is the sleekest! Discovering new buildings during daily walks is always invigorating. And oh my goodness, “La Rondine” at the famed Teatro alla Scala! I literally could have just sat there tak ing the architectural details in, without ever hearing a musical note. The theater itself is THEATER!”
–Joy Moyler
“My favorite experiences in Milan were the fascinating and informative factory tours, the serene moments by Lake Orta, and the invaluable connections made with wonderful people, sharing and learning together.”
–Rydhima Brar
“It is not easy to choose between palazzos, garden parties, unique installations, and inspiring people, but if I had to choose, the Ralph Lauren Home Experience was a perfect example of DLN spirit: a community gathering in a beautiful venue to learn not only about a new line of furniture, but to hear about the creative process (claps to Dennis Adler) and get an actual close-up into the heart of Ralph Lauren Home.”
–Matty Costa Paz
“I loved the private cocktail party at the historic Fornasetti family home. Getting to the rich and design work at the source where the designs were created in the design studio of Fornasetti was a treat. The house is full of idiosyncratic details and designs down to the custom-made tiles adorned with butterflies on the kitchen floor!”
–Clive Lonstein
“The ‘Loewe Lamps’ installation at Palazzo Citterio, in the heart of Brera, was a highlight of Milan Design Week. The theme of light was interpreted by 24 artists and seamlessly integrated in a range of materials, including leather, glass, wood, onyx, even fruit shells and mulberry-leaf paper. It was a beautiful celebration of craftsmanship and innovation. Plus, an exclusive selection of limited-edition handbags, leather goods and candles that were inspired by the exhibition were for sale just for MDW—it was tough to resist!”
–Lauren Urband
“Next to the endless amounts of pizza, pasta and wine, the highlight for me was definitely meeting new DLN members in such intimate settings.”
–Deborah Costa, Design Alchemy
“This was my first trip to Salone; it's quite a show. I was most impressed by “Masterly—The Dutch in Milan” near the Duomo. They are so committed to sustainability. One of the companies, APTUM, is making lighting from recycled eyeglasses. They refracted light so beautifully and could be programmed to show different spectrums of light. It reminded me of James Turrell lights, on a smaller scale. I was completely entranced.”
–Skip Sroka
“I loved the presentation from Hermès: ‘The Topography of Matter’. The amazing composition of everyday raw materials like brick, stone slate arranged in geometric and colorful patterns was a celebration of the natural world and a recognition of its influence in one of the leading fashion brands in the world.”
–Shilpa Stoev
“The show at the MASSIMODECARLO Gallery. The architecture of the space was designed by Piero Portaluppi, the architect who designed Necchi Campiglio Villa. The proportions and detailing of the space are flawless then the great artwork was added such as the pieces by Brazilian artist Chico da Silva displayed on a graphic purple and white patterned wallpaper.”
–Clive Lonstein
“After an incredible design week in Milan, we escaped to Lake Garda, where time seemed to stand still at Villa Feltrinelli. Relax we did in the most charming setting of historic luxury – impeccable service and cuisine, elegant and inspiring design, all surrounded by a beautiful garden on the edge of the lake with views of the mountains.”
–John and Christine Gachot
In the same week, another faction of our community headed to High Point Market to see the latest from American furniture vendors, source antiques, and engage in networking and continuing education opportunities. We asked our Members what the most memorable launches, installations, and activations were from the show. Here’s what they had to say.
HIGH POINT
“The design of the Sevilla Woven Bed from the Alfredo Paredes Collection for EJ Victor has a beautiful woven pattern that enhances the bed’s aesthetic appeal while maintaining a chic, sophisticated look. I can’t stop thinking about it!”
–Penny Francis, Eclectic Home
“I launched my first-ever jewelry-inspired lighting collection with Corbett Lighting, and when I first saw them all displayed in the showroom, I started crying! Even though I'd already installed a couple fixtures in my home, there is nothing like seeing all the products in living color in one space that other designers are in, to feel the full impact!”
–Noz Nozawa
“I was most excited about seeing color used in this Spring's Market. The use of color was tasteful, well executed and spanned across all the design styles. Our collection with Hickory Chair served as a nice reminder that spring is here!”
–Kim Scodro
“I loved so many things at this market, but I especially loved seeing the offerings from several British companies – from Pooky Lighting with their cheeky wireless lighting to the Mr. Brown and Julian Chichester showrooms. The glorious colors in the Julian Chichester showroom courtesy of Christopher Farr fabrics and wallpapers were a real treat for the eyes!”
–Gillian Gillies
“Launching my new collection with Fabricut was a highlight of my trip so I spent a lot of time at their beautiful showroom in Market Square. I love the older building section facing High Avenue with its creaking wooden floors and the amazing Antiques Center, where the DLN hosted a lovely dinner. It was a pleasure to meet and reconnect with so many designers and editors, talk about the inspiration that fueled my new collection, and see their responses to this recent assortment of textiles and trims. The weekend was joyous, and I am very proud of the entire collection, inspired by the ‘Monet—Mitchell and Joan Mitchell Retrospective’, Blake Lively's 2022 Met Gala dress, and my recent travels.”
–Kendall Wilkinson
“It was such fun launching my Memphis Milano post modernism-inspired collection for Abner Henry. It's always been my motive to shake things up at High Point with a little bit of colorful drama and European sensibility.”
–Sasha Bikoff
“I greatly admire Sasha's fresh take on Memphis design, and absolutely loved getting to see her new collection with Abner Henry. Besides how delightfully thoughtful the details were, I also sort of relished in the unexpected partnership between sparkling fabulous shining Sasha in her High Point Market LED rainbow Chanel heels, and a humble-in-spirit Amish furniture company from Ohio whose mission statement includes a commitment to honoring and glorifying Jesus.”
–Noz Nozawa
LIFE
IN THE GARDEN
Bunny Williams
BOOKSHELF
JORGE LOYZAGA: CLASSICAL AND HARMONIC PROPORTIONS
Jorge Loyzaga
I learned a great deal creating this book. Venturing into a new industry or field of work is very challenging and you really have to humble yourself and learn from the people who have been doing this work for decades. There were countless projects, countless photographs and the whole process of picking and narrowing down to what was published was exciting but also overwhelming. In the end we just understood that we have to trust our gut as well as the Editor. We have many more projects from Loyzaga Design that haven’t been photographed along with new projects, and working with Mauricio [de la Garza Clariond] was a total delight, he is truly the best so I know this will not be the last book we publish. We will keep learning.
PIERRE FREY: TEXTILES, WALLPAPERS, CARPETS, AND FURNITURE
Pierre Frey
I was surprised at how much I learned about myself. I wrote a design book but the designs, they are all like my babies. Behind each one is a story that is part of my life. I’ve had such a great life and I wanted to write it down for my kids and grandkids. Most of life is spent looking forward but writing a book forced me to look back, in a naked way, and understand myself at certain times as I had never done before. I loved it because after it was all done it was really me.
THE LANDSCAPE OF HOME: IN THE COUNTRY, BY THE SEA, IN THE CITY
Edmund Hollander
HOME AT LAST Gil Schafer III
Schafer Buccellato Architects
After practicing architecture for 35 years—more than 20 of which have been spent running my own firm— I’ve come to realize that the older I get, the more I still have to learn. And my books have always been a chronicle of that journey. For any architect, the endless process of learning and evolving—of life, really— is a gift. It means that you’re constantly solving new challenges, whether they be in the form of a difficult site, unexpected client requests, and even things wildly beyond our control, like the pandemic. In writing this latest book, and designing the houses within it, I’ve had the opportunity to celebrate those challenges—and the crazy messiness of life too! ….all of the things that ultimately make life, and work, meaningful.
THE SOUL OF DESIGN
Lisa Staprans
THE LIVING ROOM
BY THE DESIGN LEADERSHIP NETWORK
Coming Fall 2024
First in an annual series of volumes compiling exceptional interiors by 225 Members and Partners across every room in the house. AvailableatadiscountedratetotheDLNcommunity (details to come).
FOR JESSICA DAVIS, HAND DRAWING “ KEEPS THE DESIGN LOOSE” (IN A GOOD WAY)
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 handdrawn rendering from our Membership.
COLLABORAT ION
I LOVE USING HAND DRAWING AS PART of my design process for a few reasons. First, it keeps the design loose and doesn't make the client feel like things are set in stone early on in the process. Secondly, it really forces me to look and think about things three-dimensionally: how spaces join together, the proportions of the furnishings and the materiality, and how things speak to one another. Even in a 3D software like Revit or SketchUp it's easy to plop things in plan and then move on. Oftentimes we model a space very generally to see massing and then take some 3D views that I sketch over to really study the space and the finer details. I sometimes use a software called Morpholio Trace that uses a stylus and an iPad to sketch. It feels a lot like hand sketching on a sketchbook or trace paper but has the benefits of adding lots of trace layers, easily backpedaling, and snapping a perspective grid. Either way, hand drawing is integral and it's not just about presenting to the client; it's also about using it as a tool to help me as a designer to figure out the final design.
By Jessica Davis DLN Member
ANDREA SCHUMACHER
JOINS FORCES WITH DLN PARTNER HAMILTON SINKLER FOR HER DEBUT HARDWARE LINE
I HAVE ALWAYS MAINTAINED THAT DECORATIVE hardware is the jewelry that adorns a home. With this belief at heart, I sought inspiration from the luxury design houses of Europe. Drawing from the confluence of fashion, architecture, art and interior design, my vision was to craft something that not only made a bold statement but also elegantly transcended the passage of time. Each piece in this collection reflects a balance of luxury and style, adding a touch of elegance to any space. The LIESL suite is designed to elevate the aesthetic of your home, making a bold statement or adding a subtle touch of glamour.
By Andrea Schumacher DLN Member
IN GOOD HEALTH
By John Rusk DLN Partner
Rusk Renovations explores healthy home building in a Manhattan project.
WE SPEND A LOT OF TIME INDOORS, COOKING, using hair spray and perfumes, breathing, coughing, and sneezing–all leading to detrimental air quality inside of our homes. According to wellness leader Delos, we spend 90 percent of our life indoors. While the Covid-19 pandemic made many more aware of the importance of things like air purity, there’s still a lot more to building a “healthy” home. And since we spend so much time indoors, shouldn’t we seek to improve the standard for the quality of life indoors?
That’s exactly the challenge Rusk Renovations enthusiastically took on in a recent townhouse renovation for two clients in the West Village. They had a baby on the way and wanted to protect their health and their future child’s health—and with a full gut renovation planned, they had the chance to go all out.
We teamed up with Delos to incorporate several wellness features into their townhouse: This included air filtration, circadian lighting controls, and water filtration (including showerheads) throughout the house.
We were thrilled to collaborate with DLN Partner Lutron to outfit the townhouse with its Ketra lighting system, which can incorporate the circadian rhythm with interior lighting. This uses different temperatures of lighting to adjust the hue of the lights throughout the day to align with our human circadian rhythms, as well as controlling window shades to allow for appropriate light levels throughout the day.
Not only were the clients happy, but the project won two awards: The Chrysalis Award in the category of Residential Interiors and the International Property Awards in Best Best Residential Interior— Private Residenc, NYC.
We are excited to be the first wellness-informed General Contractor in New York City and hope to help you and your clients incorporate wellness features to projects.
BOARD SPOTLIGHT
Kravet’s President joined the DLN Leadership Advisory Board last year, as a continuation of a relationship between the DLN and her family company that extends over a decade. In the first installment of a franchise spotlighting board members, she talks about leadership, strategy, and lessons learned through the DLN.
What is most inspiring to you about the mission of the DLN?
The DLN provides the design community with an opportunity to engage not just with designers but also with brands like ours, alongside media and industry leaders. We embrace every chance to connect with our audience, seeking feedback and opinions to learn from our valued customers. This helps us understand what is effective and address any challenges they’re finding difficult.
What is the most important thing for business leaders to keep in mind when running creative companies?
I believe the success of any business is understanding that the customer is at the center. You can rely on your customer to dictate their needs and preferences, and being able to collect that insight and adapt is imperative. Also having an understanding of your customers' pain points can inspire innovation. Using your customer as your North Star, and meeting their needs means you do not have to follow trends, and you can maintain your brand identity. Your brand must stand for something, and with that you can deliver consistency, which ultimately will allow your customers to know what to expect.
How do you think today's leaders think differently than those who came before them?
We need to be more nimble than ever before; the world is changing so quickly. It’s important for us at Kravet to plan and look ahead while also ensuring we’re adaptable (the onset of Covid-19 is a prime example). In addition, the workforce is now more diverse in terms of age, gender, and cultural backgrounds. Today's leaders recognize the value of diverse perspectives and collaborative decision-making, placing a greater emphasis on inclusivity.
Ongoing developments in technology continue to be advantageous to all business owners. We are able to make more informed decisions based on data, leading to improved efficiencies across the board. Technology has changed the way we go to market by enabling us to pivot our strategy quickly based on the availability of real time results and data.
What’s one thing you foresee being a hot topic for leaders in the near future?
AI will become an integral part of business and this is happening very quickly. We need to figure out how our company can use and benefit from these data-driven tools while always listening to and prioritizing the human side of our business.
What is the best piece of advice you’ve ever received?
Can I pick two?! The first is simple–but I use it every day: “Listen more than you speak.”
The second is a mantra for me: At the end of each day, I think about what I could have done better or more effectively, and I take that learning with me, the next day, and each and every day after that.
What’s one publication you read every day?
Again–I am going to select two! My go-to is still the Wall Street Journal (except for the Opinion page). And second is my daughter's Instagram account to see her two children. (Is Instagram considered reading?).
What's one piece of advice you wish you'd given yourself 20 years ago?
Make the time for continuing education outside of my comfort zones. Take online classes. In person classes. Travel
programs (in short spurts). Push myself to continuously learn and improve in areas that are not my core areas of expertise.
What are you most excited for in the future of Kravet?
It is an obvious, and perhaps easy answer–but I am super excited to see where the fifth generation of family members will take us. Their perspective is critical to listen to and to learn from. They have been with us enough time to be dangerous now! No, all kidding aside, we have an incredible talent pool as a Company (including the next gen) and that is what sets us apart and will continue to help us to grow and flourish.
How about in the future of the DLN?
We look forward to continuing to share ideas and experiences and learning from one another; we are thrilled to be part of the DLN community that serves as the foundation for these conversations to occur. Just answering these questions today has demonstrated how the DLN has added value to my thinking and our business practices.
Lisa Kravet DLN Partner Kravet
KEEPING THE CURIOSITY: LESSONS FROM THE DLF’S CAREER WORKSHOP AT MSU
This February, a group of DLN Members traveled to Mississippi State University to take part in a career workshop put on by the Design Leadership Foundation. Here, Rodrigo Albir of Studio RODA reflects on the experience.
By Rodrigo Albir DLN Member
WHILE I WAS ATTENDING THE DLN SUMMIT IN MEXICO LAST OCTOBER, two factors made me want to participate in the MSU trip. The first was listening to Elvis and Tyler’s eloquent speeches discussing their drive and passion for design. Their words took me back to my days in design school and made me reminisce of the excitement felt while being in school and having made the decision to follow a new path and begin a creative career. The second was that by pure luck, at the DLA gala dinner, I was sitting next to Nick McWhirter from SHM Architects, who was already a member of the DLF. We had a wonderful and engaging conversation about the Design Leadership Foundation and the work it has done at MSU, and by the end of the dinner, I had committed to the trip for February!
What I found highly inspiring when interacting with the students was the genuine passion for design and the desire to absorb as much information about design as possible. As professionals, we sometimes get so caught up in the exercises of running a design business that we may need a reminder to prioritize continuing our design learning. As a personal motto and in the studio, I always emphasize to remain curious and explore new ideas or elements that force you out of the comfort zone; being with the students at MSU reminded me how important it is never to stop learning or think you know it all, there are always new things to learn from!
As professionals, we sometimes get so caught up in the exercises of running a design business that we may need a reminder to prioritize continuing our design learning.
Stepping out into the professional world is exciting and daunting, and I remember jumping headfirst without interacting with seasoned
design professionals. After hitting several pitfalls and making mistakes, I was able to pick myself up and learn from the experiences, both positive and negative. Still, after interacting with the students at MSU, I realized how important it is for students to seek out design professionals who can share their experiences and journey to make it seem less scary. As a takeaway, I experienced how a well-rounded mentorship student program will help students push aside the nervous jitters of stepping into the professional world and provide them confidence by giving them a snapshot of what to expect and some tips on handling complicated professional situations.
I hope that sharing my experiences with the upcoming new class of design professionals will help them become better-prepared, well-rounded individuals; at the same time, sharing my professional journey with the students became a therapeutic exercise of looking back on my journey and analyzing the positive and negative elements and how they have influenced me to be the professional I am today all while strengthening my motto: Remain curious!
Forum Thought Starters
Members of DLN Forums share conversation topics they’ve found especially illuminating. Bring these to your next Forum meeting—or any conversation with fellow DLN Members.
“Death and Taxes. In our forum, we've discussed both. We recently lost a very talented and deeply loved senior leader on our team. In my shock and grief, I felt ever so fortunate to be able to turn to two of my forum colleagues who had suffered recent losses. They coached me through both some very practical steps (develop a communication plan and launch it immediately, telling the team, valued partners and clients in immediate succession. Expect that clients, even those who were close to the deceased, will quickly ask “and what's the plan for my project?”) and some meaningful advice (take a short time for yourself, then find your way back to lead the team even if you don't feel ready. Mourning together will help.)”
Joan Craig BETTER THAN 10
“We have gone really deep on fee structures which is interesting as our forum draws from all different areas of the country. Fee structure chats have led to talks about contracts.”
Lindsay Anyon Brier THE GUILD
“We just had a very good forum meeting where Zoë Feldman spoke with us on growing her business. It was a great discussion.”
Cindy Simes Simes Studios FORUM G
“We have had some incredible discussions around books where we all read the same book and one of us acts as moderator for that meeting. A few of my favorites have been around the books The Way of Integrity by Martha Beck and From Strength to Strength by Arthur Brooks. We also watched Stutz , a documentary about psychiatrist Phil Stutz, and read his book called The Tools . So many of the takeaways I got from these discussions continue to influence me well after the sessions have passed.”
Cari Berg RAD PAC
“Some things that come up a lot for us: fees and contracts (I don’t know why this is still so much a thing, but I’m not even happy with ours!), marketing and social media, dealing with difficult clients, finding any sort of life balance (I’ve given up!), dealing with employees, and getting out of the business and working ON not in it (e.g. Succession).”
Kati Curtis GOTHAM FORUM
“One of our great topics was on Clients of the future (in five, ten, and 20 years). We brought in an AD Pro guest speaker for this conversation.”
Shea Soucie RAD PAC FORUM
“Hiring processes. I had the (unfortunate) occurrence of a lot of turnover in a 12 month period, so I had to develop a vetting, hiring, and onboarding process that was streamlined. We discussed it at a Forum and people had their own practices for onboarding and hiring. Everyone benefits from those conversations regardless of firm size or discipline.”
Laura Bindloss Nylon Consulting FORUM J
“Generalists versus Specialists. At what point —or state—in the growth of an organization does it make sense (or provide advantages/ efficiencies) to bring in employees who have a narrow focus, whether it's an expeditor (who perhaps doesn't design) for an interior design firm, a field supervisor (who perhaps can't design his/her way out of a paper bag) for an architecture firm, a supply chain manager for a manufacturer, etc. Or, given the often volatile and cyclical nature of the design industry, is it better practice to stay with generalists who can run projects from start to finish, regardless of phase?”
Joan Craig BETTER THAN 10
“I moderated a conversation on core values. We didn't get to get in as deep as we had hoped, but we definitely raised some thoughtprovoking issues.”
Josh Levinson
Artistic Tile RACQUET FORUM
“One topic that has been resonating with our group lately has been around legal ramifications and exposure/risk for our firms. We've had a pretty consistent conversation around this in our group for the last several months and it has impacted a lot of our firms.”
James Wheeler THE GUILD
“It became apparent during our monthly check-ins that a lot of us were having problems with speaking to and dealing with new hires and in particular younger (Gen Z) staff members. A friend of mine is a university communications professor and we had had conversations on just this topic. I invited her to our group where she gave us a 45 minute presentation on the characteristics of the different generations: how they think about the world and work, what they want, and what motivates them. It was fascinating and everyone found it extremely informative and helpful.”
Stephen Bernstein FORUM F
“In our first forum meeting, one participant said they had to leave to terminate an employee who was taking advantage of the firm’s resources and property. Immediately the whole group asked a series of illuminating questions: if there was to be a witness present, written documentation, a termination agreement for signature, and a series of other questions geared at protecting the owner’s firm.”
Dana Lyon MEDICI FORUM
“We recently did a session on our ‘Lifelines,’ which was a lot of fun and very emotional at the same time. The lifeline is a graphical chart with your happiest moments on top and your saddest/worst moments on the bottom. Any memorable moments that have shaped you or are simply memorable moments of your life are intervals. Each member had an hour to share theirs, and then we all hugged each other (we had a box of tissues going around the entire time, which we joke about now!). It was really really interesting to learn the who, what, and why of everyone's life. When we do our monthly updates now it puts everything into perspective for us.”
Rosario Mannino
“We’ve had two very good conversations back-to-back lately. One topic was looking at creativity, where it comes from, how to develop the conditions that promote creativity, recognizing barriers that stifle creativity. The other discussion topic was about identifying our personal core values and then examining how our core values can inform/influence our work and the way we run our businesses. As a group we’ve decided to take turns mode -
DLN AT THE U.N.
Member Laurence Carr assembles a group of design industry stakeholders to address sustainability in the design and building industries.
LAST FALL, A GROUP OF DESIGN INDUSTRY
figures gathered around a table in a somewhat unusual setting: The United Nations headquarters in Manhattan. The group was there as part of an initiative I arranged with The United Nations Conscious Fashion and Lifestyle Network to host a roundtable on the vital role of incorporating sustainability and the circular economy into the built environment.
While celebrating achievements, the roundtable acknowledged challenges, such as sourcing sustainable materials at scale and changing consumer behaviors. The discussion
NO POVERTY
served as a call to action for the global architecture and design community, urging a collective commitment to sustainable practices in the pursuit of an environmentally conscious future.
Much of this discussion stemmed from the Sustainable Development Goals (SDGs), a set of 17 interconnected global goals adopted by all United Nations member states in 2015 to address pressing social, economic, and environmental challenges by 2030. They provide a framework for countries, organizations, and individuals in the architecture,
End poverty in all its forms everywhere.
ZERO HUNGER
End hunger, achieve food security, and promote sustainable agriculture.
GOOD HEALTH AND WELL-BEING
Ensure healthy lives and promote well-being for all at all ages.
QUALITY EDUCATION
Ensure inclusive and equitable quality education and promote lifelong learning opportunities for all.
GENDER EQUALITY
Achieve gender equality and empower all women and girls.
CLEAN WATER AND SANITATION
Ensure availability and sustainable management of water and sanitation for all.
AFFORDABLE AND CLEAN ENERGY
Ensure access to affordable, reliable, sustainable, and modern energy for all.
DECENT WORK AND ECONOMIC GROWTH
Promote sustained, inclusive, and sustainable economic growth, full and productive employment, and decent work for all.
INDUSTRY, INNOVATION, AND INFRASTRUCTURE
Build resilient infrastructure, promote inclusive and sustainable industrialization, and foster innovation.
design, and built environment industries and beyond to work together toward a more sustainable and equitable future. As we all look to building a more sustainable future, I encourage my fellow DLN Members to become familiar with these goals and incorporate them into your own practices.
These goals address a wide range of challenges facing humanity, from poverty and inequality to climate change and environmental degradation, aiming to create a more just, prosperous, and sustainable world for present and future generations.
REDUCED INEQUALITIES
Reduce inequality within and among countries.
SUSTAINABLE CITIES AND COMMUNITIES
Make cities and human settlements inclusive, safe, resilient, and sustainable.
RESPONSIBLE CONSUMPTION AND PRODUCTION
Ensure sustainable consumption and production patterns.
CLIMATE ACTION
Take urgent action to combat climate change and its impacts.
LIFE BELOW WATER
Conserve and sustainably use the oceans, seas, and marine resources for sustainable development.
LIFE ON LAND
Protect, restore, and promote sustainable use of terrestrial ecosystems, sustainably manage forests, combat desertification, and halt and reverse land degradation and halt biodiversity loss.
PEACE, JUSTICE, AND STRONG INSTITUTIONS
Promote peaceful and inclusive societies for sustainable development, provide access to justice for all, and build effective, accountable, and inclusive institutions at all levels.
PARTNERSHIPS FOR THE GOALS
Strengthen the means of implementation and revitalize the Global Partnership for Sustainable Development.
By Laurence Carr DLN Member
SEARCH PARTY: SEO BEST PRACTICES FOR YOUR FIRM’S SITE
IN A RECENT OFFICE HOURS on branding with DLN Professional Members Roxanne Hanna and Susannah Charbin, the conversation turned from website design to searchability. After all, what good is a beautifully branded site if no one is landing on it?
Below, we’ve pulled together an SEO (search engine optimization, for the uninitiated) best practices one-pager to ensure your firm is ranking as highly as possible in Internet searches that might bring you business.
ESTABLISH KEYWORDS FOR YOUR BUSINESS
• Some starters: location, business type, style, offerings
° E.g., Boston interior designer and interior architect, high-end residential, modern maximalist
FILL YOUR SITE (FRONT AND BACK END) WITH KEYWORD-RICH LANGUAGE
• Write your “about me” page, home page, and any other text-heavy sections of your site with these established keywords.
• Create an SEO meta-title and meta description for your site (this is what search engines crawl to bring up search results)
PAY ATTENTION TO ALT TEXT
• Alt text is the language associated with an image, which is used for both ADA compliance (it’s what e-readers pick up for visually impaired users) and searchability (it’s the language that search engines ingest when confronted with an image)
• Doublecheck every image on your site has both:
° Alt text that provides a brief description of the image (include your firm name)
° A file name that includes your firm name, so the image is affiliated with your name in Internet searches.
• Be sure to remove identifying information (e.g., client names, addresses) from image file names and alt text
PAY ATTENTION TO SLUGS
• Slugs, or URLs, are the addresses that direct users to your content; make sure they are clear and keyword-rich.
• Eliminate filler words and prioritize clarity and searchability over word play
• Linking from your site out to press mentions, organization involvement, and other activities boosts your search
° Link your social media accounts clearly
UPDATE YOUR SITE REGULARLY!
• Frequently updated sites rank higher in search; make it a part of your process to add new projects, press, and other information to your site
• Some other ways to frame updates:
° A journal or blog section of the site
° An RSS feed pulling recent social posts
° A “news” section updated with press and other activities
FURTHER READING
Google’s SEO Starter Guide
The Fixer
Barry Goralnick serves as “knight in shining armor” as an architectural consultant.
By David Nash
DESPITE EVERYONE’S BEST EFFORTS, interior design and architecture projects can be easily derailed—or worse, never quite get on the right track. Maybe the spirit of a home’s architectural style isn’t being captured, or perhaps the builder’s plans leave too many unanswered questions about how specific elements will come together. In either case, hiring an architectural consultant could ensure your project stays on schedule and within budget.
For DLN Member Barry Goralnick, principal of New York-based Goralnick Design Studio, it’s now a regular service—albeit an unexpected one—that his firm began offering over the last few years. What they refer to internally as “house doctor” projects have Barry providing varying degrees of input (and hands-on involvement) for the architecture of residential and commercial projects that have missed the mark somehow and require an expert to assess the situation to solve the problems. “A lot of interior designers don’t have architects on staff, so it fills a need there,” says Barry, whose first job, in 1981, was a career-making position at DLN Member firm Robert A.M. Stern Architects in Manhattan.
As Barry explains, it’s not just about plans and elevations, but taking a project that’s
“just okay” and really making it work better. “If you look around—like in the Hamptons for instance—some builders put up these shingle-style houses, but they don’t understand expression or finesse,” he says. “They know the moves, but not how to implement them— whether it’s mixing different shingles or conceiving how a roof should gracefully meet the wall of a house.”
Recently, clients in the Hollywood Hills hired him to systematically untangle a mess of architectural plans that didn’t quite match the home’s period aesthetic. “They hired a Modernist architect who ultimately had no idea how to work with a 1940s Hollywood Regency house,” Barry recalls of the project, which was already under construction but had a multitude of unresolved issues when he came on board. “The original architect was good at the technical stuff, but he just didn’t understand the house, so we basically redesigned the entire interior—from all the millwork and cabinetry to solving for awkward situations where planes didn’t come together.”
Last year, fellow DLN Member Chandos Dodson Epley from Houston sent an SOS his way when her in-house architect unexpecte-
Barry Goralnick DLN Member
dly exited a project. “Although we had some concepts, we hadn’t finalized the interior details,” she says. “So, I asked him to dig in with me to review the plans as they were, and then make suggestions based on our concepts for millwork and ceiling details and look at the architectural vocabulary overall and share his expertise.” It was just the sort of thing that Barry had in mind when he envisioned the service. “Sometimes it can even speed up the process,” he adds. “But that really depends on all the other members of the team.” And according to Chandos, the additional expertise was invaluable. “Everything is better with collaboration, so having someone like Barry come in who understands architecture and interiors is only a benefit.”
In terms of scope, Barry is just as happy offering constructive advice as he is diving in deep to salvage a wayward project. “If it’s an interior designer I’m working with, I don’t want to step on their toes—it should be a team approach, so I’m always sensitive to that,” he notes. “I’m just enjoying this role where I get to be creative and, depending on the scenario, sort of a knight in shining armor who saves the day.”
Giulio Capua Champions Aging With Elegance and Insight
His work with Michael Clinton on the ROAR Forward project offers a fresh perspective on design, wellness, and lifestyle for an engaged older generation.
By Kristen Flanagan
AS THE FORMER PUBLISHER AND CHIEF BUSINESS OFFICER at brands like Departures, Travel+Leisure, Food&Wine, and Architectural Digest, DLN Professional Member Giulio Capua is no stranger to the worlds of luxury, travel, and interior design. Now, Giulio has rejoined his onetime mentor and former president of marketing and publishing director of Hearst Magazines Michael Clinton to address the evolving needs of an aging population. At the heart of Michael’s book and subsequent foundation, ROAR Forward, Giulio says, “is the understanding of the demographic tsunami that's about to hit. We're seeing a fundamental shift in what it means to age in America.”
Today, the over-50 cohort is more active, engaged, and eager to reimagine their later years, challenging stereotypes and societal expectations. And as Giulio is quick to point out, they are 35 percent of the U.S. population, projected to grow to 132 million by 2030. “We're
As professionals, we sometimes get so caught up in the exercises of running a design business that we may need a reminder to prioritize continuing our design learning.
seeing a fundamental shift in what it means to age in America” he says. So, how does ROAR Forward serve this demographic, as well as the business leaders, who’d like to reach them? First, the business intelligence platform provides insights via a free monthly newsletter and subscription-based twice monthly report. There’s also a paid membership option for those seeking exclusive reporting, connections, and events, like ROAR Forward’s annual Summit. The organization aims to bridge the gap between businesses and this influential consumer segment, offering fresh perspectives on how to cater to their unique needs and aspirations.
Through commissioned research, ROAR Forward has identified key interests and spending priorities for the 50-plus demographic.
“Wellness, travel, and home—these are the priorities,” Giulio explains, underscoring the necessity for brands and designers to align their offerings with these interests. Moreover, Giulio’s work emphasizes the importance of designing spaces that accommodate the desire to age in place gracefully, ensuring environments are both functional and aesthetically pleasing. “The design community needs to anticipate the needs of this demographic and innovate accordingly. It's not just about accessibility,” Giulio concludes. “It's about creating spaces that allow people to thrive at any age.”
Giulio Capua DLN Member
JUST BACK FROM: SWEDEN WITH HÄSTENS
This winter, new DLN Partner Hästens took a group of designers to visit its HQ in Sweden, including DLN Members Lee F. Mindel, Robert Stilin, Tham Kannalikham, and Sasha Bikoff. Read about their experience in their own words.
STOP 1
STOCKHOLM
SASHA BIKOFF The moment we landed, we wasted no time and our fearless leader/tour guide, Lee, took us to Skogskyrkogården, the woodland cemetery outside of Stockholm designed by Gunnar Asplund and Sigurd Lewerentz. It really laid the foundation for the rest of the trip because it is such an emotional awe-inspiring place. I think it all brought us together on a deeper level straight off the bat and really gave us insight into the ethos of Swedish design.
ROBERT STILIN Hands down, Skogskyrkogården —and our privately guided tour by Lee Mindel and Paul Jackson!—was the highlight of the trip.
THAM KANNALIKHAM Lee took our group on a tour of 20th-century furniture, lighting, and objects from Denmark, Sweden, and Finland. The tour exposed us to many magnificent facets of the hidden gems for not only Sweden, but Scandinavia as well.
ROBERT Lee talking about Scandinavian Design and explaining the difference between
Swedish, Finnish, and Danish cultures and how it’s reflected in their furniture and design is a memory I’ll never forget.
SASHA I was also surprised by how much I loved the Stockholm Furniture Fair! Normally fairs can get overwhelming and it's hard to sift through to get to the good stuff but this fair was inspiring with so many cool emerging artists, brands and design.
THAM The trip confirmed my belief in the great taste in architecture and design that is present in Sweden. From the cobblestoned streets to the bridges that transverse the waterways in Stockholm, the beauty of the country was ever present throughout my visit.
SASHA Sweden is driven by nature and light and the respect the people have for it. There is almost this deep emphasis on this orange glow that would occur throughout the day that has inspired much of the architecture. I realized Sweden is a purist country and the design is very much influenced by that.
HÄSTENS HQ, KÖPING, SWEDEN
ROBERT The beds are really handmade and the pride and love that goes into their making is so evident when you visit the factory. The employees have all been working there for years, many from multiple generations of families. The pride is evident everywhere you look with very high standards of quality.
SASHA It's a one of a kind product that is made completely by hand.
THAM Seeing the precision and passion from the artisans solidified the commitment and collaboration that prevails at Hästens. Hästens champions a balanced environment for their team, from the artisans to the chief executives: they are one. It’s admirable.
SASHA I will never forget the wonderful dinners and conversations shared with my fellow design friends. As a young designer, I look up to the way my fellow trip mates conduct business and these moments and the amount I learn from them are priceless.
THAM I loved meeting and spending time with like-minded creatives who value the understanding of craft and tradition. Being able to spend time with my contemporaries added another layer of camaraderie and collaboration to this experience. The friendships curated by Linus [Adolfsson] of Hästens, our incredible host and friend, certainly will remain with me forever.
ROBERT I want to go back!
Full English
Giles Deacon pulls centuries of design history into a fresh spin on English style for Sanderson.
By Lainey Sidell
AS THE WORLDS OF FASHION AND INTERIORS continue to intersect, DLN Partner Sanderson has tapped British couturier Giles Deacon to conceive its latest collection. The ensuing collaboration may be Englishness, if you will, in its fullest expression. The line, launched this spring, has nods to the Lake District, classic chintz, English flora, and the sprawling countryside in a manner that may be best described as peak Anglophilia.
Drawing on Deacon’s expertise as a fashion designer and illustrator and Sanderson’s 17th-century roots, the collection references archival patterns from both entities. Take, for example, “Bantam Net,” a repeating chicken wire pattern plucked from Deacon’s archives and elevated to a subtle snakeskin when broadened, through the Sanderson gaze, into fabric yardage proportions.
Disparate though they may be, the pairing of brands melds effortlessly into a cohesive offering. This fluid dovetailing demonstrates just how well-suited the unlikely duo was for a proverbial design dialogue.
“A particular luxury in the design process was the time allowed to bring the collection from concept to design,” Deacon says of the two-year process. “[It] was so wonderful in the respect I could live with the idea of the designs and their manifestations, as the end result was intended to be one of timeless joy to surround oneself in.”
The result is “a collection of wall coverings and textiles that embodied my own practice and research undertaken from the extensive Sanderson archive,” Deacon says, reiterating just how “surprising, respectful, and ultimately complementary it is to the Sanderson world.”
Stay tuned for a Sanderson experience during the London Prequel to the 2024 DLN Summit.
COPY & PASTE
Miranda Cullen is building her firm’s legacy through franchising.
By Miranda Cullen DLN Member
IN THIS INDUSTRY, WE’RE OFTEN PRESENTED with the notion that projects with bigger budgets are the only way to run a successful, profitable company; logically this seems like the fastest pathway to success. However, this concept has long gone against my core belief that every potential client deserves beautiful, functional design and a large number of clientele need only a bit of support (many people work on their homes in phases, after all).
At my previous company, we once passed on 65 smaller projects in a single year because they didn’t fit the mold of what we deemed a proper project profile (larger projects with larger budgets). That’s a staggeringly large amount of work to turn down, leaving a hole in the market for folks looking for designers and just wanting a bit of help. Enter Inside Stories, a “micro-design” concept that came into play while heeding the call to merge the best of both large and small interior design firms.
I founded my company, Inside Stories, in 2015 with the knowledge that there was a massive market for micro-design needs, whether it’s redesigning one bedroom, picking paint colors, or a consultation on furniture. The approach has uncovered a way to make interior design accessible to anyone. I see this as a groundswell movement in the design world and a way to rethink our industry’s standard, and often impractical, structure.
now operating in seven franchise cities (Austin, Charlotte, Kansas City, Miami, Nashville, Portland, and San Francisco), Inside Stories is offering the first, scalable, in-person, micro-design business models that franchise owners can use for their existing firms, or start a new business entirely. We take on projects that encompass anything our clients can dream up, from a simple styling consultation to a luxury, custom-built home: Queries of all sizes are welcome.
And while the demand for our interior design services shows no sign of slowing down, the same cannot be said for myself. I’ve worked in this industry for nearly three decades, founded multiple awardwinning design firms, and am looking to the future. I didn’t stamp this
company with my own name because I wanted Inside Stories to have a lucrative and lasting legacy that wasn’t synonymous with a single individual. It’s a team that makes the firm’s vision a reality in the end.
As the founder of an established company and someone with a lifelong passion for this industry, I want to continue bringing clients exceptional, accessible design long after my departure from the firm.
Inside Stories was never just a vision for my single company; Inside Stories is about being accessible and embracing any and all of our client’s design needs. To me, that’s the big picture.
“Every potential client deserves beautiful, functional design and a large number of clientele need only a bit of support.”
Eyes on Edinburgh
Ahead of the 2024 Summit, get to know the storied venues where the DLN will convene.
MCEWAN HALL GENERAL SESSION
FROM DAVID HUME, WHO HERALDED a new age of empiricist enlightenment, to the historical revivalism ushered in by the iconoclastic intellect of Thomas Carlyle, the Scottish mind has always been rational and romantic in equal measure. Both studied at the University of Edinburgh; no wonder the city’s been called, in that most wistfully idealistic of phrases, the Athens of the North. Despite its sweeping scholarly stature, the university long remained small in size. So much so that for three centuries it boasted no ceremonial buildings, with students graduating in their classrooms. Not until its expansion in the wake of the 1858 Scottish Universities Act did the institution see fit to build a graduation hall. McEwan Hall is the result: and what a correction it is. Calling on Sir Robert Rowand Anderson, Scotland’s leading nineteenth-century architect, the institution erected a grand D-plan graduation hall in the voguish Renaissance revival style, decorated inside with allegorical murals by William Palin in the manner of Raphael’s Stanze frescoes. Originally opened in 1897 and recently restored to its former splendor, it fans out from the melange of buildings which comprise the rest of the university, exerting itself with a rhythm of projecting buttresses and bowed protrusions. And to top it all off, a shallow dome poking over the parapets seems to pay tribute to the silhouette of Hagia Sophia, that ur-temple of higher wisdom. Echoing the Scottish sensibility which conceived it, the hall is a fluent homage to a new School of Athens, articulated in the most romantic language.
HOPETOUN HOUSE WELCOME RECEPTION & DINNER
IF ANY EVENT CAN BE CREDITED WITH THE CRAZE for all things Caledonian, it must be King George IV’s 1822 visit to Scotland. The first visit by a British monarch since Charles II, 172 years prior, its denouement played out at Hopetoun House, just outside of Edinburgh. And rightly so, given that the house provides a masterclass in Scottish architecture. For two of the country’s most significant classicists are intertwined with the structure: the original house was devised by Sir William Bruce, who Daniel Defoe dubbed the ‘Kit Wren of North Britain’ for his foundational influence on its architecture, and then extended by William Adam, father to the famous Adam brothers who decorated the interiors. Indeed, their state apartments, completed after their father’s death, form the first major example of their work anteceding the development of the more decorous Adam Style. Alas, the Adam additions, which include the elegant Palladian pavilions, conceals much of Bruce’s original house. But who could wish for more sophisticated obfuscation? Commissioned in 1699, the house was built for the Hope family—first earls of Hopetoun and later elevated to marquises of Linlithgow—who still live there today. Theirs is the credit not only for its construction, but also its preservation, so that the house, overlooking the Firth of Forth from where George IV departed, is today the same as that which provided the appropriate full stop to that most influential royal tour. No wonder, then, that the home is still known by the affectionate honorific of Scotland’s finest country house.
NATIONAL MUSEUM OF SCOTLAND DESIGN LEADERSHIP AWARD DINNER
“THE MAIDEN” AND “DOLLY THE SHEEP” MAY SOUND innocent enough but, like the National Museum of Scotland where they are displayed, the names themselves give no sense of the weirdness within. The former is the pet name for a sixteenth-century Scottish prototype guillotine, while the latter is stuffed remains of the first cloned sheep. The architecture of the building itself signals that something is afoot. It is a museum of two faces: one half presents a demure appearance in the form of a Victorian Venetian Renaissance facade, behind which lies a grand steel framed hall inspired by the Crystal Palace; and the other is a Corbusian interpretation of a castellated Scottish Baronial tower. The cause of all of this strangeness may be the museum’s convoluted history: It is the merger of the Museum of Scotland’s collection of Scottish antiquities with the science and technology exhibits of the Royal Scottish Museum. But here the unusual has always been de rigueur. While it has a claim to be the UK’s first museum, its oldest exhibit could conceivably be the contemporary extension due to its Moray sandstone cladding. So at least joked Benson + Forsyth, its architects. And in 1975 the museum hosted an April Fools exhibit complete with a Frankenstein taxidermy bird made up of various avian remains including a carrion crow, a plover and a waterfowl. And yet, in all seriousness, it is one of the preeminent museums of world culture and Scottish history, a treasure trove for the explorer of the offbeat—both wonderful and weird.
Sale of a Lifetime
Hindman’s Gemma Sudlow reflects on the once-in-a-lifetime sale of property from the Aline Elwes McDonnell Trust
“Houses live and die: there is a
time for building
And a
time for living and for generation
And a time for
the wind
to break the loosened pane And to shake the wainscot where the field-mouse trots And to shake the tattered arras woven with a silent motto.”
IF T.S. ELIOT’S J. ALFRED PRUFROCK MEASURED HIS LIFE in coffee spoons, then mine is surely measured in auctions: I’ve devoted twenty years of my life to bringing rich tapestries of collecting to sale and it still gives me a thrill to find the stories imbued in historic objects. And so it goes – a day in the life of an auctioneer: the 21st-century bombardment of emails and Zoom calls is intercepted by an old fashioned phone call: the opportunity to visit a private collection in Greenwich, Connecticut of “English Furniture” from the estate of Aline Elwes McDonnell. I volunteered immediately for the chance to bathe in memories of my youth (far too well-spent in the Country House Collections department at Christie’s in London).
The visit did not disappoint! In what first appeared to be an unassuming, if much-loved home (the pink-walled kitchen bore the hallmarks of a loving family’s growth with tattered and refreshed lines denoting who grew tallest first) the cottage continued through the adjacent dining room to the library and beyond, by means of a modest passageway, to the extension built in the 1950s to house the extant collections long since removed from Copped Hall, Essex, UK.
What lay before me was a glorious recreation of an 18th-century English Country House drawing room: a finely woven Brussels tapestry circa 1680, a rare form of commode with the signature hallmark marquetry inlay of Messrs. Ince & Mayhew, Regency period cockpen faux-bamboo armchairs, Fahua vases from the Ming dynasty, all bound together by an illustrious group of portraits on the walls led by the tantalizing and unfinished depiction
–T.S. Eliot, East Coker
of a young woman with a fashionable late 18th-century coiffure (ever the eternal optimist in me: Sir Joshua Reynolds? A precocious follower perhaps? Reverend Matthew William Peters?). By the time, dear reader, this sits in your hands, hopefully some of these riddles will be solved, but for the moment I’m armed with stories passed down through the Elwes family, Country Life articles from 1910 and 1959 respectively, a flashlight, and an insatiable curiosity as my only guide.
Aline Elwes McDonnell’s lineage is traceable back as far as King George II of England and Copped Hall in Essex was a site near the town of Epping that dates back to medieval times—originally home to the Fitzaucher family who held the office of Foresters. The meaning of “Copped” has its roots in the old English term for peak and denotes the vantage point of the site upon which the 18th century version of the house was built. No fewer than three grand country houses graced the site until the demise of the James Wyatt aggrandized version (now thankfully undergoing restoration by a local trust) in a devastating fire of 1917.
The story goes that the few household staff and gardeners that remained during the war years, armed with only a small handpump to quell the flames, dragged furniture, paintings and objects out onto the lawn to save them from destruction. Much was sold off or dispersed thereafter to offset the huge losses incurred at the time but what remained was rehoused at The Wood House (an 1898 confection in the high Tudor Rivival style on the estate grounds) where the family moved following the catastrophic event.
A number of the objects in this auction are featured in imagery from aforementioned Country Life article on The Wood House in 1959. This time capsule of 100 or so items made the transatlantic journey following Aline Mary Margaret Elwes’s marriage to the well-heeled Connecticut native Hubert McDonnell Jr. (1919-2004) in the Brompton Oratory in 1948. The pair settled in Connecticut and shipped the extant portion of the collection, bequeathed to Aline, by slow boat in the early 1950s, where they have been lovingly preserved ever since.
The family hopes a new generation of custodians will care for these heirlooms and Freeman’s/Hindman is honored to be the auction house of choice for this beautiful group of forgotten treasures. Please join me this June in New York and Philadelphia to be inspired and transported with what Disraeli described as that “soul-subduing sentiment, harshly called flirtation, which is the spell of a country house.”
Property from the Aline Elwes McDonnell Trust will be offered in a live auction in Philadelphia at 2400 Market St, Philadelphia, this June 21, 2024 at 10 am ET.
A New York preview will be held at Freeman’s/Hindman New York Gallery located at 32 East 67 St., June 3-11.
By Gemma Sudlow DLN Partner Freeman’s/Hindman
The McDonnell family photographed in the home for a Country Life article in 1959
STANDOUT LOTS
AN IMPORTANT GEORGE III HAREWOOD AND MARQUETRY COMMODE
Circa 1775
$10,000–20,000
Attributed to Matthew William Peters (British, 1723-1792)
PORTRAIT OF A LADY, POSSIBLY CATHERINE MARIA ‘KITTY’ FISCHER (c. 1741-1767) oil on canvas, 30 x 25 inches $4000–6000
A SET OF SIX REGENCY FAUX BAMBOO COCKPEN ARMCHAIRS
Early 19th Century
Height 34 x width 28 1/2 x depth 20 inches. $3000–5000 IN THIS MONTH'S SALE:
HOME ON THE RANGE
What Brian Erden Rojanasumaphong learned about business from buying an alpaca farm.
By Lainey Sidell
FOR MANY, THE OPPORTUNITY FOR SLOWER LIVING offered by the pandemic manifested as home-baked sourdough loaves and glistening focaccias. But Brian Erden Rojanasumaphong leaned in a slightly more ambitious fashion when, in 2021, he purchased a 22-acre alpaca farm, the acquisition of which was intended expressly as an exercise in alpaca yarn production—and the many ecological factors which contribute to it.
“I wanted to be much more involved in production,” says the founder of DLN Partner Erden. “There was a lot of focus on graphic design in rugs—the shapes being woven into it—but much less was being done about the rug itself, from a maker’s technical perspective.”
The farm, Brian hoped, would close what he calls a “gap” in his fiber production knowledge—the impact environment might have on the quality of an alpaca’s fleece output—such as the genetics of the animal, its living environment, nutrition, even the shearing of an alpaca come spring. “I built Erden on the idea of using far finer quality of materials found in not another rug in the entire world,” he says.
This innovation unsurprisingly invited challenges. Namely, convincing yarn spinners in Nepal that “finer, slipperier,” higher quality fiber could even be spun into yarn.
“They essentially said it couldn't be done by hand. I went back to Nepal and worked with the spinners and showed them how we needed it spun,” says Brian. “I think they felt challenged like, ‘if he can do it, then surely we can do it.’ And then they learned rather quickly after that.”
Fiber quality isn’t the only way Erden tests the medium’s limits. Rugs are inherently geometric, their knots woven into patterns on a loom, each a tile-like piece in the larger mosaic that is a floor covering. Its inherent grid-like construction sparked a “philosophical and intellectual” challenge for Brian—incorporating ornamental metal inlays.
These two atypical attributes—high-end materiality and unexpected embellishments—illustrate Brian’s overall objective of his collective projects, perhaps more on par with a genre-bending artist dead set on entering the canon than a rug designer. “It was really exciting to bring this totally new conversation about quality of materials into rug making,” he says.
The farm experiment will remain just that for the foreseeable future, as Erden continues to source its materials, including alpaca, South African mohair, and Australian merino wool from locales far and wide. “We're not using our fleece at all,” Brian says. “Basically, our 30 alpacas would only yield like a single rug a year.”
The farm’s ripple effects, though, are far-reaching. It has inspired new traditions, such as an annual shearing event in which Erden’s Chicago offices shut down so employees can attend the festivities. It also has made an outsize mark on Brian’s personal outlook.
“Production, like nature, obviously can be unpredictable,” Brian says. “But the farm has gone on to be one of the great passions of my life.”
Cover Star
Jean Larette DLN Member
How Jean Larette turned a Luxe cover into a networking strategy.
FOR MOST DESIGNERS, LANDING THE COVER of a major magazine is a milestone—and certainly an occasion for celebration. But when Jean Larette landed the cover of Luxe Interiors + Design late last year, she took this celebration one step further, using the cover placement as an opportunity to deepen connections with editors, collaborators, and industry sources.
The idea came about as Jean was reflecting on the many hands that went into shaping this project, a new build home for avid golfers in the famous Pebble Beach, California community.
“In so many successful projects, it’s really a team effort to make it successful,” says Jean, who worked with architect Richard Beard and builder Andrew Ackerman on the home, which was full of all-hands-ondeck experiences for custom designs. “For example, in the kitchen, there’s a built-in seating area that needed to be so specific, because we really wanted to make sure that it was comfortable, and we were building it around one of Hellman-Chang’s oval tables,” says Jean. “So we had to make so many models for them to sit in and just be sure that it was absolutely spectacular. So not only were the upholsterers part of it,
but the contractor was part of it—it was really a team effort.”
So, when publication day came, Jean figured, what better way to celebrate than with the whole team? In timing with the issue release in early November, she booked a venue for a ten-person celebration which included the architect, contractor, photographer, Luxe editors, reps from Ann Sacks and Dunkirk, the owner of San Francisco shop Anthem (whose accessories featured prominently in the printed photos), her rug vendor, and her assistant, who styled the photo shoot.
“It was just so nice to really raise a glass to thank everybody who had been so involved,” says Jean. “It is so rare that you can actually turn the table and thank the people that put it together.”
The celebration also spurred continued momentum for the project, which has now been featured in print advertisements for the architect as well as a few of Jean’s vendors, gotten plenty of love on Instagram, and will appear in the DLN’s upcoming book THE LIVING ROOM. Jean was also named to the Luxe Gold List for 2024.
It just goes to show, Jean says, that when you invest in a project and lean into its collaborative nature, “it can really continue to have legs.”
PROFESSIONAL DIRECTORY
ARCHITECT
RICHARD BEARD
CONTRACTOR
ANDREW ACKERMAN CONSTRUCTION
BUILDER
STOCKER & ALLAIRE
UPHOLSTERER
GUIDO'S CUSTOM UPHOLSTERY
PHOTOGRAPHER
ADAM POTTS
Elizabeth Georgantas Takes on an Unusual Project: Her Hometown Dive Bar
The designer gave a dingy-but-beloved establishment a new lease on life.
By Lainey Sidell
SOMETIMES, AS THE FAMOUS CHEERS tagline goes, you want to go where everybody knows your name. As a college student in Boston, Elizabeth Georgantas was lucky to find one such place: a “dirty, gross, but charming” dank dive of a gay bar that she’d frequent with queer friends in Boston’s South End. It was called The Eagle. “Someday I’m going to buy this; I can picture doing something fun with it,” she recalls thinking throughout the years.
During her loyal patronage—30 years, by her count—Elizabeth befriended The Eagle’s owner. So when the establishment closed during pandemic times and ceased to reopen, Elizabeth took the plunge and purchased the bar.
Though ideas hatched in bars are often half-baked or fully forgotten the following day, such was not the case in this instance: In October, 2022, a new iteration of the bar opened its doors for business, The Kartal, unrecognizable except for its facade.
The Kartal’s visual tributes to its predecessor may go unnoticed to the uninitiated, but to those familiar with its history, they offer a fitting memorial: Take for example, the artifact wall bearing the eagle-adorned firefighter's helmet worn on the job by its former owner.
In its most literal interpretation, Elizabeth salvaged what she could, structurally, of the former Eagle, including its tiled flooring (which was challenging, but ultimately successful) and prewar tin ceilings. The theme even extends to the bar’s name: Kartal means “eagle” in Turkish. “It felt like you were stepping into another world at the Eagle,” says Elizabeth.“Hopefully I've managed to maintain that, just in a place where you actually want to drink out of the glasses now.”
At the time of its closure, the Eagle was one of Boston’s longestrunning LGBTQIA+ establishments, a legacy Elizabeth hopes to honor: “There are very few gay bars left in Boston, so I really wanted to be super respectful of the long-standing history that this bar had,” she says. “It was important to maintain a place where the community felt equally as comfortable as anybody else who would walk in.”
Elizabeth carries on the tradition of gathering by creating opportunities for people to connect. “Anywhere and everywhere that I can bring people together makes me happy,” she says. “I have a space where I can do that now and it feels sort of like an extension of my living room.”
Elizabeth Georgantas DLN Member
CONNECTING THE DOTS: HOW DLN RELATIONSHIPS FOUND WORTHEN ITS NEW CEO
By Nadia Roberts
Partner
The brand tapped fellow DLN Partner Interior Talent for the right placement.
IN THE VIBRANT DESIGN INDUSTRY, WHERE CREATIVITY thrives and innovation abounds, the power of community and collaboration is undeniable. These relationships can often be the cornerstone of success.
As a fellow business owner in this dynamic industry, I've always embraced these principles. I've witnessed how genuine, thoughtful relationships, nurtured over time, can lead to extraordinary outcomes. That’s why I was drawn to the DLN, recognizing it as a catalyst for potential relationships. Over the years, cultivating deep business connections has been a vital part of my professional journey, opening doors to new opportunities and fostering collaborations that have shaped the trajectory of my firm, Interior Talent.
One such connection unfolded when Worthen Furniture, a nearly 50-year-old brand undergoing a renaissance, joined the DLN. As the brand shifted strategy to focus on the designer market, the DLN stepped in to connect them with like-minded CEOs. Drawing parallels between Worthen and Merida, another esteemed brand in our network, they facilitated a connection between Lud Kimbrough, Worthen's then-interim CEO, and Catherine Connolly.
The introduction led to a wide-reaching discussion encompassing insights into the industry, the role of makers, and strategies for effectively penetrating the market. It also brought up the topic of Worthen’s search for a new CEO. Drawing on our longstanding relationship with Merida, Catherine graciously recommended Interior Talent as a resource to help Worthen find their ideal leader.
Soon, we had embarked on a search to identify the perfect CEO to steer Worthen through its rebranding and growth. That choice manifested in Doug Rozenboom. Doug has been a part of our network for almost 15 years, and we had witnessed his professional journey firsthand. From placing him as Larson-Juhl’s Senior Vice President of Product Development to maintaining contact throughout his career, we knew Doug possessed the vision and expertise Worthen needed. His immediate connection with the brand presented an opportunity for him to lead and shape its future.
DLN
Interior Talent
inspired by Florentine food
TA LIAN JOB
How OFFICINE GULLO crafts kitchens
By Melissa Feldman
FLORENTINES ARE FOODIES. THEY LOVE to cook and have the best ingredients grown in their backyards. So it's no coincidence that the Tuscan kitchen brand (and new DLN Partner) Officine Gullo are experts in the creation of Italian-style cucinas. Founded by Carmelo Gullo in Florence, the company has been manufacturing bespoke kitchens forged by hand for decades.
Their showrooms now extend beyond Italy and Europe, and are managed by Carmelo’s sons, Pietro, Andrea and Matteo, directors overseeing those markets as well as Moscow, Cape Town and North America. A New York outpost is in the process of being built inside the new flagship of DLN Partner Poltrona Frau, in an Art Deco building on the corner of East 34th Street and Madison Avenue.
It’s been a hyperactive spring for the brand, after introducing multiple products during Salone del Mobile in Milan, including Isola, a sleek stove system available in five models of varying widths, and a Barbecue Collection for outdoor cooks. These new products perfectly coincide with recent trends highlighting kitchen islands and outdoor living that were presented by the National Kitchen & Bath Association (NKBA) in their 2024 kitchen trends report.
Since the pandemic, cooking and entertaining have become an essential ingredient in daily life and Officine Gullo’s superior line of stoves, hoods, and refrigerators, combined with ergonomics and technology, and packaged as a sexy stove, inspires the master chef in all of us.
The hand-crafted powder-coated steel stoves are manufactured using traditional forging techniques that Florentine artisans have employed
for centuries, while incorporating metal finishes like Burnished Brass, Polished Chrome, Satin Nickel, Copper, Gunmetal, and 24kt Gold, as well as a vast selection of colors ranging from glossy to matte.
The latest bar collection is also 100 percent Italian made with marble counters sourced from Antolini in Verona, pendant lights from Viabizzuno in Bologna, and paired with chrome stools of the brand’s own design.
And while the kitchens are marketed to the amateur and home cook, professional chefs from luxe properties like Belmond’s Villa San Michele and Castello di Casole have had the premium kitchens installed both indoors and out. Even Italian tenor Andrea Bocelli, after a showroom visit, is in the process of designing his own kitchen in collaboration with Officine Gullo.
For the New York opening, a complete custom kitchen and two islands from the Tailor Made Collection is in the works and produced in Signal Black with a polished Chrome finish. The sleek installation will be decked out with signature accessories from an induction cooktop range, to state-of-the-art appliances featuring a refrigerator, freezer, steam oven, microwave oven, coffee machine, and warming drawer, with backsplashes specified in Hurricane Quartzite. Two islands will be constructed, one with a stainless steel sink installed with dishwashers, ice maker, and a storage and refrigerated drawer and the other incorporating a small undermounted sink, and counter to accommodate three seats. The opening party is guaranteed to be fabulous—with five-star food, of course!
ABOUT THE PARTNER
FOUNDED IN FLORENCE BY
CARMELO GULLO
NOW RUN BY CARMELO’S SONS: PIETRO, ANDREA, AND MATTEO
SHOWROOMS IN FLORENCE, MILAN, LONDON, NEW YORK, LOS ANGELES, SHANGHAI, HONG KONG, MOSCOW, TEL AVIV, CAPE TOWN AND LAGOS
Reflections on Ojai
What Melanie Olson learned at the second annual Design Leadership Workshop.
I COULD NOT BE MORE INSPIRED AFTER AN incredible few days spent with special design friends from across the country. I have so much to be grateful for with talented industry partners sharing and networking, all against the gorgeous backdrop of the Ojai Valley Inn.
The theme of the workshop was The Art & Science of a Great Client Experience (and why it matters). We talked about creating the “wow” factor, with touchpoints that clients remember, in order to separate your business from others. Our keynote speaker, Jon Picoult from Watermark Consulting, shared with us his 12 principles for outstanding customer experience, which included many examples of what makes great touchpoints. I’m looking forward to reading his book, From Impressed to Obsessed.
The sharing, networking, and learning from others in this fabulous organization makes it extremely valuable. Upon my return to the studio, I’ve already implemented a few touchpoints inspired by Jon: For example, we sent small bonsai plants with notes to all the mothers we work with for Mother’s Day.
By Melanie Olson DLN Member
NEW GROWTH
After three decades of experience, Dan Houchard has started his own landscape firm. Here, he reflects on starting anew.
ONE LESSON I’VE LEARNED in my career is that “bigger isn’t always better.” When a business gets to be a certain size, it’s inevitable that “The Business” becomes an entity unto itself that requires a lot of attention. You have to manage people, and vendors, and always have a constant eye on the bottom line. At some point, it’s easy to lose focus on the smaller details that make each project special, as well that connection you have with your clients. My goal, and thus business model, with HDG is to grow in such a way as keep these details and connections at the forefront of everything that we do.
Previously, my career was very much based
By Dan Houchard DLN Member
in the design/build model. What is different with HDG is a move away from that, into a more pure form of design and creation. When it comes to bringing a project design to life, we partner with the firms best suited to work with, which might be contractors in one region, or landscape installation in another. Flexibility is the key to our process and abilities. Being–for lack of a better phrase–a more “boutique” style firm really widens the scope of our vision and what we are able to create. We aren’t as tethered to the processes and products as a larger firm might be, which gives us the ability to really be reactive to the client’s visions and dreams for their spaces when we design.
EDDIE MAESTRI RELEASES A COLLECTION OF MANTELS
FOR DLN MEMBER EDDIE MAESTRI, a new collection of mantel pieces was more than a way to sell product—it was an exercise in defining his architectural range. “Our studio works on such a wide variety of home styles, and the fireplace/mantel is a consistent focal point in all of our projects,” says the Dallas-based Eddie. “Arcana became a way to design a collection to reach all of our projects, as well as a showcase of our diverse range of abilities.”
Each of the 11 designs in the Arcana by Maestri collection has its origins in Eddie’s own sketchpad, which he’s filled out over years of travel. There’s the evocative curve of Hollywood, the elegant sweep of Palais, and Eddie’s favorite: the “simple, masculine, classical yet modern,” Roma.
Despite this broad range, though, Eddie envisions the collection as a dynamic entity that grows and evolves over time. “One of the things we learned in bringing this first collection to life was that ideas are, in reality, never finished. The designing never stops, and, in fact, leads down the path to more ideas for more mantels as well as other products,” says Eddie.
1
BEATRIX FARRAND
THE DESIGNER OF DUMBARTON OAKS IN WASHINGTON, DC. MY ABSOLUTE FAVORITE PUBLIC GARDEN TO GET LOST IN.
2
SCOTT SHRADER SCOTT CREATES WONDERFUL OUTDOOR SPACES THAT ARE MEANT TO BE LIVED IN.
3 PAUL BANGAY HIS PERSONAL RESIDENCE – “STONEFIELDS” –IS A MASTER CLASS IN GARDEN DESIGN.
Eddie
Maestri DLN Member
POLTRONA FRAU’S NEW FLAGSHIP IS INSPIRED BY HOSPITALITY AND FASHION
The Italian brand’s latest space is conceived as a dynamic setting that encourages interaction and creativity.
THERE’S A NEW POLTRONA FRAU IN TOWN and it’s no ordinary showroom. This spring, the Italian luxury furniture brand and DLN Partner unveiled a sprawling 19,000 square foot flagship within a stately Art Deco building on Madison Avenue.
Spanning three levels designed by architect Michele De Lucchi and developed by AMDL CIRCLE, the space shows the latest and greatest from Poltrona Frau, as well as a selection of designs by Italian artisanal brands, including Cappellini, Ceccotti Collezioni, and new DLN Partner Officine Gullo.
At a time when the worlds of fashion, hospitality, and interior design have never felt more connected, this space is proof of that, with its design cues taken from luxury hotels as well as fashion retail outfits. The mission of the space, says Poltrona Frau, is to create “a hub
where clients can immerse themselves in various home settings, creating their ideal living space.”
The use of highly adaptable, multi-functional spaces, and omission of a formal reception desk are meant to encourage interaction and set the space as a location for events and experiences, all goals continued from the brand’s Shanghai store, opened in 2023 under the development of AMDL CIRCLE as well.
To commemorate the opening, Poltrona Frau has released a limited edition collection of 50 Leplì stools. Available exclusively at the new flagship, the seats are meant to pay homage to the iconic style with materials like hand-woven wicker and supple leather. Much like the flagship itself, they’re a celebration of Poltrona Fau’s spirit of craftsmanship and New York’s design legacy.
RIGHT BRAIN/LEFT BRAIN: LESSONS IN LEADERSHIP FOR CREATIVE BUSINESS
DLN Founder and CEO of Waterworks Peter Sallick reflects on the most valuable lessons he’s taken from 30 years at the helm of a design business.
AS DLN FOUNDER PETER SALLICK marks 30 years at Waterworks, he’s never been more interested in the intersection of creativity and business acumen. We caught up with Peter to hear his most valuable takeaways on running a design business.
1. The Business and the Creative Must Work in Tandem.
The way I look at it is that I have to do the business in order to realize the creative ideas that I have. There are times when the business side takes precedence, and then there are other times when I'm able to put more of my focus and energy around the creative ideas. I've come to learn that you can't always control when those things happen, and it's not a straight line, but if you keep your eyes open, you can anticipate what's required and move between both.
2. Good Systems Make a Good Business
There’s a big risk in the lack of appreciation for the business side that sometimes happens in our industry. The idea behind our latest Design Leadership Workshop
in Ojai was to confront the reality that customer service, operations, and business orientation is something we need to pay more attention to. I think it's a misunderstood aspect of design; it's always thought of as someone else's problem, when in reality, it's a necessary aspect of delivering the creative output.
3. Creativity Is Key to Business Strategy
I’ve realized there are ways for design-oriented people to appreciate and get excited about the business of our industry. You can make long term financial planning, for example, very creative. You can essentially look at your financial plan as the vehicle for exploring the creative outputs that you want to achieve over time. Or, say, when you think about data you get on your customers, it’s easy to say, “Oh, it's just a bunch of numbers.” But the reality is, the numbers need to be interpreted, and it’s extremely valuable to bring a level of creativity to how you accumulate data, how you read data, and how you present data.
4. Delegation Is Life-Changing
In the early days of Waterworks, I tried to do everything, from design to sales to finance. Eventually, I found a senior business leader who was better able to oversee the day-to-day of many of the business functions of the company. That freed me to be more thoughtful not just about putting time and energy into the creative side, but even allowing me to develop more creative thinking around the business side as well. It’s very hard to do it all yourself and having strong people around you, including perhaps a
partner who is stronger than you in some things, is a secret to success. When you make that division, you can dig deeper into the parts that matter because you’re not being pulled in so many directions.
5. Long-term Success Means Continued Challenges to the Status Quo
What's kept me excited about the business for so long is that we are always thinking about how we can improve, about challenging the status quo and not accepting that the current approach is the only way. The most exciting thing for me is the moments where we can step back from the day to day and say, can we imagine what would happen if we did this? There's no shortage of opportunity to reimagine things if you give yourself the time and focus to use your creative mind at the highest level.
6. Leadership Means Taking Risks
I've always been someone willing to push ideas around even when it's uncomfortable, and that keeps the company fresh not just for me, but for the people I work with. There is a level of authority and authenticity that comes with being effectively the founder. It’s much harder for an employee leader to take the same level of risks and have the same level of conviction as a founder. That’s a big theme as I think about succession planning for myself. How do I find a future leader for the company? Who is going to be willing to take the risks that I'm willing to take?
Peter Sallick
EW
TERRITORY
A historic cottage gets a new lease on life, while the firm establishes more work-life balance.
By Kristen Flanagan
IN 2020, MELANIE MILLNER EMBARKED on a transformative project that breathed new life into a historical home—and her business. “I wanted to work in my happy place,” the founder of The Design Atelier says, referring to Northeast Harbor, Maine. In the wake of the Covid-19 pandemic, the Atlanta-based designer opened a satellite office in the serene coastal enclave, where she’s summered for the past 25 years. “At that point, we were all just searching for a better quality of life,” she reflects. But it’s a move that’s created lasting change for her firm.
Serendipitously, Melanie’s first project in Northeast Harbor was for a client who had just purchased a home on Main Street—one that Melanie had long admired on the cover of a book in her library called Maine Cottages by Fred L. Savage, the original architect. “I’ve always loved this home,” she says. Her approach to the renovation was to balance modernization with preservation, maintaining the historical integrity while updating the interiors for family-friendly summer living. The project’s turning point came with the decision to remove a fireplace that obstructed breathtaking harbor views in the living room, a bold move that, while controversial, opened the interiors to natural light and picturesque landscapes.
Melanie and her client carefully curated a mix of furnishings that feel both timeless and collected. In the dining room, they retained the previous owner’s dining table, while adding an antique Carroll
Tyson
above a new sideboard. In the living room, mid-century chairs sit alongside new pieces with classic silhouettes. “It was important to bring in elements of the past,” the designer says. “Many of the homes in Northeast Harbor are passed down through generations, and it's important to create that lineage.”
She selected a color palette and materials with an eye towards the coastal setting, ensuring that each room imparts a restorative ambiance. Beyond aesthetics, functional upgrades transformed underutilized areas into cherished spaces: They converted a previously damp basement into a lovely in-law suite and a side porch into a practical mudroom. These changes not only enhance the home’s livability but also its connection to the outdoors, an essential aspect of summer living in Maine.
The project underscores Melanie’s commitment to respecting historical architecture while embracing the need for homes to evolve with their inhabitants’ lives. “Homes should be living and breathing things,” she says. This credo not only revitalized a beloved family home, but also cemented The Design Atelier’s presence in Northeast Harbor, marking a significant chapter in Melanie’s distinguished career. “It gives my staff an opportunity to work from Maine, if they want to have a break and still be productive,” she says. “The Maine office also allows me to work on a daily basis, while having a different place to go home to in a more beautiful environment.”
Sargent
lithograph
DLN member
OFFICE HOURS: WHAT EDITORS WANT NOW
FOR MAY’S OFFICE HOURS SESSION, the DLN tapped leaders of three Media Partner magazines: Jill Cohen, Editor-In-Chief, Luxe Interiors and Design ; Joanna Saltz, Editorial Director, Delish & House Beautiful ; and Jacqueline Terrebonne, Editor-In-Chief, Galerie Magazine
The three editors led an engaging session about the state of the industry and what they want now in terms of projects, pitches, and storytelling. Missed the session? Read on for a few takeaways.
PITCHING
Of course, many DLN Members were eager to hear the best way to successfully pitch these magazines. Jill, Jo, and Jackie shared valuable intel on how (and how not!) to reach them.
DON’T
DO
• Send project pitches in a dropbox with a PDF contact sheet.
• Curate your selection of photos, narrowing it down to a few strong shots of each space
• Pay attention to order! Lead with a strong image and organize as you would walk through the home.
• Give editors time to respond. (Wait at least a week to follow up)
• Consider a “hook” for digital pitches.
• Pitch products with both silo and in-situ photo options.
HOUSE BEAUTIFUL: Wants a compelling story/ details about what makes the project special (homeowner asks, design hurdles, unconventional details)
• Pitch through the HB pitch portal, DLN Members can reach out to catherine. dipersico@hearst.com for status updates
• Pitch multiple outlets at once; select which project you want for which magazine and cater your pitch accordingly (more on that below).
• Rename your photo files; it will make it much harder for outlets to communicate selections.
• Share the whole project on social before pitching it to a brand.
• Mass pitch products with little relevance to the brand.
BRAND SPECIFICS:
LUXE: Wants details on project professionals, resources, and sources; is less interested in homeowner details.
• Pitch to the editor of your region, who compiles pitches for Jill (find your contact on the Luxe site)
GALERIE: Wants details about the art and the homeowners’ collecting habits/ personal style.
• Pitch to Jackie, jterrebonne@galeriemagazine.com
PHOTOGRAPHY
Another theme that emerged during the session was the importance of (good!) photography to any editorial. Strong photography has never been more of an important investment for your firm, for pitching editorial, maintaining an SEO-friendly website, and creating compelling social collateral. With the addition of interiors photographer Members to the DLN last year, we’ll be mounting an Office Hours featuring their expertise; until then, consider these pointers from our editorial leaders.
DO
• Invest in a good photographer (the DLN is a great resource for this, or look through your favorite magazines and see which photographers they’ve featured!)
• Hire a stylist! Some favorites from our editors: Robert Rufino, Mieke Ten Have, Anthony Ambriano
° DLN Member-recommended stylists on the Insiders Guide
• “Control the shoot!” After decades of being on set for editorial shoots while producing books, Jill notes that many designers hire a photographer—and then stop there. Don’t be afraid to give guidance/pointers to your photographer (and stylist) during the shoot; after all, your design eye is liekly different than their photographer eye.
DON’T
• Turn the lights on in photos!
• Go over-the-top with styling (make sure it makes sense!).
• Shoot an unmade/rumpled bed unless there’s a made up option, too.
• Skip over the less glamorous spaces; magazines want to see mudrooms, powder baths, entries, butler’s pantries, etc.
BRAND SPECIFICS:
There’s an easy way to tell what style of photos a specific magazine wants: Do your research! Using past features as references is a great tool for your photographer and stylist.
NEW LOOK
Kendall Wilkinson taps fellow DLN member Susannah Charbin to refresh her firm’s Brand Identity.
AFTER DECADES AS A DESIGNER, DLN
Member Kendall Wilkinson felt like it was time for a change. “This all started on the 30th anniversary of my business,” the San Franciscobased designer recalls. “We really wanted to not reinvent, because obviously we're doing a lot of things right to still be here and successful in the industry—but just refresh.”
Her firm’s goal was to retain all the things that were working for their branding and her namesake firm, but bring it into their next chapter as a business (Kendall Wilkinson Design is doing interiors as well as ground-up construction, remodels, fabric collections, product development, and also has a book forthcoming in 2025.)
In short: “We wanted a facelift, of sorts.”
Designers are no stranger to the power of a revamp in a room, even if it’s just a flurry of new throw pillows to usher in the season. But when was the last time you overhauled your own brand? After interviewing several firms, Kendall’s multi-generational firm—which has employees that range in age from 20 to 70 —selected fellow Member The Beaux Arts to assist them in their rebranding efforts because they instantly got the vibe they were after. “They really encapsulated all the things that I was looking for in terms of a refresh: youth and breathing new life into things that actually work well but need a little dusting off,” says Kendall.
One thing Kendall sought was to be more intentional in her brand aesthetic and voice at a time in human history when we’re surrounded by more visual noise and digital clutter than ever. “It's time to be a little bit more thoughtful and intentional about who we are, how we define ourselves, and how we stand out in the market,” she says.
That’s a prescient move, says Susannah Charbin, Founder and Creative Director of the New York City-based The Beaux Arts. “Each client has a slightly different set of reasons [for a rebrand],” says Susannah, who formerly worked in luxury fashion for brands like Christian Louboutin and Burberry before launching her firm. “But some overarching ones would be that the business has evolved beyond its existing visual identity, and so there's a feeling with the interior designer that they want to refresh. Normally ‘elevate’ is the key word.” Other reasons: succession planning, taking on new partners and experiencing a business evolution.
During Kendall’s own refresh, the teams spent months addressing everything from the Kendall Wilkinson Design logo to their mission statement (the typical process takes 2 to 6 months for a designer, but Kendall admits she slowed the timeline: “It took nine months because of me!” she recalls. “I can design somebody's house in a minute, but
By Kathryn O’Shea-Evans
designing my own home…”). Their task began with Kendall filling out a questionnaire about who she is, and what her messaging should be. After working all day, “I would sit in my house and have a glass of wine and put on some music and light a few candles and just kind of think,” she recalls.
Kendall felt a new logo was of particular importance, because her previous one wasn’t saying what she wanted it to in a world where you have mere split-seconds to get your message across. “It said basically Kendall Wilkinson design in gray and orange and [people would wonder] what kind of designer are you: Graphic design? Fashion design? It also felt more masculine. My first logo was very feminine, then I went a little too masculine and now this is hitting right in the middle, which is how we do our work.” The resulting new logo subtly references the geometry of the Vitruvian Man, designed by Leonardo da Vinci circa 1490, and projects everything she wanted it to say. “It’s this interweaving of creativity and content and one's lifestyle and life.” And yes, before you ask, she loves the results of her brand facelift. “It was actually very therapeutic, too, because after 30 years it brought me back to why I started this in the first place and what I'm about in general,” she says. “It got me back to my roots…and what I want to do in the future.”
Kendall Wilkinson DLN Member
Susannah Charbin DLN Member
A Day in the Life of a Place
Hart Howerton CEO Jim Tinson explains how his firm designs “complete environments,” not just destination properties
From The Cloister at Sea Island to the Yellowstone Club in Big Sky and Palmetto Bluff in South Carolina’s Low Country , Hart Howerton has created some of the world’s most beloved destinations. The firm, whose CEO Jim Tinson along with Partners Tim Slattery and David Rau are all DLN Members, design what they call “complete environments,” synthesizing the experience of a place through site planning, landscape, architecture and interiors to develop properties that push the boundaries of hospitality and residential design. Here, Jim Tinson talks to the DLN about the firm’s approach, his take on the future of the hospitality industry, and why experience is the most important offering..
Tell us about your concept of a “complete environment.”
We have always said that you have to have an interdisciplinary focus, from planning and landscape architecture to architecture and interiors. I think that truly magical places don't draw lines between disciplines— it's a seamless experience.
What does the process look like for you and your team when undertaking a project of the scale you do?
Everything we do starts with a strategic planning step—effectively it’s business planning with a comprehensive vision. You begin by identifying what's unique about a site, understanding the market, how
to differentiate a particular asset, and learning what the distinct opportunities are of a particular location. We're fortunate that nothing we do is formulaic. I think the truly special places that people return to year after year, and generation after generation, have a magic to them that is rooted in their place.
With that in mind, what we do as we work is try to understand: What's the vision and what is the strategy of a particular place, and then what opportunities come from that location? We like to think: What is a day in the life of a particular place like? How does a place want to live? Because ultimately, we are creating places for people to spend time. We don't start with what it looks like and try to squeeze life into it. We start with the life of a place, and then we create a physical setting that reflects the kind of experiences that you want to have there. That’s how you get to the core DNA of a place. What kind of research do you do before you dive into a project?
We try to understand everything about the physical environment, its history, context, and culture to inform our design. That includes how the property has been used in the past and the qualities we want to retain. From there we identify the opportunities and the constraints of a place: What's the climate and how will that influence how people will spend their time, along with the impact on what, and how, you
can build there. We work in a lot of environments with high climate risks, from the coast to the mountains, so we always consider how to build smart, and sustainably, in these locations. A lot of the places that we all work today are the highest risk climate environments. So you have to think about that. How do I build smart in a coastal climate?
You work across so many different locations; how do you familiarize yourself with new countries or cities where you’re doing business?
We try to create places that are responsive to the environment that they are in, so you have to get to know these places. One of my favorite things to do is to bring my family on location because you see it through a different perspective. Nothing beats the honesty of kids when you want to understand a place! You have to get to know the local culture and understand how that has shaped the way those settings have existed over time. And as you immerse yourself, you understand the details of that particular environment and how that contributes to a unique place. I was just in a meeting where we were talking about local food culture, which quickly led to a conversation about craft with questions like: where can we find emerging local artists? Who is innovating the local F&B scene? What local artisans can help shape our thinking? How can all these influence the experience of this place for a new generation?
We don’t design objects that you can just drop in any environment and make them fit; we design unique places that are memorable in how they respond to their setting.
How do you design for the longevity of a place?
We start from a premise that we are going to create a landmark environment that becomes a legacy in its own community; a place that people return to year after year, generation after generation. When you start from that position of permanence, you maximize value for the long-term.
What we’re trying to do is to create spaces that are going to be flexible and adaptable over time. We seek to extend traditions for the next generation. When we worked on Half Moon in Montego Bay, Jamaica, for example, we embraced the history of an historic destination, but also realized that people use spaces differently today than they did before. With this in mind, we created a new set of environments for new experiences, but designed in a way that it feels familiar, yet fresh. The core culture and identity has not changed, it has just been reinterpreted for the next generation.
What are the biggest ways you’ve seen the hospitality industry change over the course of your career?
Particularly at the luxury end of the market, the whole industry has really embraced experience-driven destinations. Everyone is looking for unique experiences, whether that’s a hotel, club or resort. As a firm, we have been fortunate to work in very distinct, unique places with visionary developers, investors, and families that want to do something different. Now, that's what's demanded—you don't have to convince anybody to do that.
We are seeing that customers are more widely traveled than they've ever been, and when they go to a particular place, they value authenticity. The want to experience something that they haven't experienced before and I think that is certainly the direction of the industry. It's about not feeling like a commodity. So, we are creating the physical settings that allow the operations and service teams to deliver this unique experience.
What are you most excited for in the future of either your firm or the industry at large?
We have certainly seen a significant surge in the hospitality world since Covid, and I think that has created great opportunities for innovation. There has been a clear embrace of health and well-being as a driver of experiences. I'm excited at the response to our commitment to create healthy places that drive positive health outcomes. That is not just about fitness rooms and spas—we are focused on how every aspect of what you do when you're on a property makes you feel healthier, mentally and physically. And I think that's exciting.
With that, there is also an understanding that we as an industry have an opportunity to create things that are not just beautiful but are also sustainable and resilient. I get excited by what we continue to do in that space and I‘m confident the customer appreciates that too.
Jim Tinson DLN Member
MEET THE LEADERS
The professionals leading the DLN’s newest Partners share their insights on management, leadership, and the design industry.
DOUG ROZENBOOM CEO WORTHEN FURNITURE
GALE SINGER Founder VISUAL COMFORT & CO. DIRECT
JAMIE SHAWCROSS Director FERMOIE
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?
DOUG Having and maintaining the best supplier partnerships. This has always been an ongoing challenge to overcome, but when Covid hit things quickly exacerbated. The best way for me to overcome these challenges was:
1. Constant communication no matter the time zone
2. Being more important to fewer partners
3. Producing everything you can in your own facility where you can monitor designs, quality, and service. No one will care for your customers and clients more than you.
GALE Probably like most companies, the struggle between back to office and work from home. Honestly, we are still figuring it out. Trying to hire the best people and be flexible where we can.The diminishing distribution opportunities are also difficult. No one is opening Lighting Showrooms. We created our own destiny by opening our own showrooms while still maintaining a true omnichannel approach.
JAMIE I think we all have the same challenge, and that is how we can make our business and our industry more sustainable. We have huge ambitions in sustainability, and are relishing the challenges. We are delighted that more and more of our customers are asking about our position and we have been working hard get to a net zero carbon emissions position in the future. We have made progress, most notably a supply chain that is all within 300 miles of our manufacturing facilities, eliminating plastic from our business and ensuring that all packaging is recycled and recyclable whilst also moving to a regenerated weft yarn for our cotton and investigating a cotton warp that is organic. We are also hugely proud that our most popular
fabric, linen, is one of the most sustainable fabrics on the market today. Everyone at Fermoie is invested in and enjoying our sustainability journey.
What are you most excited for about the future of your business?
DOUG As a bespoke designer and creator of furnishings, we are only limited by our imagination, machinery and materials it takes to produce products. Our ethos is to focus on what we do well, so innovation in those areas is critical, including investments in new technology, material development, and ways to involve our factory artisans on that journey.
GALE So many things. To name a few, the continued growth of our showrooms, our new product introductions, including cordless and rechargeable assortments and our new Systems business including lighting controls and shades.
JAMIE In the short term it is our design studio; Fall 2024 and Spring 25 are looking just wonderful whilst the Indooroutdoor range for launch this summer is incredibly exciting – we launch a range of fabric suitable for outdoor use but keeping to our sustainability principles by using coatings that are not damaging to the environment.
What’s the most important lesson you’ve learned about leadership over the course of your career?
DOUG Develop and maintain a strategic vision. But that isn’t enough—share that vision with your team so that everyone can take part and be invested. If any person on the team does not see the vision, then look to yourself first to determine if you are not doing a good job communicating. Ultimately those who cannot or refuse to see the vision are not the right persons to get you there. Once you have an invested team there are no limits.
GALE That it is more important to be respected than liked and the importance of being a “Servant Leader.”
JAMIE Invest in and trust in your team, coach and encourage them to learn and be the best that they can be. Ensure then share the headline aims of your company are great product and great service, offer facilities that make your business a great place to work.
As a new DLN Partner, what do you hope to bring to the community?
DOUG I’m a CEO, business owner, a designer, and each day I wear one or all three of these hats at a time. My creativity as a designer is not solely restricted to the creative arts, but creativity in strategic business innovations, measured risk taking, using non-traditional formats to partner with customers and team members while enabling business growth are the things I bring to the table.
GALE We are really looking forward to getting involved in the DLF. I was very moved by their speeches at DLN New Mexico.
JAMIE A new face, a new view, and a new experience for all. As a business we bring a wealth of knowledge and experience in design, in manufacturing, in how we understand our team, our customers and their clients. I hope we get to share some of that with DLN partners and members, whilst never being able to resist showing some of what we create here at Fermoie.
What are you most excited to get out of it?
DOUG Meeting soulmates when it comes to our shared passion.
GALE The opportunity to be both inspired and give back at the same time.
JAMIE I am longing to make new contacts. Our business in the US has seen fantastic growth every year since launch and of course we spend time with our showroom partners there, but our reach is relatively small in terms of making contact outside of the showrooms and their designer clients. It will be great to widen that reach and to make new contacts. We are already reaching out to members whilst planning visits to the US, and hoping that we may be able to host a group at our studio and factories before the Edinburgh Summit in the Fall.
SELECT IN-PERSON EVENTS
COMMUNITY GATHERING
Nantucket by Design
JULY15–18
The DLN team will be traveling to Nantucket for a roundup of must-attend gatherings with DLN Members and Partners at Nantucket by Design, the NHA’s premier summer fundraiser.
Nantucket, MA
5– 9
DESIGN FAIR
Maison&Objet
Twice a year, brands, designers, artisans, and interior design experts convene for one of the year’s leading design fairs (and DLN Partner), Maison&Objet, where the latest in design, furniture, homeware, accessories, and more is on display at the Villepinte expo center.
Paris
DESIGN EVENT
What’s New What’s Next
Find us at the 16th annual What’s New What’s Next at the New York Design Center; we’ll also host a special What’s New What’s Next Kickoff Dinner in collaboration with the NYDC.
New York City
SE P
TEMBER
COMMUNITY GATHERING
Pacific Northwest Gathering
The DLN will gather our community to network and deepen relationshipswithin the region for dinner and a behind-the-scenes adventure.
Seattle, WA
10
VIRTUAL PROGRAMS
JULY
COMMUNITY ROUNDTABLE
Billing
There may be no hotter topic in the design industry than billing; it seems every firm does it differently. What are the benefits of hourly charges vs. project fees? How about markups? Talk to your peers about what has worked best for you–and what doesn’t.
OFFICE HOURS
Licensed Collections
What does designing a licensed line actually entail? Bring your questions to a team of experts from various areas of the industry to hear about strategy, process, and deliverables.
JUNE
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 e-commerce sites talk about the right way to manage them all.
COMMUNITY ROUNDTABLE
What’s Happening Within the DLN
Join the DLN team for a dynamic update on what we’re working on, looking towards, and prioritizing right now and for the coming year.
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.
AUGUST
COMMUNITY ROUNDTABLE
Benefits
In an industry with an abundance of contract work and a lack of standardized contracts, ascertaining what benefits to provide for employees can feel like a daunting task. Join your peers for a discussion on employee benefits, providers, and management.
OFFICE HOURS
Book Publishing
There may be no greater career bucket list achievement than a monograph. But what exactly goes into producing your own book? Bring your questions to a panel of book publishers, editors, and authors to hear their expert advice.
We know our virtual programs need to be highly relevant, heavy-hitting, and time-efficient. That’s why we’re relaunching our lineup of virtual programs in 2024. Our new Office Hours is 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. Meanwhile, Community Roundtables will offer space for productive conversations with your fellow DLN Members around the industry's most relevant topics. Visit designleadershipnetwork.org for more details and to register.
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.
Lauren Andersen SEN CREATIVE Oakland CA @SENCREATIVECO
Edward Maestri MAESTRI STUDIO Dallas TX @EDDIEMAESTRI
Ansley Majit LARK + PALM Sausalito CA @LARKANDPALM
Rachael Stollar STUDIO SFW New York NY @STUDIOSFW
Anita Lang IMI DESIGN Scottsdale AZ @DESIGNERANITALANG
Stephanie Waskins LARK + PALM Sausalito CA @LARKANDPALM
DESIGN LEADERSHIP NETWORK the quarterly – issue three
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
CHELSEA MILLER Operations Manager
ELLIE BROWN Digital Media Manager
RON TUMPOWSKY Partnership Consultant
MICHAEL DIAZ-GRIFFITH
HADLEY KELLER Creative Direction
STUDIO SAMUEL Art Direction and Graphic Design
XAVIER SALLUSTRAU Graphic Design
MARIE COGNACQ Illustration creative team
The Design Leadership Network is a membership organization serving principals of architecture, interior design, and landscape 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 1206
New York, NY 10017
REGISTRATION NOW OPEN
2024 Design Leadership Summit Edinburgh, Scotland
Known for its literary heritage, charming cobblestone streets, and striking architecture, Edinburgh is the perfect setting for the 2024 Design Leadership Summit. The city might be famed for its historic castle, but it’s also a hub of modern creativity. Contemporary art galleries, prolific festivals, and a thriving culinary scene make Edinburgh a can’t-miss destination for design industry professionals.
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BECOME A MEMBER
To learn more about DLN membership and begin your application, visit us online.
