Brianna is a Los Angeles-based stylist and brand strategist with clients spanning professional athletes, actors and upcoming artists. Following her own success in the fashion industry, Brianna now helps aspiring stylists to develop their brand identity and avoid common industry pitfalls—so they can enjoy a career like hers.

Storytelling

Energy is everything to Brianna. Brianna needs to understand her client's current life and day-to-day activities, to assess how well their wardrobe communicates that. "Does their wardrobe speak to who they are and where they want to go? What their overall goals are in life?"

This is also the case when Brianna is working on a production job. "I need to fully understand the picture in the producer and director's minds in order to bring it to life. When you think about a production (commercial, video shoot etc.) the story doesn’t come to life without wardrobe. The role of a stylist is so important, we are helping bring ideas and visions to life."

Stylists' responsibilities extend beyond the wardrobe, they also play a role in helping clients feel their best and show up as their best selves. As a personal stylist, you are often working with people in their most vulnerable state both physically and emotionally. These are all fundamental lessons that Brianna teaches her students.

Make it personal

No matter the job—whether it be personal styling, production styling or training an aspiring stylist—Brianna asks her client a series of questions to understand why they sought her services specifically, who they are and what they ultimately desire.

Brianna gets a general gist of a client's style from the inspiration imagery that they provide, but the real clues come from inside a client's current wardrobe. Brianna often sees clients purchasing the wrong size, or believing that a certain style is unflattering for them, when in fact they just need to be shown a way to wear it that works for them.

Brianna makes each client a personalised moodboard and loves to watch a client's face light up when she captures, or rather helps them to express, what they had in mind. Once the style direction is clear... it's time to shop!

Out with the old

Styling was a natural route for Brianna. "Helping people bring a vision to life has always made me feel I’m fulfilling my purpose." In her years of experience, Brianna has noticed that it is often hard for her clients to let go of the old in order to make room for the new. Brianna deals with this mentality by reminding clients of their reasons for hiring a stylist in the first place.

Client deep dive

International travel is finally available once again, so we challenged Brianna to hone in on the needs of a "frequent flyer" who wants to look effortlessly good while living out of a suitcase—if she only had 5 questions to work with.

Who... are you going on a date with sis? (Spill the tea!)

What... is your go-to jacket/blazer that you can layer over anything?

Where... will dinner be?

When... travelling, do you want to be ultra-comfortable or paparazzi ready?

Why... pack light when you can have options?

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Find an archive of Brianna's personal work on her website or find out more about her stylist mentorship programme here. Follow Brianna on Instagram for style inspiration and motivational content.

A lifetime love of fashion led Saasha Scaife to set up her own personal styling consultancy, Styled By Saasha. No matter their budget, Saasha helps clients to feel stylish and confident—with a little help from the right colour palette!

You decide

Usually, Saasha communicates with clients face to face or via Instagram DMs and emails. The way in which Saasha communicates is ultimately decided by the client themselves, depending on how they initially contact her and how they are most comfortable moving forward.

Say it with a smile

When a client looks in the mirror and a big smile lights up their face, Saasha takes it as a good sign! "You can see their confidence climb and they look happy with their appearance in the mirror."

Try something new

Saasha's work can be challenging when her clients are scared to step out of their comfort zone and try new styles. However, once they trust in her guidance and take the plunge, 99% of the time clients say, "Wow, I didn't think I could wear that but I actually love it!"

Client deep dive

Saasha works closely with colour when building the perfect wardrobe for her clients. Turns out, it is not a pot of gold waiting at the end of the rainbow but the perfect complementary colour palette. We challenged Saasha to make an initial assessment for a client who feels 'lost' when it comes to colour—if she had just five questions to work with...

What... are your favourite colours to wear?

When... do you feel your most confident, and in which colour?

Why... do you feel scared to wear bright colours?

Who... do you want to be? (How would you like others to perceive you when they look at you?)

Where... do you want your style journey to help you? (Perhaps you want to progress in your professional life? Or you're hoping to gain general confidence?)

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Got a question for Saasha? Find out more about Saasha's services on her website. Or find a dose of colour on her Instagram.

Liselle Milner is an award-winning interior designer and founder of Zenterior Design—an interior design firm based in Cornwall. Her work not only looks good, but it also does good. Zenterior Design source products from local craftsman, recycle materials where possible, and continually work to minimise their carbon footprint.

Visual communication

Liselle likes to hold client introductions face to face and, preferably, on site. "I find that this is the quickest and most thorough way to get to grips with a client's needs and style." After that, Liselle finds that visual digital communication works really well. It ensures she and her clients remain on the same wavelength as the project gets fleshed out.

On theme

Some clients have very wide-ranging and diverse tastes. When this is the case, it is important to figure out a common thread that holds the design together. "It is my job to get to the heartbeat of the project. I need to identify a theme that holds everything together as a finished, styled space as opposed to a random collection of items, colours and textures that independently appeal to the client."

Liselle feels confident she's delivered when the scheme sits together with balance and interest, and her client gets excited watching the concept evolve.

The bigger picture

The most challenging part of Liselle's work is ensuring that her clients keep the bigger picture in mind. "When styling a space, although individual items are important in their own right, you also need to keep in mind the layering effect that each item/aspect has upon the space as a whole." If a client loves bold colours and busy patterns, these should feature as statement pieces. But that might mean surrounding them with simpler, complimentary items to make sure they really stand out.

Client deep dive

We challenged Liselle to pin down the functional priorities of "out-of-town clients" who rarely spend time in this home except during the holidays—if she had just 5 questions to work with...

1. What activities do you regularly enjoy participating in?

For example, do you like to cook and entertain? Would you like a space for indoor games on a rainy day? Do you need a quiet reading space or an office area? Do you need storage space for surf/paddle boards? An outdoor shower for sand rinsing/dog washing?

2. When will you spend most of your time in this house?

Seasonally, it is important to make sure the home can be bright and airy for summer and cosy and warm when dressed for Christmas.

On darker days, lighting needs to be both functional and atmospheric. If they will want to cuddle on the sofa and watch a movie in the afternoon you may need to think about blocking the sunlight from reflecting off the TV.

3. Why have you chosen this location for your holiday home?

A client's answer will reveal how they want to spend their time on holiday.

Does there need to be practical storage for items like kayaks and bicycles? Should you work an outdoor dining area with a pizza oven and barbeque equipment into the design? Do seating areas need to be arranged around a window to take advantage of the views?

4. Who will usually be staying here?

Information regarding how many and the ages of children or pets can hugely influence the design of a space. It is also important to understand their hobbies and interests to ensure these can be accommodated.

Are there design considerations to be made to enhance the enjoyment and comfort of any frail or disabled family members like a downstairs bedroom or a wet room?

5. Where will you spend most of your time in the house?

The areas where people spend the most time need to be the areas that are the most comfortable. This can be particularly important when designing an open-plan space.

A family that loves to entertain may want a luxurious dining table with upholstered dining chairs, where they can spend hours over a meal and a few drinks. On the contrary, a different family may just require a breakfast bar as a spot for the kids to have a bowl of cereal before they get sucked into the latest game console, allowing more space for large lounging sofas.

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Got a question for Liselle? Head to her website. Or check out Zenterior Design on Instagram.

Many moons ago, a philosopher named Henry David Thoreau made himself at home in a self-built cabin on the banks of Walden Pond. Thoreau documented his experience in a part-memoir, part-manual aptly titled 'Walden'—today regarded as a classic in transcendentalist writing.

Though once written in isolation, Thoreau's wisdom has since influenced many—offering a communal escape route from a life of "quiet desperation". Matt Steel is amongst those impacted by his teachings. Matt Steel is a designer, writer and creative director of Steel Brothers—a creative branding agency for those who think "blending in is overrated". Matt first read Walden on the screen of an iPad. Although the content stirred him, he couldn't shake the feeling that reading on a screen, as opposed to a page, meant he was "doing it wrong". Matt searched for a more fitting, "attractive, archival" edition of Walden. Ultimately unsatisfied with his findings, Matt set about creating his own instead. His efforts produced The New Walden—a rendition that seeks to satisfy bibliophiles, design-lovers and Walden lovers alike. He has successfully created a book that visually reflects the story within, and pays homage to the very essence of the original author. Ironically, growing digital reliance and declining attention spans have rendered Walden, and many other literary classics, endangered at a time when society would benefit from them the most. Matt's mindful reintroduction of Walden to a modern audience could act as a blueprint for the preservation of these great works for generations to come.

Ever the admirer of a beautiful binding and elegant typeface, the revised Walden first caught the attention of Cherie, Visualist's founder, for its aesthetics alone. Permissible to judge a book by its cover in this case because beauty was in fact Matt Steel's intent. However, it was once we learned of the content hidden within, and the meaningful motivation behind every element of design, that admiration became fascination. Visualist asked Matt to share the story of his journey with The New Walden, from inception to completion. Matt shares his personal awakening to Thoreau's teachings, the theory in his approach to design and the legacy of his, and Thoreau's, work.

As told in Matt Steel's own words.

First encounters

The first time I tried to read Walden was in 2011. I flunked out about halfway through the first chapter. Initially attracted by the concept of Thoreau’s experiment, I found myself quickly entangled in a dense thicket of language. I had expected to hear about the cabin he built in the first chapter; instead, I encountered an essay on economics and societal vice with many twists and turns. As Ken Kifer says, “[Thoreau] can shift from a scientific to a transcendental point of view in mid-sentence.” But even in that first partial reading, I could see the book was full of provocative ideas, enlightened observations and gorgeous sentences. I simply didn’t get far enough to reap the rewards. The real reason I set the book aside was that my life was heavily unbalanced at the time. I was addicted to work, putting in long hours which eventually led to burnout. I’d made a series of fear-based decisions in my design business that contributed to its eventual demise. Feeling pulled in too many directions at any given time, I simply lacked the energy and patience for such a challenging book.

When the time is right

My second attempt at reading Walden happened in the spring of 2014, and this time things were very different. Through hard lessons and some intense work with a business coach and mentor, I’d found a healthier, more sustainable lifestyle. I had the mental energy to renew my love for reading, and devoured the entire book this time.  I saw my former self in these famous lines: “The mass of men lead lives of quiet desperation. What is called resignation is confirmed desperation. .... A stereotyped but unconscious despair is concealed even under what are called the games and amusements of mankind. There is no play in them, for this comes after work. But it is a characteristic of wisdom not to do desperate things.”

So many of us are obsessed with so-called 'life hacks', the next new shiny thing, possessions and money. But none of these things satisfy us in the long run. In fact, our busyness and lust for entertainment are killing us. Life is about meaningful contribution, not excitement or status. Thoreau went to the woods because he “wished to live deliberately.” I love how Corinne, my co-editor, comments on that desire. As she says, “His implication was: Don’t you want to live deliberately, too? What other choice would make sense?”

Deciphering Thoreau

Besides Walden and several of his other works, I read dozens of articles and essays on Thoreau, including some that criticise him. I also read Walter Harding’s excellent 1982 biography, which offers a detailed picture of Thoreau’s life – right down to the resonant tone of his voice and the peculiar “burr” in his enunciation of R’s as some of Henry’s friends described it. The book gave me a clear sense of Thoreau’s personality, motivations and creative rhythms. He was contemplative, idealistic and observant but also energetic, spending at least 3–4 hours walking the woods around Concord every day – rain, snow or shine. He was complex and conflicted. Intensity and restraint seemed at constant odds within him. At the same time, there was nothing ineffectual or undisciplined about Thoreau. He was a man of deep conviction and moral courage. You see these qualities in his participation in the Underground Railroad and famous sociopolitical essays such as “Civil Disobedience” and “A Plea for John Brown.”

Acknowledging beauty

His encouraging lessons on contentment are unforgettable. “However mean your life is, meet it and live it; do not shun it and call it hard names. It is not so bad as you are. It looks poorest when you are richest. The fault-finder will find faults even in paradise. Love your life, poor as it is. You may perhaps have some pleasant, thrilling, glorious hours, even in a poorhouse. The setting sun is reflected from the windows of the almshouse as brightly as from the rich man’s abode; the snow melts before its door as early in the spring. I do not see but a quiet mind may live as contentedly there, and have as cheering thoughts, as in a palace.” For me, discontentment is almost always the result of envy. I’m not much given to envying someone else’s possessions or wealth, but as a creative professional and an artist, I’ve been prone to envying other people’s creative accomplishments my entire life. I take Thoreau’s admonition to “Love your life, poor as it is,” as an invitation to stop comparing, to stop looking outside myself for contentment or validation and instead to appreciate the life I have, right now. Nothing is missing. Even the most mundane moments can be beautiful if I meet them with my full presence and a grateful heart.

Building a team

Before I approached Corinne and Benji to collaborate, they were already familiar with the project and loved the concept and approach. Corinne is a devoted Thoreauvian and Benji is a designer, illustrator and bibliophile. Our common interests were substantial and bringing them on board was easy. What’s more, I was Benji’s creative director for three years at my previous agency and we’ve remained close friends, so he was already familiar with my creative process and our communication styles blend comfortably. Honestly, communication was never difficult with either of them. They’re pros. We set clear expectations up front, emailed as needed, spoke on the phone as needed and left each other alone as needed.

Corinne and I discussed the existing annotated versions of Walden and how ours might differ. We agreed that we didn’t want to create a study companion as much as an unobtrusive guide. She led research and wrote the first drafts of annotations, sending them to me in batches. I edited the annotations for style and typeset them in the book, then she proofread the typeset pages. The greatest challenge for all three of us, I think, has been the need for patience and flexibility. Walden is a passion project, not my main gig. The same is true for Benji and Corinne. So turnaround times and communication have moved at a much slower pace than if we worked together full-time. The upshot is that this book has had abundant time to mature and evolve.

Elements of design

Simplicity was one of Thoreau’s core values, and it’s among Walden’s prevailing messages. To me, simplicity is the ultimate sophistication. In creative projects, it isn’t the pursuit of minimalism per sé but rather recognising when you’ve reached the point of “just enough.” Simplicity is about finding the balance between creative exuberance and restraint. Knowing what and when to edit. It’s a constant struggle for me! Without deadlines, self-imposed or external, I’d tinker endlessly.

The book’s layout and proportions connect to Thoreau’s subject matter and physical energy as well. A book about living simply in nature deserves organic proportions and a lively tension between the page shape and the text column. After trying out several page shapes and layouts, I settled on a short pentagon – a proportion found in living things from roses to starfish. This makes for a relatively wide page, giving room for body and annotations to coexist comfortably. Also, an asymmetric layout makes the words feel as if they’re about to walk off the page and around the bend.

Instead of the typical justified text block, ours is ragged on the right, which is the most natural approach for rightward-reading languages like English. Ragged setting makes it easier to achieve consistent white space in and between words, and reduces eye fatigue. The aesthetic result is a typographic deckle that breathes. Lastly, Thoreau was an early advocate for conservation, and sustainability is critical to this project. From cloth and thread to paper and ink, all of this edition’s materials are high-quality, archival, durable and responsibly made.

Typeface in tribute

Typography is at the heart of my edition. I knew from the beginning that I wanted to use only one typeface, which meant finding a font family with optical versions for headlines and text. I decided against typefaces based on those from Thoreau’s day. Most felt either too stiff or too ornate for this project. I hoped to find something that was not only effortless to read but also crisp, energetic and timeless. Thoreau had French Huguenot ancestry on his father’s side. So I looked for a typeface that felt efficient and relatively anonymous, with just a little Gallic flair. Lyon Display and Lyon Text, from Commercial Type, fit the bill. Type designer Kai Bernau created the Lyon Collection as a contemporary rendition of serif typefaces created by the 16th-century French type designer and printer Robert Granjon. Lyon’s optical variations look superb at every size from the front cover to annotations.

Upcycling material

I usually begin branding projects with interviews and surveys but Thoreau was unavailable. So, I had to interview him through biographers and scholars, so to speak. Additionally, whilst I’ve been a working designer since 2003, my creative process is almost always words-first. My branding work starts with strategy and messaging, and only then do I think about what the brand might look like. With Walden, the story already existed, so I established the design direction first and then tackled the editorial work.

Lastly, we made some bold editorial moves that would’ve required convincing, or might’ve never happened at all, if this was a client project.  I’m referring to the way we revised the structure of Walden, albeit not in a way that changes Thoreau’s words or rearranges them in any way. Thoreau loosely arranged the book to follow the progression of seasons, so we simply created four sections of similar length along discernible lines of thematic drift and gave each section or “book” its own title. We’ve turned “Economy,” Walden’s long first chapter, into the first book and broke it down into six chapters. This yielded twenty-three chapters of similar length. The new structure created a more sustainable pace and a better rhythm. Perhaps another editor in Thoreau’s day might’ve suggested the same approach... or maybe not. As a designer, I’m very sensitive to attention spans, how they’ve changed over time and how visual pacing can keep readers engaged. I suppose you could call it UX thinking.  Some diehard Walden fans may see our restructuring as sacrilegious but the purpose is to reduce friction and enhance the reading experience, not to pander or dumb down the book in any way.

Relevance and revisions

Editors note: Matt had previously launched a Kickstarter campaign to fund The New Walden back in 2016, but decided to postpone his efforts until now.

Being self-employed again for the third and (hopefully) last time, I’ve finally had the time to get the book back on track and nearly completed without the long pauses I’d dealt with in the past. I never dreamed the book would take seven years from start to finish. But I’d made a promise to myself and I believe breaking it would have, to some extent, broken my spirit. Letting The New Walden wither was never an option. Culturally, Walden remains as relevant as ever. The workaholism, materialism and hustle culture that I wrote about in 2016 are still very much with us; I don’t think anyone would expect such global, deeply-rooted diseases to to change much in a mere six years. The only real difference between then and now is that more people are aware and talking about the impacts of these addictions and how we might live differently.

The book has changed over the years in small and large ways. We originally planned to print the book in Italy, and now we’re working with MMC in Germany. I learned about MMC through my friend, Adam Greene, who publishes Bibliotheca, a gorgeous reader’s Bible. I was so impressed with MMC’s attention to detail and capabilities that I chose to work with them before the first conversation ended. The slipcase was a late addition, as was the expansion from four to sixteen illustrations.

The greatest change, though, hasn’t been the number of illustrations but who’s doing them. My initial plan was to work with a brilliant artist named Brooks Salzwedel. He made the first of several illustrations for our Kickstarter campaign in 2016. When I resumed work in 2018, Brooks was happy to hear I hadn’t given up. I jotted down a stack of illustration concepts which we narrowed and refined together. So far, so good. But then, Brooks told me a few weeks later that he was battling serious health issues. In order to focus on treatment and a long, painful recovery, he needed to step away from commissioned artwork for the foreseeable future. I searched high and low for months but couldn’t find a suitable person to replace Brooks. (It seems he’s doing much better these days.) One Saturday morning, I was sipping coffee and reading yet another email from an illustrator who couldn’t take on the project. I thought, 'The hell with waiting for other people. I didn’t go to art school for nothing!' So I decided to make the full-colour illustrations myself. It took eons, but I’m pleased with the outcome. Benji’s twelve illustrations are the most recent addition, and they really round out the book. His black-and-grey drawings take inspiration from Thoreau’s own sketches in his journal.

What's next?

Venturing into the revival and preservation of more classic literature was my original plan. First Thoreau, then maybe Tolstoy, Shelley or other great writers whose works have lapsed into the public domain. Now, I’m not so sure. Working so closely with Henry for seven years has been transformative, but I’m ready to spend more time with the living. And I have at least one or two of my own books in me. Our next publishing project will most likely be a collection of my essays and poems. After that, who knows?

How to consume a story

Any medium (books, e-books, audiobooks) that draws people into literature can only be a good thing. But for me, nothing compares to a well-designed, carefully-crafted book. It was humankind’s first interface and, I think, remains our best. The most memorable books are a feast for the senses. The subtly pebbled texture of vellum uncoated paper. The silky feeling of a bookmark. The sandy murmuring of turning pages. As I wrote in my part of Walden’s foreword, a book won’t light up for you, but neither does it need a battery or charge. It won’t be made redundant by next year’s model. It will not bleep or buzz at you. It can’t help you reach the airport or queue up your favourite playlist. It offers one thing and one thing only: a story. And with good provenance and care, it can last for hundreds of years. How’s that for a product cycle?

The legacy

Aesthetically, I hope they feel I’ve made something authentic that faithfully represents the story. As for lessons, two things come to mind. First, pay attention and be present! “It’s not what you look at that matters, it’s what you see,” as Henry said. You’re blessed to be alive; the universe is a startling, beautiful and wild place; and you’re an integral part of it. You belong here and your presence is not optional. And second, hope is here for the taking. Get outside more, for “There can be no very black melancholy to him who lives in the midst of nature and has his senses still.”

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The New Walden is now available to order. Visit steelbrothers.co to find out more about their work.

Lily Paulson-Ellis is the founder of LPE Designs, an interior design firm based in South West London. LPE Designs pride themselves on creating homes that stand the test of time, with comfort and practicality at their core.

The changing face of communication

Naturally, face-to-face has always been Lily's preferred method of communicating with clients. However, like everyone else, she and her team got used to Zoom calls over the last few years. Lily has noticed her clients' preferred methods of communicating are slowly changing. "More and more clients send me images they see on Instagram by DM and we tend to WhatsApp a lot now too."

Inspecting images

Lily usually begins a consultation by reviewing the images clients have brought as inspiration, or even anti-insipration, because Lily assures, "it is just as useful to see images a client dislikes as ones they love."

The key though is to get to the bottom of what it is that they like in any given image. Is it the overall feel of the space? Just the colour? An architectural detail like the woodwork or window? These questions are asked amidst an in-depth initial meeting to make sure Lily fully understands her client's aesthetic.

Finding a compromise

For Lily, the most challenging part of a design process occurs when a client is really set on an aesthetic detail that doesn’t work with the practical considerations and functionality that they require from the space. However, with years of experience to help, Lily's team always finds a good solution!

Client deep dive

How do you handle a client who knows what they like, but can't quite articulate why they like it? We challenged Lily to dig deeper into a client's true feelings—if she had just 5 questions...

1. Who will be using the space?
   The family, dogs and children? Or are we preserving this as a grown-ups only space?‍
2. What is it that you like about this space at the moment?
   Do you like the colours? Perhaps you like the overall effect but actually not the colour of the sofa? Is it a key architectural detail or the way the space has been laid out?‍
3. Where do you see yourself using it?
   Questions like these are helpful to get a real understanding of how the family are going to use the space. Will they usually eat at the kitchen island, reserving the dining table just for dinner parties, or will the table be used daily for homework and most mealtimes?‍
4. When will you invite people into this space?
   Is this an everyday social space or is it reserved for more formal occasions?‍
5. Why did you share this reference?
   What in particular do you like about it? Is it a detail, the function or the overall feel?

Got a question for Lily? Check out her website or follow LPE Designs on Instagram.

Jenny Branson is an interior designer who's certainly not afraid of a little colour! Jenny prides herself on crafting personalised, playful homes—without a scary price tag. Her work has been featured on Channel 5's ‘Dream Home Makeovers’ and she currently holds the Best of Houzz 2022 awards for both Design and Service.

Helping hand

Usually, clients commission Jenny for a full-room design following their participation in her "Moodboard Masterclasses" or after an in-person initial consultation. Once they are signed up, most of the quick communication is done through the chat function in Jenny's online studio. However once the design is ready to present, an in-person meeting is preferable. Following this, Jenny releases everything to her clients online so they can shop when budget and time allow.

These days, face-to-face meetings are not essential to the design process, but they're still preferred. "Purely because the final results are always more daring and fabulous when you can do some gentle hand holding along the way! It’s very difficult to replicate that level of trust over Zoom or email."

Moodboard therapy

A crucial part of Jenny's design process involves guiding clients, step by step, to create a unique abstract moodboard. From that moodboard, the specifics of a room design can evolve.

Jenny finds the whole process super enjoyable. "All my clients have a lightbulb moment when they have completed their moodboard and it’s at that point I know I’ve captured their style. It’s fantastic to witness each client let go of their inhibitions and unapologetically commit their own unique style to paper."

Colour outside the lines

"My job as a designer is to connect each client with a colour palette that makes them smile." For Jenny, the majority of that work lies in coaching her clients to stop worrying about what the neighbours think or what social media is telling them to do.

"It’s all about shutting out the noise of Instagram, Pinterest, Houzz, magazines etc. and getting each client to focus firstly on how they want to feel in a given space. Then I can pin down the colour palette that provides those feelings."

Jenny likens colour to "music for the eyes," in the sense that we each react to it in very different ways. It is paramount to remember that what is relaxing for one person can be really irritating to another. There’s no one-size-fits-all solution!

Client deep dive

Style is unique to everyone, so how does Jenny get to the bottom of each client's individual taste? We asked Jenny identify and solve a clients biggest "problem areas" using just five questions...

1. Who will be using the room?
   There’s no point decorating to please a member of the family, or indeed the nosey next-door neighbour, who is never going to use the room!‍
2. What do you want to feel when you enter the room?
   Energised, relaxed, social, stimulated? The desired mood of a space is always key to the design direction I suggest to my clients.
3. Where are you happiest?
   If we can pin down what it is they are drawn to about certain positive environments, we can use that to create a space that really taps into those elements.‍
4. When are you going to be using the space?
   This is key to making sure the layout works with the available natural light, or that thought is given to supplement the natural light if necessary.
5. ‍Why isn’t it working at the moment?
   We need to know the key existing problems with the space before seeking to resolve them.

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Got a question for Jenny? Head to her website. Or discover a world of colour on her Instagram.

Kimberly Timmons Interiors (KTI) is a Denver-based interior design collective housing three design studios: Hospitality, Interior Merchandising, and Luxury Residential. Though the studios work independently, ideas and expertise are funnelled through the business in a way that allows KTI to continually push the boundaries of design.

Nikki Holt acts as design director for the Luxury Residential Design Studio. Her work focuses on new construction and full home renovations for high-end homeowners. Nikki spoke to us on behalf of the KTI team to share more about their process.

Go with the flow

"At KTI, our style is laid back and approachable, so we welcome all kinds of communication." Projects usually kick off with a lot of face-to-face meetings. But as projects get in a groove, there is a lot of texting for quick questions and pictures of progress or inspiration.

Say it with a moodboard

Collaboration and communication are important values throughout the KTI design process. At the start of the process, designers create multiple moodboards for clients that are tailored to their first impressions of the client's desires. They will then talk through each moodboard in detail with the client and explain the subtle differences between each. They know they've nailed the client's style when the client themselves have the a-ha moment and say, "That's the one!"

Marrying of ideas

Nikki explains a common struggle, "Couples and partners rarely have the same idea of what they want in terms of style, budget and timeline." The job of Nikki, and other designers at KTI, is to marry the two sets of ideas into something that pleases both parties and still results in a cohesive design.

Client deep dive

Nikki and her team work to make their clients’ "visions come to life, resulting in a space they are deeply connected to." So how do they ensure they fulfil that vision with every project? Summer is in full swing, so we challenged Nikki to decipher the functional goals of a client redesigning their outdoor dining space to create a "space for gathering."

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1. Whose outdoor space are you most inspired by?
   A picture is worth a thousand words. This question can help spark initial design ideas and give us a vision of the client's ultimate dream space.
2. What can we include to make you use this space more often?
   This question allows us to understand specific elements and features they are wanting in order to use the space to its full potential, e.g., heaters, fireplace, number of guests.‍
3. Where do you want to be transported to when you’re in this space?
   This question makes the client think about the ambience they are looking for. Their answer could give us direction stylistically based on the region or area that they say, from the materials used to the décor.‍
4. When you dine outdoors at a restaurant, what inspires you about the atmosphere?
   This question can spark uncommon ideas that they realise they like about restaurants and want to include in their outdoor dining space. Plus, it makes them think of their home as an experience and what they want out of it.‍
5. Why would you consider splurging on a specific item or design feature?
   This question helps us define what is truly important to the client and where we should focus our money for the most impact.

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See more work from Kimberly Timmons Interiors on their website, or check out their Instagram.

Devin VonderHaar is a Portland-based home organiser and creator of The Modern Minimalist—a KonMari certified consultancy specialising in holistic home organisation and minimalist styling. Devin experienced the transformative benefits of minimalism and intentional possession first hand, and now she hopes to spread that joy.

Unexpected obstacles

"Honestly, COVID has been the most difficult thing to accommodate in my business, particularly when it comes to building relationships with clients." Of the 3.5 years Devin has been in business, 2 have been in the pandemic, resulting in the rescheduling of a lot of appointments.

Reading energy

Other than check-in texts and emails, Devin conducts the bulk of her work with clients in-person. "I find out everything I need to know organically by being in a client's home. I think seeing a client's family dynamics and lifestyle, along with the energy of the space, is really important in creating functional systems that are customised to the individual."

How does she know she's got the design just right? Simple—she listens to her client's feedback.

Analysing attachments

Devin often uses a system known as "joy checking"—a process that helps clients to understand their emotional attunement to an item and how to grow that awareness over time. Devin helps her clients to recognise positive and negative attachments, whilst enabling them to make confident decisions from a place of joy instead of guilt, attachment, or scarcity. Many answers can be found in energy and instinct, but Devin also asks a lot of questions when first meeting with a client.

Given her holistic approach to organisation and design, we challenged Devin to hone in on what brings joy and calm to a client who often feels overwhelmed by their daily life—if she had just 5 questions to work with...

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Devin would work through each item in a client's home and ask:

What... is the first thing that you feel when you hold this?

When... did you last use/wear it?

Why... do you like it?

Who... does this make you think of?

Where... do you use/wear it?

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Got a question for Devin? Head to her website or browse her soothing feed on Instagram.

Jack Allman is an up-and-coming London-based fashion stylist. His hard work and talent have already earned him work with the likes of House of Solo and Lauren Lewis—but this is just the start...

Meet Jack Allman

What shaped your appreciation for fashion?

My interest in fashion started when I lived in Australia—I wanted to become a painter or an author. I would love to learn to story tell as aboriginals do. I wanted a way to illustrate stories, and I found it in my love for photography.

When I moved to England, I learnt of Diane Vreeland and her vision at Vogue—her ideas were fresh and illustrated brilliance. The way she could sew emotion and art into imagery was inspiring and so exciting to look through. As an upcoming stylist and creative director, that is what I look forward to emulating in my career!

How do you reinvigorate your creativity?

Walking! I love walking through London,  or wherever I am, and taking everything in. The way people are getting on with their day, the colour of buildings—there is so much to keep your mind creative and refreshed.

What do you hope to achieve with your work?

I think everyone wants their work to transcend time, they want to be remembered in some way. I’m the same really.

We asked Jack to share his 'bucket list concept'—the creative vision that he hopes to one day bring to life...

Stop and stare

My idea takes inspiration from the likes of Helmet Newton, David Hockney and La Piscine—a french film from the 60s featuring Jane Birkin. The drama, the elegance, the stares! I would have to set the shoot in LA during the summertime.

As for models: Veruschka. She is her own art form! I would also have Valentina Sampaio, Joan Smalls, Omar Apollo, Jacob Elordi and Sherry Shi—what a dynamic grouping they would make. They'd be styled in major swimsuits, platform heels, crazy amounts of costume jewellery, sunglasses and gowns—you can never forget evening wear. I would love to select a few pieces from Halston’s earlier collections—so many elements go into those dresses. They ooze regality, elegance, refinement and allure.

Follow Jack's work on his Instagram or check out his website.

Lucy Smith offers a range of interior design packages and sources unusual antiques through her business Lucy Madeleine Design.

It starts with a DM

Lucy's Instagram feed functions as an antique auction of sorts—a place to showcase and sell her vintage homeware finds. It is not unusual for a client to find her page on Instagram and subsequently slide into her DMs to find out more!

Following this initial contact, Lucy prefers to work face-to-face when possible. However, Lucy also offers e-design services, which of course are conducted remotely—all Lucy needs are images of the space and rough room measurements.

Answer the question

Lucy starts a consultation with a general chat and, ideally, a viewing of the space. But prior to their first meeting, Lucy will send her client a questionnaire. The questionnaire functions as a way to get to know a little bit more about logistics: budget, the scope of work etc. and, crucially, what they want to achieve from the space.

Challenges can arise when a client's style doesn't correlate with what Lucy typically offers and so it's best that everyone has realistic expectations from the outset.

No risk, no reward

Lucy's design philosophy: "Sometimes you have to push the boundaries a little. Just take a risk and hope your client loves it!" For Lucy, the best part of the job is orchestrating that element of surprise. Whether that be presenting an unexpected colour scheme or an unsual funriture piece.

Client deep dive

In order to surprise her clients int he right way, Lucy must be sure of their tastes, preferences, and story. We asked Lucy to share the 5 must-ask questions to uncover a client's story.

1. Who do you admire for their taste or style?
   This could be anyone. An interior designer, influencer, actor, artist, or even a friend who has a particular taste that you like or are intrigued by. ‍
2. What are your main goals for the design of your space?
   Do you want to see updated furnishings and better lighting? Do you need better functionality and more storage? Maybe you just want your space to feel more cohesive?‍
3. Where would you usually shop?
   Be it for fashion or homeware, do you shop certain brands specifically for their styling or home décor?‍
4. When looking at your space, what type of aesthetic look would you like to find?
   Is the space used for work, entertaining, family gatherings, displaying artwork/collections, or simply relaxing?‍
5. Why do you want my help in particular?
   What about my style drew you in? Why are we a good mtach?

Got a question for Lucy? Check out her website. Find more of Lucy's work on Instagram.

Beautiful lighting and comfortable furniture make a house welcoming, but true interior design transforms it into a functional home. An interior designer's role is to create spaces that enrich their clients' daily lives, starting with a comprehensive client questionnaire.

Throughout the design process, thoughtful questions and strategic thinking are crucial. The initial consultation sets the tone, making it essential to ask the right questions to gather insightful information.

Visualist consulted with leading interior designers to uncover the essential questions they include in their client intake forms...

This article will explore:

• ‍Identify Decision-Makers and Roles: Identify the primary decision-maker to streamline design using interior design productivity software and a free interior design client questionnaire.‍
• Assess Functional Needs and Logistics: Ask detailed questions about current issues and specific needs using an interior design client questionnaire template to adapt the design to the client's lifestyle‍
• Clarify Expectations and Timelines: Discuss realistic project timelines and manage expectations with an interior designer questionnaire free template to understand client priorities.

Jason Lai: The key decision-maker in interior design

Who decides?

In interior design, making decisions is crucial. While accommodating everyone's preferences is important, having a designated decision-maker ensures progress.

In interior design, making decisions is crucial. While accommodating everyone's preferences is important, having a designated decision-maker ensures progress.

Jason Lai, founder and principal designer at JL Interiors, offers his perspective. Discover more in our exclusive interview with Jason Lai.

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Jenny Branson: Addressing space challenges

Why isn’t this space functioning well?

Identifying key space issues is crucial for effective redesign. Understanding how a room’s layout disrupts your client's lifestyle helps prioritize functional improvements.

Integrate these inquiries into your interior design client questionnaire to uncover core issues. This method enhances your client engagement and optimizes project outcomes.

Discover more insights from Jenny Branson, an acclaimed interior designer on Houzz. Explore our complete interview with Jenny Branson.

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Dean Keyworth: Designing for functionality

Where do you plan to place your Christmas tree?

Ensuring there's an accessible socket for fairy lights is crucial!

This seemingly simple query reveals vital insights into your client's practical requirements. It exemplifies the importance of adapting your interior design approach to enhance your client's lifestyle. Crafting a comprehensive home design questionnaire ensures all logistical needs are met.

Gain deeper insights from Dean Keyworth, esteemed founder of Armstrong Keyworth Interiors. Dive into our complete interview with Dean Keyworth.

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Nicole Forina: Managing project timelines

When do you envision starting and completing the project?

Clarity on timelines is vital. Are your clients open to waiting for bespoke furniture, or do they prefer a swift turnaround? This knowledge aids in expectation management and efficient planning, ensuring realistic deadlines are set and adhered to. Utilizing an organized interior design CRM facilitates seamless tracking of these schedules.

Explore the wisdom of Nicole Forina, visionary founder of NF Home. Dive into our comprehensive interview with Nicole Forina.

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Lily Paulson-Ellis: Space utilization

Who will use this space?

Is it for the whole family, pets, and kids, or is it an adults-only retreat? Understanding the intended occupants of each room clarifies its function. Is it for lively gatherings or serene relaxation?

Identifying users prioritizes their input, aligning the design with daily needs. Who better to shape a room's layout than its regular occupants? This tailored approach enriches your interior design client questionnaire, ensuring bespoke outcomes.

Discover insights from Lily Paulson-Ellis, founder of LPE Designs. Explore our full interview with Lily Paulson-Ellis.

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Laura Medicus: Social dynamics in design

Why do you think an interior designer can help you?

How do you entertain guests?

Knowing how clients interact in a space is key. How can your design foster meaningful connections and create lasting memories? Tailoring the space to fit their lifestyle enhances functionality.

Laura Medicus, principal designer at Laura Medicus Interiors in Denver, offers her insights. Explore our full interview with Laura here.

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Liselle Milner: Designing for lifestyle

What are your daily activities?

Knowing your client's routines is key. Do they cook, entertain, or need space for hobbies? Design to enhance their lifestyle.

Liselle Milner, founder of Zenterior Design, offers insights. Explore our full interview with Liselle here.

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Nikki Holt: Designing for atmosphere

Where do you want to feel transported in this space?

Home is comforting, but evoke memories too. Maybe a favorite holiday or previous home. This personal touch sets the atmosphere.

Nikki Holt, design director at Kimberly Timmons Interiors, shares insights. Discover our full interview with Nikki here.

Dean Keyworth is the former president of the British Institute of Interior Design and the founder of leading interior design firm Armstrong Keyworth.

See for yourself

Circumstances permitting, Dean always opts to meet his clients face to face. And ideally, those meetings take place on-site because Dean has learnt that the best way to envision a client's future home is to stand in the heart of their existing one. "I can pick up cues of what the client likes and how they live just by being in their space. I think finding out how someone lives is more telling than their aesthetic preferences."

On-site meetings continue throughout the entire project to help Dean pick up on any client concerns straight away. However, he always follows up his meetings with detailed emails—always best to have things in writing!

Reality > imagination

The design must adapt to the lifestyle, not the other way around. As Dean says, "There is no point putting in a formal dining room if entertaining consists of beer and pizza! And you need to be mindful that live-in staff or small children radically changes the rhythm of daily life."

That being said, Dean will always attempt to tailor to aesthetic preferences too. "Sometimes people like things they see in magazines or online and want me to replicate them in their own home. But often their room is a different shape, has a lower ceiling or is a different kind of architecture, so I have to adapt their vision to make it suitable for their environment."

Dean will only accept that he has truly delivered if, at the end of a project, the client exclaims, “It’s even better than I imagined!"

Client deep dive

So, what is the secret to securing that "better than I imagined" reaction? Dean never shies away from the grand, the bold, the daring. In keeping, we challenged Dean to decipher the true desires of a client seeking a 'maximalist' design for a living room—if he only had five questions to work with...

1. Who will be using the room on a regular basis?
   I need to know if these will include, children, people with disabilities, older people or pets to cater for their needs accordingly.‍
2. What do you mean by ‘maximalist’?
   Is it a bold colour, lots of patterns, ornate detail such as fringed upholstery, lots of objects or a combination of these elements?  People interpret style labels in different ways and it is important to drill down into which aspects attract them to a certain look.
3. ‍Where do you envisage having your Christmas tree?
   There needs to be a socket in the right place for fairy lights! Logistics matter.‍
4. When do you need this room by?
   If you have a party in 6 weeks, there is no point in me suggesting hand-woven rugs or bespoke furniture that will take months to arrive.‍
5. Why does maximalism appeal to you?
   Is it a fashion thing or do you genuinely love to be constantly stimulated by your living environment?
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Got a question for Dean? Visit his website. Or check out more of Dean's work on Instagram.