Laura Medicus is the owner and principal designer of her namesake interior design firm, Laura Medicus Interiors. Based in Denver, Laura Medicus Interiors operates on the three pillars of good design: clean, classic and liveable.
Better said in person
In-person client consultations are always Laura's preference. Sitting face to face with a client allows Laura to pick up on physical cues. "I tend to notice body language, smaller facial expressions and other visual cues about people that help me relate to them."
But Laura lets her client's preferences take the lead, and so has become comfortable working over phone calls, texts and emails too. Client's preferences usually become apparent fairly early on in the project and Laura tries to be flexible to fit their comfort level and needs.
Communication styles and preferences can also change throughout the project. The beginnings of projects are typically heavy with in-person meetings. In the middle of the job, emails, texts and phone calls take priority—with a few site visits and shopping trips thrown in. Towards the very end of the job, in-person interaction in the form of site visits is more common. Often, it all depends on the client's level of involvement.
Evolution of ideas
When asking a client to collect inspiration, sample size is important—less is certainly not more. Case in point: when a client sends just two kitchen images they like, and they're both different, it becomes hard to decipher their true taste. The more references a client can provide, the easier it is to find a common thread in their style.
But pinning down 'taste' is not a one-shot affair. "Sometimes you nail a client's style and sometimes you miss it over the course of a project—it's not usually a 100% hit every time." And that's okay, revisions can be made. What's important is that your client trusts you—but that's easier said than done.
Trust in me
Laura's go-to strategy for building trust is respecting boundaries. "There's a delicate balance between pushing a client to go with something different than their neighbours' house, but not pushing so much that it's way outside of their comfort zone." Even once trust is established, truly understanding a client's goals and needs is no easy task, so just how does Laura do it?
Client deep dive
Given her long-term love for kitchen design, we challenged Laura to ascertain a client's functional preferences for their new family kitchen—if she only had 5 questions to work with...
- Who cooks the most often in this kitchen?
Is it one person or multiple cooking/helping at the same time? Do you need another sink in the space? What about another small refrigerator? - What type of entertaining do you do?
Do you have people over frequently and want people hanging out in the kitchen with you? Do you seldom entertain? How do you cater when you do entertain? How many people, ideally, do you want to seat in the kitchen? - Where do you want to store your everyday dishes?
Are you comfortable with them out on open shelves? Do you like to show them off, but want them behind glass doors? Or, do you want everything tucked away out of sight? - When you are done using appliances, do you want to tuck them away?
Or, are you comfortable seeing some things out like your toaster or coffee maker? - Why don't you like your existing kitchen?
What isn't working for you? Let's fix that.
Got a question for Laura? Visit her website or find her on Instagram.
Brenda Szarek is the founder of Autumn Light Interiors—as the name suggests, her mission is to create beautiful spaces for people in a transitional period of their life.
The breakdown
When Brenda takes on a new interior design project, her client induction process can be broken down into three steps:
- The client fills out an online client profile questionnaire.
- Brenda schedules a 20-minute discovery call to assess what services would help the client best; she does so by asking questions about their current space and what problems they want to solve.
- A brainstorming session during which Brenda listens closely whilst touring the home, providing quick hit ideas so the client can start their own project or hire her for additional help.
Make it make sense
Throughout the design process, Brenda focuses on encouraging clients to keep an open mind. "I don’t like to pigeonhole a client into a specific style. Most everyone gravitates toward a combination of styles—usually, they just don’t know how to put it all together."
The essential tool in handling eclectic tastes and influences: moodboards. "Moodboards help to communicate my inkling of a client's tastes. From there, it usually takes just a couple of rounds to agree on a basis for moving forward.
Feasible finance
Predictably, working around a client's budget is usually the first obstacle—it can be hard for clients to understand what their budget can realistically achieve. Brenda keeps a bank of budget-management tools to hand to help start the discussion with her clients—it is important to be clear on the budget from the outset, to avoid any surprises down the line and make sure clients can look forward to a beautiful, functional, and achievable space.
Managing meetings, balancing budget, and juggling taste—truly understanding an interior design client's goals and needs is no easy task. So just how does Brenda do it?
Client deep dive
In keeping with her speciality, we challenged Brenda to decipher the changing needs and priorities of recent 'empty nesters'—if she only had 5 questions to work with...
- Who will be using the space? That includes people and pets!
- What problems would you like to solve?
- Where will you spend the majority of time during the morning/afternoon/evening?
- When are you planning to move or downsize to a new home (or rightsize)?
- Why do you think an interior designer can help you?
Got a question for Brenda? Head over to her website, or find her on Instagram.
Nicole Forina is the founder and lead designer of Nicole Forina Home. After a successful career in fashion merchandising, Nicole retrained as an interior designer and set up her namesake interior design firm.
Nicole Forina Home has no fixed design style. Instead, Nicole draws inspiration from a variety of sources and as such can create beautiful designs suitable for all price points, style eras, and design philosophies.
Substance over style
Nicole explains that design is not just about the physical space itseld. "It isn't necessarily about how a client wants their home to look, it's about how they want it to feel."
Many design firms have a specific look and commonality that runs through all of their projects. However, NF Home prides itself on not being pinned to one specific style—the focus is on delivering a story and vision for how a client wants to live, not a pre-determined aesthetic.
No substitute
Nicole has a tired-and-tested preferred method for getting to know her clients. "The best way to communicate with our clients, hands down, will always be in person. Seeing a client's real-time reaction to something is the best way to gauge what they are loving—or not—in the design."
A dose of reality
The hardest part of the job is dealing with clients who are indecisive or unclear on their vision. "People may think they know what they want before they start this process, but you should never believe you've 'nailed it' until a client hands over the cheque to start ordering furniture!" Nicole helps guide her clients to their true intentions by asking reality-framing questions, such as:
- We all romanticise having lavish parties, but in reality, how often are you doing that? Are you okay with your dining room looking like a museum 363 days a year so that you can host those two holidays?
- Maybe you dream of viscose velvets... but you have four dogs. Is that going to work?
- What are the investment pieces and what would you be fine with sourcing from more budget friendly vendors?
Throughout the process, Nicole is always mindful to show respect. "We are dealing with people's most prized material possessions—whether of financial or sentimental value—and our clients must trust that we value them too."
Expect the unexpected
Nicole relies on her personal experience and taste to mix dream and reality into the perfect recipe. Just as every client's vision is different, so too is the way Nicole approaches the project. After 10+ years of client experience, Nicole has found no one-size-fits-all approach. But one thing she knows for certain is that you never stop learning!
Though there is no perfect recipe for truly understanding a client, Nicole has picked up a few techniques over the years. Given she is a mother herself, we challenged Nicole to understand the functional priorities of a young family looking to design, what they hope is, their 'forever home'—if she had just 5 questions to work with...
Who lives here?
What do you want your home to feel and look like?
Where... would you live if you could live anywhere in the world?
When would you like to start and finish the project?
We need to make sure everyone has realistic expectations.
Why did you choose Nicole Forina Home?
Got a question for Nicole? Head to her website or follow Nicole Forina Home on Instagram.
Jason Lai is the owner and principal designer of JL Interiors, an LA-based interior design studio specialising in residential interiors.
With 15 years of experience in the design industry, Jason has mastered an array of interior styles spanning contemporary to traditional.
Jason has featured in popular television shows such as, Bravo’s Best Room Wins! (for which he took the crown for contemporary design), and Million dollar Listing LA. His work has also been seen in renowned trade publications such as, Los Angeles Times, Elle Decor, and The Global Design Post.
It all starts with a picture
For Jason, an image says a thousand words. That explains why the first task Jason sets new clients is to collect imagery of things they like and, perhaps more importantly, things they dislike.
Finding the time
If clients are stuck (or don't have the time), Jason will lend a helping hand but he never starts a project before going over inspiration images with clients. "I never allow my clients to tell me 'I trust you' or 'do whatever you think is best' because 8 out of 10 times that process will take longer."
Jason uses the collated images to assess the client's tastes. He'll ask, "Do you like the overall vibe? The colour scheme? A specific piece of furniture? The layout?" or the hardest question of all, "why don't you like it?"
Seeing eye-to-eye (literally)
These meetings are usually conducted face-to-face. Jason's mantra is that client compatibility is key and in-person interactions are essential to that. "Clients hired me for a reason. It's my job to give them their dream and tell their story. Every expert will tell you that without face-to-face interactions it just seems cold in this creative industry."
When, and only when, everybody has had their say and everything is crystal clear—the design begins.
Client deep dive
Even with all the images in the world, some things are still best expressed in words. How does Jason ensure he builds a crystal clear vision of his client's desires every time?
We challenged Jason to dig deep into a client's unique personality and uncover their deepest goals and drivers—if he only had 5 (ish) questions to work with...
- Who is the decision-maker?
When dealing with a couple, it's good to know who makes decisions. - What is your budget?
This is the most important question because it tells me where I need to stop and what I should expect from the client's goals. - Where is the job?
Probably the most important question on the list—practicalities! - When do you want this project to be done?
It is important to be truthful to your clients. I want to give clients a realistic timeline so they know what to expect—I won't just tell them what they want to hear. - Why are you hiring an interior designer?
And then, do you trust your designer? A lot of the time clients second guess me because they can't see the full picture; it's my job to hold their hands and let them know everything will be okay. The vision is in my head and this is why they hired me—if not, they would just have done it themselves. - How do you see yourself using the space?
Are you trying to get more seating for entertainment? Do you even entertain?
Got your own question for Jason Lai? Head over to JL Interiors' website, or follow Jason on Instagram.
Sarah Toshiko West is an editorial fashion stylist working between LA and Japan. Sarah is an accomplished stylist and her work has graced the covers of huge publications such as Paper and Time Magazine.
Meet Sarah Toshiko West
Which designer would you love to collaborate with?
Christopher John Rogers. I love his use of colour so much!
Dream client?
I don't dream of styling people who I know of through mainstream media. Instead, I love styling clients who want to push their boundaries and are fearless to try new things.
What impression do you hope your work leaves on viewers?
I am a stylist, yes, but I also love to produce art and creative direct shoots. I would like to be remembered as an artist not bound to one medium. I hope my ideas make people stop to think about where they come from and push them to discover more about their own heritage and roots.
If you know where you come from, and what has uniquely paved a way for you to be here presently, then you realise how much of a distinct and individual perspective you have to share with the world.
We asked Sarah to share her 'bucket list concept'—the creative vision that she hopes to one day bring to life...
Sentō (銭湯)
I've had this idea in my head for a couple of years now; I moved to Japan last year and the concept became even more vivid. It is a sensitive story, shot amongst Japanese bathhouses. Bathhouses have always had a unique and rich history in Japan, they are said to be an opportunity to cleanse both the body and soul.
I imagine three women—Saki Nakashima, Kiko Arai, and Miki Ehara—standing in the pools of water, wearing traditional kimonos and staring directly at us. They look stoic, yet compelling. In some shots, there will be water flowing down the models' hair, and the napes of their necks. and backs. Other shots will see them floating in the water with eyes closed. I envision tight closeups of their faces together—the work of photographers, Cho Gi-Seok and Nadine Ijewere, is a forever muse but especially so for this concept.
I'd shoot in Beppu and Noboribetsu, Japan. There are hot springs and onsens all around these cities and it would be amazing to shoot a story there. There is even a pond that is deep red with dramatic steam billowing from it!
See more of Sarah's work on her Instagram or check out her website.
Emanuela has carved a distinct niche in the social media marketing landscape—specialising in the management of interior designers' presence on Instagram and Pinterest. Though many creatives are now exploring opportunities beyond these traditional platforms, Emanuela's recipe for success remains relevant: be inquisitive, be truthful, and be approachable.
We speak to Emanuela about discovering her niche, what puts the 'social' in social media and the great advantages of living a life online.
Why social media marketing?
Once I found out that I had a knack for social media marketing, and managed to get my clients good results, I fell in love!
I love to see the before and after transformation—both in the feed aesthetic and analytics reports. I love sharing in my client's successes, whether that be a million+ hits on Pinterest or a significant increase in Google hits. There’s nothing like great client feedback to motivate your work. My favourite part of my work is watching clients create connections: building their network of referral partnerships, talking to potential clients and increasing opportunities to make revenue.
Why interior designers?
I dedicated my attention to interior designers because interior design itself helped me with my own depression. Creating a space that made me feel happy and comfortable truly saved my life.
Side note: I just remodelled my apartment. My favourite room is the dining room—it has a gorgeous colour-block wall.
How do you keep learning?
These days, I work with an amazing social media marketing coach—which has really helped me to scale my business. But even before I started working with her, I knew everything about Instagram and Pinterest marketing. I watched so many YouTube videos made by social media gurus and have read a few books as well.
I get great insights from the likes of Neil Patel and Adam Mosseri. I also find useful ideas on platforms such as Social Media Today. Things change fast in the social media world, so we have to keep up! There’s also a lot of trial and error—A/B testing is a real thing in the business.
What is the most common social media pitfall?
Many people forget the meaning of “social” in social media—they post and pin and expect people to just show up. Who wants to work with someone that feels closed off to connections? It’s important to be social and expand all types of connections: industry partners, potential clients and even competitors. No matter how you look at it, there’s simply no downside to investing in communities and the people within them.
Cold emails—what's the secret ingredient?
Remember to be real and honest. If you just send a message for the sake of it, they’ll feel it. If you want to form a connection with someone, you need to have a reason. Maybe you love their funny captions or their general aesthetic—whatever it is, pick a few things and let them know. Then and only then can you begin to talk about how it might be beneficial to work together.
What makes a prospective client choose you?
Clients need to feel as though you are someone they'd enjoy having in their home.
A video (whether story or reel) is the easiest way to make them do so. Your personality comes across in the way you speak, your mannerisms, your language, and your general tone. If you're camera shy, don't worry—go with captions or behind-the-scenes shots. Tell a personal story once in a while and remember to always be yourself. People connect with people, not brands.
Advice for being more open and vulnerable online?
Start small. Often, my clients struggle initially to think of anything they want to open up about. So instead of forcing it, I give them the option to brain dump all their thoughts throughout the day. Eventually, they’ll find something that hits that vulnerability sweet spot and they feel comfortable posting.
Remember that it is your business account, not your personal account. You want to share things that your audience relates to and not just random personal stories.
Have you explored other social media platforms?
I do want to expand to other platforms—I'm currently conducting market research and I have worked with TikTok for a few clients.
All social media platforms have their pros and cons but I still believe that Pinterest and Instagram are the two most beneficial platforms for interior designers.
How do you cope with social media burnout?
As someone who deals with depression and anxiety, I feel the toll that social media takes on mental health—especially Instagram.
I love how Instagram is now timing how long you stay on the platform. Without that, it is super easy to go down the rabbit hole. Once that happens, I actually go out and leave my phone at home. Meditation and yoga really help me to set boundaries and prevent being overwhelmed.
Follower count—does it matter?
I see clients obsessing over their follower count all the time! Social media managers call these "vanity metrics” because it truly is all about vanity. People should remember that social media is a platform for connection, not competition. Followers and likes won’t get you business. You can have 200 followers and 20 clients or 1500 followers and only 10 clients.
What is the biggest 'pro' of freelancing?
I feel so much more comfortable being able to work from anywhere—I’m sure it shows on my own posts and client work. I do work from home but sometimes it can be quite distracting; I tend to work in coffee shops multiple times a week.
Not having the stress of someone looking over your shoulder gives you more freedom to be creative with your work. I love it!
The key to productivity?
Hire assistants! Also, use time management tools to organise tasks and workflow.
What do you love about life online?
I love anything online that hits me right in the feels, gives me work motivation or makes my belly ache with laughter.
For quick-fire tips, visit Emanuela's Instagram. Find out more about Emanuela's services on her website.
Whilst there is no definitive answer to "how to become an interior designer", one thing that remains undisputed is that you need a strong interior design portfolio. A successful interior design portfolio should showcase your strongest design work and clearly express your style, skillset and method of working.
An interior design portfolio is a visual resume showcasing your interior design body of work to date. A stand-out portfolio can be the deciding factor in landing your first role as a junior interior designer. There is no one-size-fits-all approach to building your interior design portfolio; the most important thing is to just start building. As a junior interior designer, the best way to build your portfolio is to remain open to all opportunities and be sure to document all the work you complete with professional photographs.
All interior designers have to start somewhere. A great interior design portfolio is about quality, not quantity. Find inspiration for how to build your interior design portfolio from scratch by listening to the stories of two junior interior designers...
Can I build an interior design portfolio with no experience?
Contrary to popular belief, you do not need a wealth of experience as an interior designer in order to land your first interior design projects and begin building out your portfolio. When it comes to your interior design portfolio, sometimes less is more. In fact, according to interior designer marketing expert Justin Page Wood, "All you really need is one really good photo on a website."
To inspire you in your journey into the interior design industry, we spoke to two junior interior designers at leading interior design firms who took vastly different approaches to breaking into the interior design industry. These junior interior designers prove that whether fresh out of an interior design degree or making a career switch later in life, a great interior design portfolio is your ticket to success but that "great" is best defined in a way authentic to you and your USP as an interior designer.
Explore the portfolios of junior interior designers
Louise Dalrymple
I am currently working as a Junior Interior Designer. I saw the job advertised on LinkedIn, applied, and then met for an in-person interview.
My MA focused on the connection between design and emotion. I think that the moodboards I created as part of that project are the 'star pieces' in my portfolio—they showcase my knowledge of colour, fabrics and texture combinations used to promote well-being.
The initial idea for my concept 'HUIS' was born from my own experience of living and working abroad. My job involved travel throughout Europe and when I relocated to Amsterdam, I spent my first month in temporary accommodation provided by my new employer. Whilst it was in a prime location, the actual studio itself was rather dingy and isolating with no space to entertain new friends. Busy times of year meant weekly travel and strict deadlines that left little opportunity for anything in between. With irregular shift patterns and extended stays, the choice of the hotel vasty influenced my well-being whilst travelling for work.
Although many hotels offer their visitors the option of various social areas to spend time in—spas, gyms, restaurants and bars—these do not necessarily cater for guests who may not want to socialise in those sorts of spaces. I felt as though there was a missed opportunity to apply some simple but effective changes to how many hotels are currently operating. As a result, I created a project exploring four key separate spaces: Work, Play, Sleep and Bathe."
In this role, I have been able to develop my knowledge of interior design software programmes such as AutoCAD and SketchUp. If I were to make edits to my portfolio now, I would add in more bespoke pieces from independent designers.
Follow Louise Dalrymple on Instagram.
Andie Hamm
I work as a design assistant at an interior design firm in NYC. I often find myself shopping around our office, picking up items, bringing them to project sites, and helping with move-ins, deliveries and installations. I also spend a lot of time putting together concepts for clients. This usually means sourcing furniture, finding inspiration images, and creating floor plans and presentations. Now and again, I'll spend time putting together floral arrangements, styling project sites and assisting on the final photo shoots of our projects.
Before my current role, I was not working in the architecture/design field so I didn't have a massive portfolio to pull from. However, I did major in architecture and complete a few internships in design and have always had a deep love for interiors and everything 'home'. I had a few pieces in my portfolio but the one that I was interviewed on was actually my own apartment in NYC. It is very small, but I decorated it thoughtfully and I loved the way it turned out.
This project definitely shows my design personality—it is my own home after all! I had to make use of what I was already bringing into the space, as well as the small square footage, but with light tones, mixed materials, and pops of colour I created a really nice environment. Being able to spend my days around top design professionals on incredible project sites has been a game changer for me. I am super passionate about my work and I have absorbed so much in just a few short months in my job. I am much more attuned to design trends (that are not actually 'trendy'), cool furniture pieces, ideas for niche design situations, colour combinations, and styling techniques. I am excited to keep learning and creating my own spaces! Using all that I've learnt, I am in the process of rethinking the gallery wall above my couch. I want something a bit more modern and creative, and I want to make it myself! What that looks like is still to be decided but that is my next upgrade to tackle."
Follow Andie Hamm on Instagram.
Sarah Cohen's current wardrobe favourite is a hot pink shoulder-padded blazer—a piece that perfectly encapsulates her personality: strong, sharp, but full of warmth. Her approach to marketing can be described in the same way.
Sarah Cohen is the founder of personal stylist brand management firm, The Styling Advisory, and describes herself as a "conduit between personal stylists (who want to reach more clients) and the complicated world of marketing."
Prior to establishing The Styling Advisory, Sarah spent twenty years refining the art of marketing across retail and media. When she noticed the untapped potential of the styling community, she made no hesitation in seizing the opportunity.
We speak to Sarah Cohen about emotional roadblocks, the value of community and her deep-rooted appreciation for the work of personal stylists.
As written by Sarah Cohen.
Marketing has no off-switch
Subconsciously, our nervous system is always scanning for signs of belonging. In our everyday life, people are making assumptions about us using every physical, verbal and non-verbal cue we present to the world. We can’t help it.
Every post, every word choice, every facial expression, and every interaction tells people who you are. People then make the decision as to whether they feel a sense of ‘belonging’ and connection or not. That, in essence, is marketing.
Something about stylists
In marketing, we're always striving to increase loyalty, basket size, lifetime value and brand trust. A personal stylist is able to smash average basket sizes, introduce customers to new brands and get them spending more often—yet most marketers don’t actively engage with stylists as part of their marketing strategy.
I saw the untapped potential a personal stylist offers to brands and their marketing managers. The personable, trusting relationship between stylist and customer was a fascinatingly unrefined retail marketing solution—I wanted to be a part of this growing segment.
Now, with the increasing popularity of live shopping in China, the role of a trusted stylist is going to become even more prevalent to retail marketers.
Start with a cuppa
I schedule a 'tea and chat' with all prospective clients—forming a connection, or not, is the only objective of that call.
I have studied and trained in marketing for 20 years, but so have countless other marketers. We are all familiar with the myriad strategies, tactics, funnels, trends and best practice methods to grow a business. We all know the same information. The only thing that separates us is the way we connect with potential clients, and how we make them feel. My way of doing so: break up the formality with a cup of tea, and just sit back and listen.
There are some important qualifying questions which should be woven in organically—like a genuine conversation, rather than an interview. One of the most important questions is about the roadblocks that prevent the client from doing what they already know they need to do. If you can understand what’s really stopping them, you can provide the ultimate solution—99% of the time it is an emotional roadblock, and that’s only revealed through listening.
Find what's missing
If a stylist is experiencing low engagement, what’s normally missing is:
- A content strategy aligned to the buyer cycle. Where are you directing your audience with this content? How are you moving them through the sales cycle towards your owned platforms? How do you know the content is what your ideal client wants to see? Have you spent time developing a clearly unique brand identity and brand ‘clues’ that resonate with your audience?
- The sales component. Whether your call to action for this content is to join an email list, engage in a competition, or check out a sale or service most stylist content is too light on the ‘selling elements’ because they feel uncomfortable. This results in your audience digesting the content like they would a magazine instead of being compelled into action.
To trend or not to trend
Consistency and compelling messaging in your marketing strategy are more important than following the latest trends.
Every successful entrepreneur I know started with one thing and nailed it, before expanding their mix. Every stylist I’ve interviewed on my podcast has their own version of marketing that works for them because they chose one or two things that worked, refined them, and grew from there. The only thing I’d encourage stylists to keep up with is the consistency of content creation for their audience, rather than diversifying their efforts early on.
The power of community
It. Is. Everything.
It’s where the magic happens. It’s where you convert. It’s where your warm leads live. It’s where the best conversations happen. It’s where you learn what services, messages and activities landed and where they’re failing. It should be every business owner's #1 goal. Every successful stylist I’ve worked with has built a community, rather than focusing solely on top of funnel activity.
No such thing as competition
When you understand a little about the nervous system and how we are wired to subconsciously assess our surroundings for signs of belonging, you start to realise that there is no such thing as competition. There is only you, and the way you make people feel on a subconscious level.
With that in mind, the best thing you can do is be completely yourself. It helps to be completely clear on who that is and how you’ll communicate it online to help others make an immediate connection with you (or not).
We are moving towards a more authentic online space, where people respond to the less-filtered content of TikTok over the hyper-stylised content of Instagram. This new social media landscape should free stylists from the fear of comparison and encourage them to simply be themselves.
Be clever about content
I started the Styling Advisory Podcast at the start of 2021. I began podcasting because I wanted a platform that allowed me to share my passion and expertise in marketing, within a context that my audience cared about. Also, I love to chat—anything audio/video is a safe pocket for me to play in.
I soon realised the value of a dedicated team. If you're thinking of creating a podcast, find a team of people that can help you maximise the efforts you’ve gone to in making the episode: audio editors, designers, video editors etc.
Podcasting taught me the efficiency of following an inverted pyramid content strategy—creating one big piece of value-driven content that can be broken down and expanded on for the month. With the initial source content, you can create audiograms, YouTube shorts, reels, blog posts, pins and quotes. The aim is to squeeze out all the juice of that one content piece but make sure each piece has a clearly defined value—so you’re not just saying "listen to me chat" over and over again.
Honesty is the only policy
On my podcast, I want to work with people who are not afraid to tell the truth. Marketing is relentless. Owning a business is exhausting. Choosing a career fuelled by passion instead of fiscal returns is risky.
I don’t want any polished #girlboss crap! My listeners want to know that we are all on the brink of a nervous breakdown at times—that’s just what it looks like to own your business.
Who is Sarah?
My wardrobe is bold, bright, and theatrical. Denim, blazers, ‘90s earrings and massive statement necklaces are my ‘casual’. I don’t own any athleisure, and I never will. I love a sharp shoulder and have actually bought shoulder pads to make everyday tops and knits look stronger. I am a strong, loud, loving empath who swears too much—I think my personal style sums that up.
But honestly, my personal brand is quite unstructured. I don’t ever spend time specifically cultivating it. I am with my audience who I am at home: a nut who loves marketing, shopping, ghosts and chai lattes.
For more information on Sarah's services, visit her website. Follow The Styling Advisory on Instagram for a treasure trove of tips and tricks to grow your personal styling business.
Tamara Tott is a professional editorial makeup artist and hairstylist based in West London. Flawlessly finished skin and futuristic colour-pop eye looks distinguish Tamara Tott's signature makeup portfolio. Tamara has acted as editorial makeup artist for Maria Claire, Vogue Italia and Burberry.
Meet Tamara Tott
What shaped your appreciation for makeup?
15 years ago when I was a dancer in Ibiza, which meant I got 'made-up' every night—I mean full hair and makeup! The looks changed every night to suit the theme of the party—from Galactic Goddess makeup to Drag Diva dress-up—I did it all!
One night I had my whole face covered in gems and I loved it so much. I have been fascinated by the transformative power and endless possibilities of makeup ever since.
Advice for makeup artists suffering from creative burnout?
For me, it is always the sea. If I am tired or exhausted, I must visit the seaside. Preferably with sandy beaches and clear water—this is what recharges me.
Sometimes stepping away from social media to clear your head is necessary too.
How would you describe your makeup style?
Timeless Feminine Beauty.
I like to find and embrace the femininity in all of my models and clients. There is a feminine side in all of us, even if you think you are a complete tomboy.
We asked Tamara to share her 'bucket list concept'—the creative vision that she hopes to one day bring to life...
Take me somewhere tropical
I am obsessed with white sands, turquoise-blue waters and palm trees—outdoor editorials in tropical beach locations are always my most anticipated!
Growing up I always thought I would end up living in a hot country, and I did for a while. I lived in Turkey for 5 years and then in Ibiza for 7, so I am missing the beauty of tropical nature around me. I dream of going to the Maldives—I would love to shoot a campaign there!
Adut Akech would be a perfect model for the shoot—with clean makeup and edgy hair. In terms of styling, I love big airy dresses, frills, oversized feminine garments and severe colour contrasts—anything along those lines would hit the spot!
I'm currently excited by the work of British photographer Carla Guler—I'd ask her to shoot my vision. Her work is so spot on—clean lines and great colour choices. I'd be delighted to work with her again.
Ahhh, I can’t wait to book this job!
Browse Tamara's beautiful body of work on her Instagram or website.
Low floors. High ceilings.
This metaphor was first conceived by Seymour Papert in the 1970s as a design principle for the Logo programming language. Papert and others at the Massachusetts Institute of Technology used Logo to teach mathematical thinking to children.
Thus, Papert advocated for Logo to be designed with low floors, to be easily accessible to young children, and simultaneously with high ceilings, to cater for more complexity as they advanced. Papert’s mentee, Mitchel Resnick, expanded on the concept in recent times.
Wide walls.
Having generous height wasn’t enough. Resnick added an extra dimension of ‘wide walls’ to capture the concept of ‘leeway’—which is essential to exploration. Resnick is Professor of Learning Research at the MIT Media Lab, and a director of the Lifelong Kindergarten research group. He is also a founder of Scratch, a programming language for all. Like Papert before him, Resnick’s goal was to make programming accessible. Satisfying the trifecta of low floors-high ceilings-wide walls would allow for an easy entry point, the potential for increased sophistication, and expansive possibilities to support different needs and styles.
Parlaying that metaphor provides us with a framework with which to evaluate the visual organisational options, and how that fits with the creative workflow.
- Low floors: Is it easy to get started?
- High ceilings: Does it scale with use?
- Wide walls: Is it flexible to meet different creative needs?
But nailing those three criteria doesn’t mean that the tool is great? Not quite. Especially not if you are a visual-centric thinker, like an interior designer, fashion stylist, creative director or graphic designer, the reality is that organising still sucks.
In keeping with the building design metaphor, here are 5 reasons that you may find your digital creative home remarkably uncomfortable.
Too many stairs
Who likes climbing the stairs to a fifth-floor walkup? By the time you get there, you’re out of breath.
Many systems require us, the user, to do too much to make the tool work. Take the file saving hierarchy in our Mac or Windows desktop, or even in modern cloud-based apps like Google Drive or Dropbox. When you’re saving anything, the onus is placed on you to name the file correctly, and to place the file in the right place. Miss one or both, and you risk losing track of it.
Then comes the problem for creatives. For a word file, it’s not really a problem if you’ve misnamed something, or been a bit lax with your file management protocols. Mac’s Spotlight search can work reasonably well in combing through text, so you’ll be able to locate it as long as you have some recollection of the details. Plus there are plenty of dedicated search tools, like DevonThink, which can supercharge the search. But what happens when your file name is ‘‘Screenshot 2022-04-25 at 16.26.04’ and looks like this, amidst your sea of thousands of images?
Unless you’ve diligently, and presciently, added every conceivable tag as you were banking your visuals (how could you?), prepare for a handful to be consigned to your digital black hole, never to be withdrawn. To retrieve something, most tools require that you have done the legwork at the start in labelling, sorting, and predicting how you might recall it in the future. Possible for the most meticulous of individuals, but certainly asking too much of mere mortals (most of us).
Consider, now, a mixture of elevators and stairs that might improve the experience. Elevator features are those that do one or both of the following: they shortcut your process by reducing time and effort, and serve as a fallback should you need them (the stairs are still there for your ‘enjoyment’!). Examples include automatic tags, self-generating colour palettes, and detection of key metadata (e.g., brand and designer names). As a creative, you can choose to browse, organise, and filter your views with different properties. The elevator does the heavy lifting for you.
We put out a poll asking how people would retrieve this using just keyword search. Are you in the 94% or the 6%? It probably depends on your search intent—and whether you know who Iris van Herpen is when you saved it.
Wonky layout
Wide walls aren’t a licence for unintuitive layouts.
“My brain doesn’t work this way” is a common refrain. The conventional digital folder system mirrors the real-life filing cabinet system. Each file could only physically be in one place. We’ve run with that metaphor, but at the risk of bumping up against our flow.
Whether you’re team ‘Collect Now, Sift Later’ or team ‘Curate On The Go’ (or somewhere on the spectrum), you’re likely to run up against the walls if you’re banking your inspiration in traditional mediums like your Desktop, or even modern platforms like Pinterest. Do you really want to stop and think, “Does this go into the ‘Minimalist’ or ‘Architecture’ board?” Unfortunately, the system requires you not just to make a decision there and then, but it also stops you in your tracks just when you thought you were getting going. Unpleasant cognitive loads are jammed in your way.
Wide walls won’t do well without hazard-free zones. Remove any hassle, however tiny, that interrupts the user’s creative flow. Allow them to choose when they do what they do. For example, on a hunt for Palm Springs inspiration? Go on a blitz and save 10 or 50 images in one go. Don’t bother yourself with choosing a board or naming it. When you’re ready, then triage. Clip them to different boards or add your own tags. Or do nothing: chalk them up as rainy day inspiration for the ‘just in case’ account. The idea is that you should be given the options to build your system so it is working for you, and not for the computer system.
Open shelving
Open shelves are great. And when you have walls of them? Glorious. That is, until you have too much on display, and wish you could slide a cabinet door over it all.
Many of our systems sound great, until maintenance woes creep in. We’ve all met that Ambitious Alex who starts off with the best of intentions. For instance, we’ve heard of a set designer who diligently files each picture into dedicated subfolders based on the system of Period (parent folder) > Furniture/Piece (sub-folder), and many creative directors who title their files in a format similar to Client_Year_ProjectTitle. But that discipline can quickly dissolve when the database becomes overwhelmingly large or repetitive. By then, you may be so committed or invested, that changing the system becomes infeasible (or unpalatable). Yet, you are left with one that has become untenable.
Add collaborators into the mix, and the “system” becomes trickier to manage. You may encourage everyone to follow your conventions in an attempt to keep things neat. But if you’re spending time policing compliance, instead of relying on the system to ease your process, it sounds like there’s a trade gone wrong there.
The trouble with open shelving isn’t just that upkeep is vital, since it’s there for everyone to see (mess and all). It’s also that the lack of partitions and dividers can be intimidating for anyone new to organising. Who actually gets things “right” the first time around without some trial and error?
A system for the creative must be lightweight and configurable. In visual libraries, tags are a great way to get started with organising, without the hassle of hierarchies and—it’s not said enough—that doomed feeling of commitment. Tags are highly flexible and can often lay the foundations for more complex, and long-term, organisational methods. Outside of specific projects, there’s also nothing stopping you from moving away from conventional folders and relying solely on tags to organise your archives, especially if you have a powerful search function available.
Dead space
Unused attics and unloved basements. The equivalent in a creative’s library is that dusty archive of imagery that is waiting to be rediscovered (and possibly taking up precious gigabytes in the process).
A problem with so many of our creative tools is that they are great for storage, but not for inspiring us to rediscover old finds. The glut of platforms and apps has made it easier than ever for us to consume and collect new things, but, sadly, done little to encourage us to retrieve and revisit the old. One of my favourite Japanese words is “danshari (断捨離)”, which roughly means “refuse, dispose and separate.” Danshari features in digital libraries can be a great way to declutter or rediscover the old.
A well-designed space isn’t just one with low floors, high ceilings, and wide walls. It is also one that maximises every inch. In a library, that can translate into putting your ideas to work. Why settle for a visual storage tool, when you can have one that also turns into your playground for new ideas?
Wrong plot
With all that said, even the most immaculately presented home—one with the right amount of stairs, the perfect layout, the trendy modular shelving, and top notch space utilisation—comes up short if it doesn’t meet the requirements of “location, location, location.” There is zero benefit in over-investing in a house that’s sitting on the wrong plot or facing the wrong orientation: your upside is limited. It’s the same with building and organising your creative home: the outcome has to justify the effort, but that rarely is the case.
When digital libraries offer a compounding effect—when you feel that the sum of the whole is more than the sum of its parts—you are encouraged to continue collecting and curating. Adding new items to a collection should create exponential value, but the way many digital asset managers are built means that things are often isolated in silos. We miss out on discovering useful connections between new and existing items from our library. Our library is a labyrinth of connections, related by colour, pattern, style, creator, and more. As things are added, deconstructed, remixed or combined with others, we are discovering new meanings and forming fresh creative intents.
A creative home conducive to creativity must be able to surface themes, relationships and patterns. Instead of “location, location, location”—it’s all about the links, links, and links.
Chloe Rose is a London-based freelance makeup artist. Chloe's makeup concepts are inspired by the most natural of beauties—nature itself. Chloe Rose has acted as the makeup artist for famous faces, Emie Nathan and Olivia Dean.
Meet Chloe Rose
Can you recall your introduction to makeup?
Art has always been an important part of my life. I have always had a paintbrush in my hand. As I grew older and discovered makeup, that paintbrush turned into a makeup brush.
Where do you find inspiration for makeup concepts?
I find inspiration in the world around me. I have always been fascinated by all the colours and textures in nature.
A makeup rule you always follow?
I always want to bring a little extra something to the table—life is too short to do something simple. Rules are made to be broken and boundaries are meant to be crossed—you should always colour outside the lines.
We asked Chloe Rose to share her 'bucket list concept'—the creative vision that she hopes to one day bring to life...
Mother Nature needs no touch-ups
Think flowers, think cabbages, think leaves, think oranges… now zoom in.
Look at those intricate details that nature has created—interesting colours (so vivid and bright) and veins weaving in and around each other. All these amazing details will then be painted over my model's faces and bodies.
Other aspects of this shoot will remain simplistic. There will be minimal styling, perhaps just adornments to emphasise the artwork—a gorgeous gold frame around a piece of art.
This shoot would have to take place in nature. Perhaps among the trees in the Amazon Rainforest, or surrounded by exotic flowers in the Philippines.
Ever since I can remember, nature has been the inspiration for my paintings. The fluidity of my brush when I begin to paint from nature has me hypnotised every time.
Find more of Chloe Rose's work on her Instagram or her website.
Deadlines, admin and time tracking are not naturally conducive to the creative process. However, efficient time management is essential to the work of any creative professional. Luckily, we've rounded up the best time management tools designed with creative people in mind—to support your creative process, rather than inhibit it.
Integrating the right tools into your workflow will help you to sync your calendar with team members, kick those procrastination habits, and make efficient use of all your time—because time is money after all...
Sunsama
Sunsama lets you view your to-dos, calendars, emails, and tasks on one serenely-designed screen. Say goodbye to flustered, unfocused work—instead wrap up every day feeling cool, calm and collected.
Star feature
A task manager and a tutor, Sunsama offers daily email courses that teach on topics such as habit building, productivity and switching off work mode.
Pricing
$
After a 14-day free trial period, Sunsama charges $10 a month for their services.
Suits you if...
You're feeling a little overwhelmed! As creatives, we've all been there but Sunsama could be the antidote.
Harvest
Say goodbye to accidental unpaid overtime. Harvest is built for the creative freelancer charging an hourly rate. Harvest allows you to track time spent on a project to the exact minute, transfer that data into client invoices, and use the insights to better manage your time in the future.
Star feature
Harvest updates budget used as your team logs time-spent. Real-time figures ensure you can keep projects punctual and profitable.
Pricing
$$
Harvest offers a fully-functional 30-day free trial, after which you'll pay $12/mo/user.
Suits you if...
You charge by the hour. Your time is quite literally money, so make sure you're selling it for what it's worth.
Cal
No more wasting time with the back and forth of meeting arrangements. Cal.com syncs all existing calendars and allows you to customise your availability so clients can easily see when you're free to chat. Simply put: "Focus on meeting, not making meetings."
Star feature
Let others do the work, but retain control. Cal.com allows you to set a minimum meeting notice period, apply limits to how many meetings you take per day/week and schedule downtime in between bookings.
Pricing
$$
The best part? You can get started with Cal.com for free. A premium version is also available for just $12/mo/user.
Suits you if...
You're in high demand! For those who spend a lot of time in meetings, Cal.com will free up time in your day that you never knew you were wasting. What will you do with all that time you save not organising meetings? Get creating perhaps...
Motion
Fed up with re-arranging your schedule to find the 'perfect fit'? Then sit back and let Motion re-shuffle for you. Motion trusts AI to assess your daily to-do list and find the perfect way to structure your day.
Star feature
Motion's in-built project manager creates custom schedules for each member of your team, ensuring priorities are always balanced and every project remains on track.
Pricing
$$$
Sign up for an annual subscription and you'll pay $19 a month for individuals and $12 for members of a team. Bonus: a 7-day free trial and 30-day money-back guarantee mean you really can try before you buy.
Suits you if...
You could do with one extra month per year—Motion claims to save users an average of 30.3 days a year.
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