Once upon a time, Louise Hall enrolled in a personal colour and style consultation with House of Colour—and it changed her life.

After weaving her new appreciation for colour, shape and style into her own wardrobe, Louise chose to share her knowledge further by setting up her own personal styling and colour consultancy, House of Colour La Jolla.

What's on offer

Face to face, Zoom, emails, or even Instagram DMs—you name it, Louise has used it to connect with her clients. Clients tend to reach out to Louise in the way they find the most convenient—and she's perfectly happy with that.

Louise offers two main consults: Personal Colour Analysis and Personal Style Analysis.

In her colour analysis, Louise searches for her client's most complimentary colour palette, including their “wow” colours. A colour analysis must be done in person and usually takes place in Louise's custom La Jolla studio.

Recipients of Louise's personal style analysis discover how to combine their body architecture with their own personality, to find styles that naturally look good on them, whilst reflecting their authentic selves. In short: they learn how to tell the world who they are.

Louise can conduct a personal style analysis in person or over Zoom—virtually works great too because it enables Louise to see inside a client’s entire closet if needed.

True to you

People can fall victim to liking something just because they believe they should. Because they were told to by a magazine, social media, friends or family.

Louise finds it can be a challenge to identify what is true to the individual, and what is a result of outside influence. When a client suffers from real difficulty in expressing how they feel about clothing items and what they truly like or dislike Louise remains patient and works harder to understand her client's character.

Dressing the whole woman

It’s not just about dressing a body type/shape, it’s about dressing the whole woman.

Louise works hard to understand the intricacies of her client's personalities so that she can effectively dress them from the inside out. "Sometimes we wear items that theoretically should work for our body architecture, but they still don’t feel right." That's because we don’t feel ourselves in them, and that's where Louise can help.

Louise loves receiving feedback from clients such as, “I never realised what a difference texture, pattern, flow etc. could make.” Or, “You’ve given me permission to truly express myself—the outside matches the inside.” But Louise's personal favourite? “You’ve changed my life!”

Client deep dive

We challenged Louise to lay the foundations for a thorough closet edit—if she had just 5 questions to work with.

What... do feel like when you wear this?

When... did you last wear this outside the house?

Why... settle for something that doesn’t make you feel amazing?

Who... are you wearing this for?

Where... do you spend most of your time? (Let’s make sure you have a great closet for that!)

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Got a question for Louise? Learn more about her services on her website. Find transformational stories and handy styling tips on her Instagram.

Samuel Geals fell in love with photography at a young age, and has continued to pursue his passion ever since. Today, Samuel works as a multidisciplinary photographer specialising in fashion editorial shoots.

Samuel is commited to collaborating with emerging models, to champion a new generation of faces within the fashion industry.

Find more of Samuel Geals' work on his website or check out his Instagram.

Meet Samuel Geals

When did you fall in love with fashion photography?

There were two formative moments in my desire to pursue fashion photography.

The first was working with a professional model. When I got into the studio and the model arrived, she looked through the clothing options and made it her own. She moved her body and followed my lens and it became more of a collaborative effort to create great images. This sense of collaboration continued as I started working more with teams of creatives. I'll always be addicted to the moments we all put our minds together to create something great.

The second, purchasing my first lighting diagram from a professional fashion photographer. For my next shoot, I booked the studio and set up the lights following every detail. Once I saw the image appear and what had been achieved I was hooked. I then started playing around with the lighting set-up, turning one light off or changing the lighting modifier for a different effect.

These two moments pushed me so far forward in such a small amount of time. I ran with it and haven’t stopped since.

Where do you find inspiration?

A lot of my work is inspired by lyrics written by metal/metalcore bands and most of my shoots are named after the song or band I was listening to when the idea came about. There’s something about the dark poeticism and fast beat that put a fire in me to create. I also regularly watch films with award-winning cinematography. Watching people at the top of their game create is inspirational in itself.

Although I do follow lots of magazines and other photographers' careers, it’s more common for me to take inspiration from music and film rather than from other photographers. I think that creative types, from all backgrounds, need to have different visual or auditory stimuli. Even if you were to go out into the city and see the world moving along or out into nature to clear your mind, it’s something different from the usual.

How do you hope your work is remembered?

Firstly, I want my work to be remembered for the timeless aesthetic that I love so much—the strength and power of the female (and male) form.

I’d also like it to be remembered by all the people involved in creating that photo shoot. From the make-up artists, hair stylists and clothing stylists to the brand, client or agency.

I like my images to serve a purpose and create a memory. Moving into the next phase of my photographic work, I’d now like to edge more into a political stance. Having been a listener of metal and punk since I was young, I’m now delving into my nostalgia and history to find new meaning.

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

Dress for the revolution

I have been watching futuristic/sci-fi cinema—like the Blade Runner series and Equilibrium—and taking more notice of how they portray fashion and style in the future.

This very much ties in with my new phase of introducing a political and punk concept into my work.

I want to tell a story of the struggles between us, the citizens, and the governments and police forces that we reside under. There are so many ways to tell these stories, subtly or controversially—I feel it’s an area for me to explore and create a unique identity.

For the most part, I would like to create sets and shoot this idea in the studio. I'd need control over the lighting in order to create other-worldly shadows and harsh light. If I were to choose a location, it would be a very modern but heavily concreted area in a large and towering city, mixed with glass buildings and reflections.

Some of my inspiration for this concept came from Steven Klein and Steven Meisel. These two photographers are able to create a completely unique world—a fantasy if you will. They are able to take you away into a new dimension and they execute the image itself in a beautiful way, whether it’s raw and desaturated or heavily saturated with coloured gels on the lights.

I'd keep the styling open to interpretation from a number of different clothing stylists and brands, however I'd love to work with Tom Ford and Atsuko Kudo Latex.

I envision a mixture of eccentric clothing with exaggerated features, smart wear with clean and crisp lines, latex and bondage-type items, trench coats and clothing with interesting silhouettes. I'd want to incorporate accessories that allude to a dystopian society, such as oxygen tanks for a world where the air is no longer breathable and using police batons to create a menacing vibe.

I'd need models with strong faces that can pull off a menacing look. I like to work with new and upcoming models, but if I were to choose one model in particular it would be Steinberg—they have an inner innocence but a very metal/punk aesthetic.

I have already done some editorials moving in this direction which will help me to permanently introduce this aesthetic into my work. But this is a question with endless possibilities and this is only the beginning...

Above all else, a home should be two things: functional and personal. Every home should be a true reflection of its resident's lifestyle and personality. Once you have found out what your client needs from a project, you can start finding out what they want. How does your client hope to live within the space you're creating? In what ways can this space enhance their lifestyle? What is going to make this space instantly recognisable as their own?

Visualist speaks to five top interior designers to find out what they've got jotted down on their client intake form...

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Laura Medicus

What type of entertaining do you do?

It is important to understand how a client wants to interact with the space, but also how they hope to interact with others within the space. How can the room you're designing enhance your clients' relationships and facilitate beautiful memories?

Laura Medicus is the owner and principal designer of Denver-based interior design firm, Laura Medicus Interiors. Read our full interview with Laura here.

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Lucy Smith

Where do you usually shop?

Whether it be for clothing, homeware or even food, the way your client shops reveals a lot about their personality, priorities and tastes (quite literally when it comes to food). Familiarise yourself with the brands/shops that your client chooses to interact with and see if there is a common thread that can be translated into your design.

Lucy Smith is the founder of antique furniture store and interior design firm, Lucy Madeline Design. read our full interview with Lucy here.

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Liselle Milner

What activities do you regularly enjoy participating in?

Do you like to cook and entertain? Do you want space for indoor games on a rainy day? Do you need storage space for sporting equipment? An outdoor shower for sand rinsing/dog washing? Your client needs their home to function on a daily basis, so you need to know what day-to-day life looks like.

Liselle Milner is an award-winning interior designer and founder of Zenterior Design. Read our full interview with Liselle here.

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Devin VonderHaar

What is the first thing you feel when you hold this/enter here?

Though it may seem tedious, figuring out the value of each item in a client's home gives you great insight into their priorities—and will definitely help to clear some clutter!

Devin VonderHaar is a Portland-based home organiser and creator of The Modern Minimalist. Read our full interview with Devin here.

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Nikki Holt

Where do you want to be transported to when you're in this space?

There is no place like home... but sometimes it's nice for a home to feel a little bit like somewhere else. Perhaps your client pines after their favourite holiday destination; or craves the comforts of a previous home. A client's answer will reveal more about the ambience they hope to feel in their home and could inform stylistic decisions based on certain areas, emotions or eras.
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Nikki Holt acts as design director for the Luxury Residential Design Studio at Denver-based interior design firm, Kimberly Timmons Interiors. Read our full interview with Nikki here.

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Want more insights from your client? Check out our interior design client questionnaire template.

Elliot Soriano is a freelance fashion stylist and costume designer based in Los Angeles. Elliot counts many a celebrity amongst their clients, including the one and only Lady Gaga.

Find an archive of Elliot's work on their website. Follow their Instagram for style inspiration and celebrity snaps.

Meet Elliot Soriano

What shaped your appreciation of fashion?

The one constant throughout my entire life is my love of cowboy boots. If you look at photos of me as a child, it didn't matter what I was wearing, there was always a cowboy boot. There are photos of me in superman pyjamas with cowboy boots on!

For college, I went to an art school in Portland. There I revived my love of cowboy boots with a few pairs I found at a thrift store near my dorm. My current pair (as pictured above) are red satin with a steel toe—they're a runway sample from when Raf Simons was at Calvin Klein.

Where do you look for inspiration?

I spend a lot of time on Instagram bookmarking inspiration. Films are also a great source of inspiration. My favourite film account to follow is Cinespia. They screen classic movies here in LA at the Hollywood Forever Cemetery and have the best taste for cult classics.

What has been your career highlight to date?

I'm most proud of my work assisting Brandon Maxwell in dressing Lady Gaga. I spent a lot of time researching and calling in students and young emerging designers from around the world for her to wear. Giving those emerging talents the same opportunity to be seen as a major LVMH brand—especially on someone like Lady Gaga—has proven to be very helpful in launching their brands.

We asked Elliot to share their 'bucket list concept'—the creative vision that they hope to one day bring to life...

Family holiday, but make it make fashion

My Bucket List concept looks like something you might see in Dazed Magazine.

I'd love to take a week-long trip to Mexico City with my four best friends. These four friends are my Queer Family and we love working together. During the middle of lockdown, after 3 months of not seeing each other in person, we took a trip to Joshua Tree. The photos from that trip are amongst my favourites ever.

I'd love to shoot throughout Mexico City but the one place I'd absolutely need to shoot at would be Casa Luis Barragán. I took a few courses on architecture in college and visiting this Luis Barragán masterpiece has always been at the top of my bucket list.

Styling would be pretty straightforward—I'd want to highlight each of my friend's individual styles. For authenticity, I'd let them do their own hair but to add a bit of twist to the photos I would like to bring on one of my favourite make-up artists on board, lesgubrious—who just so happens to be based in Mexico City. For the clothing, I'd love to feature Latino designers like Roberto Sanchez and my friend Ivana's dad, Cesar Arellanes, who makes almost all of the clothing she and her wife Brooke wear. I was introduced to Brooke and Ivana through my friend Derek and was just naturally drawn to them by their unique style and energy.

What I love about my Queer Family is that we are all creatives, so collaborating on a shoot would be a dream. They are also very good sports when it comes to my ideas... For our Joshua Tree trip, I insisted that we had a wig party in the desert! Derek and Ivana are both incredibly talented graphic designers and have a really great eye for steering the poses and creative direction. Matt and Brooke are both photographers and always capture great candid photos of our little family.

My idea mostly stems from our desire to travel together. Last year we went to Mérida in Mexico for Brooke and Ivana's wedding and it is one of my most cherished memories of our time together.

Natalie Daley is a doctor with a passion for fashion. Alongside her medical career, Natalie is the founder of Style Confidence Daley—a personal styling consultancy prescribing clothes as a means for women to develop their confidence in the workplace.

I'm listening

Natalie usually speaks with her clients over the phone or on Skype, to discuss the findings of their style questionnaire and their style board. But no matter the method of communication, listening is always key. Listening to your client and what they're looking for is so important.

With all her work, Natalie seeks to really understand the individual's personality and encapsulate that in their wardrobe. Watching the visible transformation in a clients' confidence is Natalie's favourite part of her job. She knows she has done her job well when clients let her know they've been using her suggestions whilst doing their own shopping.

Overcoming obstacles

Styling work is most challenging when a client has a very specific brief. "Your goal is to do your best for your client. Naturally you want to ensure you interpret their brief just right."

Natalie has also had to come to term with the fact that client's won't love every item or outfit you pick for them—and that's okay!

Client deep dive

Natalie's styling services are tailored specifically for women in the workplace. She helps her clients to dress in a way that reflects the positions they aspire to have, or those they already hold. In keeping with Natalie's area of expertise, we challenged her to make an initial consultation for a client who wants to up her game at work by "dressing for the role she wants"—if she had just 5 questions to work with.

Who... do you admire in terms of their style?

What... do you want to achieve by changing/discovering your workplace style?

Where... do you see yourself in the next year if you make changes to your workplace style?

When... do you want to achieve this by?

Why... do you feel that your workplace style is holding you back from getting the role you want?

Got a question for Natalie? Find out more about her services on her website. Or find Natalie on Instagram.

Catherine Robertson trained at the London College of Style before setting up her personal styling consultancy CR Styling. Catherine leaves each of her clients looking like a million dollars—minus the price tag!

Don't underestimate the high street

As a mother herself, Catherine understands that time can be sparse for her clients. But that doesn't stop her from making them feel "confident, happy and fabulous."

And the same goes for budget. Catherine firmly believes that "the UK high street offers all you need to look stylish and effortlessly chic."

Always getting better

The best place to meet a client is in their own homes. "You can learn so much about their style and lifestyle needs from talking to clients in their own house."

To kick off this meeting, Catherine asks her client to show her their current favourite outfit—the one they feel most confident in. The hardest part of Catherine's job is then having to tactfully say, "That looks nice but I can definitely make you look even better!

Client deep dive

Catherine knows she can make her clients look and feel amazing. But first, she has to know what that means to them. We challenged Catherine to pin down the priorities of a new client—if she only had 5 questions to work with...

Who... do you follow on Instagram and love?

What... is your favourite part of your body?

Where... do you usually shop?

When... do you feel your most confident?

Why... have you chosen to work with a stylist? (It is important to know what the client is expecting.)

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Got a question for Catherine? Explore her services on her website, or check out her Instagram.

Michelle Wright, aka Mrs Stylewright, is an East Midlands-based personal stylist and colour analyst. Michelle focuses on helping women over 30 to rediscover their confidence through the power of dressing.

Let's meet

Michelle's process begins with a "getting to know each other call" to establish her prospective client's needs. If all goes well, a meeting follows.

If the client is local, or happy to pay Michelle's travel expenses, then the meeting will take place in person—usually at the client's house. Zoom meetings work too but Michelle prefers to meet her clients face to face. "I think that you get a better feel of a person from meeting in real life."

Dress for the life you live

For Michelle, an honest assessment of her client's day to day lifestyle is key. An inaccurate picture will result in an inauthentic style and the client not feeling truly themselves. As Michelle explains, "It's pointless glamming someone up in suits and heels if they spend their days at messy play with their 3-year-old!"

That is not to say her client's can't use their new style to manifest the lifestyle they dream of. "When uncovering someone's style, I want to know who they aspire to be as well as who they actually are." To get to the best version of themselves, Michelle must first help clients overcome their own negative perceptions of themslves—the hardest part of her job. Her work seeks to build each individual's self-confidence so that they can finally see what others see.

Client deep dive

The most challenging part of Michelle's job is changing people's negative perceptions of themselves. Her work seeks to build each individual's self-confidence so that they can finally see what others see.

To help a client see themselves through others' eyes, Michelle must first figure out how they see themselves. The scenario: a client wants to refresh their style by making the most of what they already have, not investing in too many new items. We challenged Michelle to understand this client's existing relationship with their wardrobe—if she had just 5 questions to work with.

Who... do you want to be? (Who are you now?)

What... do you wear the most?

Where... are you in your life right now? (Where have you come from? Where do you want to be?)

When... did you last feel fabulous? (Where were you and what were you wearing?)

Why... aren't you happy with your wardrobe?

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Got a question for Michelle? Find out more about Michelle's services on her website. Find style tips and outfit inspiration on her Instagram.

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.