[00:00:00] Speaker A: Foreign.
[00:00:07] Speaker B: Collective. I'm your host, Anastasia Casey, and today
[00:00:10] Speaker A: I'm sitting down with Emily Delbello, founder of Emily Delbello Interiors, a New York City based residential design studio known for interiors that are layered, collected and deeply personal.
[00:00:22] Speaker B: Earlier this season, we had a conversation
[00:00:24] Speaker A: that really has stayed with me. A designer who made the deliberate choice to leave a major market to to build something intentional in a smaller city and to grow a studio on her own terms, away from all the noise. But today, we are going in the opposite direction. Emily Del Bello grew up in a small town in Indiana and she moved to New York City. And New York, as anyone who has tried to build something there knows does not make it easy. It is a market with an almost intimidating depth of design talent, a client base that arrives at the first meeting
[00:00:54] Speaker B: already knowing exactly what they love, and
[00:00:57] Speaker A: a competitive landscape that will expose every gap in your confidence, your process and your point of view. And Emily built a studio that thrives inside it. In this episode, we are getting into exactly how she did it. The leap from the Midwest, the early years of figuring out New York, what it actually costs financially, creatively, personally to establish yourself in this market, and what it looks like to serve clients who are as design literate as the city they live in. We will also get into the evolution of her studio beyond client work, including her fabric and lighting collaborations, and what that expansion has meant for her business.
If you have ever looked at a major market and wonder whether there is room for you, this conversation is for you.
[00:01:40] Speaker B: Do you feel like managing your projects has you all over the place?
If you have been running your firm for a few years now, you've probably tried everything cobbled together, apps, spreadsheets, a project management tool or two, and somehow you still feel like you are barely holding it all together. It's exhausting.
[00:01:57] Speaker A: But it is not your fault.
[00:01:59] Speaker B: Most tools were not built for the way interior designers are actually delivered delivering projects these days.
[00:02:04] Speaker A: But materio was.
[00:02:06] Speaker B: From concept to handoff approvals to procurement to billing with QuickBooks sync built in, Materio brings it all into one connected workflow so your projects finally feel totally under control.
Get started today. Free for 14 days, no credit card required. And Interior Collective listeners get 50% off their first month at getmaterial.com that's M A T E R I O getmaterio.com hello Emily. Welcome to the show.
I'm so excited to have made it here today. We've been trying to make this interview happen and it's just such an honor to finally have you here.
[00:02:44] Speaker C: I'm so excited to be here. Thanks for having me. It's more of an honor for me, so I appreciate it.
[00:02:50] Speaker B: Well, let's go ahead, Emily, and start at the very beginning. You grew up in a small town in Indiana where. When did you start to understand that design was the direction you wanted to pursue professionally?
[00:03:07] Speaker C: Honestly. So ever since I was a little girl, I always moved my room around and I would push my own bed. And my mom, at a young age, she let me work with her interior designer to design my bedroom.
And it was so much fun.
I did like these clouds on the walls with a muralist. It was actually very fun.
And then I interned for him when I was in high school. And like our town was so small, you know, two stop lights, like it was, you know, very small town.
And I went to college and I didn't know what I wanted to do.
There's a lot of people in the medical field in my family, and so I just was kind of like, I don't know what to do. Do I need to be a dentist? Do I need to be a psychiatrist? I don't know.
And my mom, so I still couldn't figure it out. And so my mom was like, emily, you need to take this test. And it was this test that the college was offering to kind of like help pinpoint down what you liked in your strengths. And so I took the test and I'm sure my mom knew this all along, what it was going to point me to, but I did it. All signs led to interior design and that next year I signed up for my studio classes. I transferred to Indiana University and that's.
I got started there and then that was it ever since.
[00:04:37] Speaker B: That is so fun. My sister in law went to IU. We are an IU family.
Yeah, 100%. And it could be a more beautiful campus. So I imagine that it would have been a spectacular background to transfer to and start your interior design career.
[00:04:53] Speaker C: Yes.
[00:04:54] Speaker B: So after iu, at what point did New York enter the picture? Was it always the destination or did you kind of arrive at it a little more gradually?
[00:05:05] Speaker C: Honestly, it was not the destination at all. I like, I was living in Chicago. I had met my now husband, he was working in New York. I was living in Chicago and we met there. And then eight months later he proposed to me. I moved to New York and at the time I was working for a startup and it was in.
I was a men's stylist and I just like, I was like, okay, I'm going to New York, I want to do what I love. And I was like, if I'm making this big move from the Midwest, then I'm going to do interior design. And that's what I did. And I, you know, started at a design firm, and we're still really close today. I worked for her for four years, and that's. And then I had my first baby. And once I had Carter, I just, like, I was like, I don't know. I don't think I can go back. Like, I think maybe I'll try. Like, I'll help my friend or I'll, you know, do this. And I was like, but I really want to be home with Carter three days a week, you know, and then it turned into two days, and then one day, and then I was working every single day. So it kind of. It was all very, like, I never had, like, my. Like I said on something until I knew I was moving to New York. And I was like, okay, I'm going to put my feet down, and I really want to do interior design. And I'm so happy I did.
[00:06:30] Speaker B: Can you expand a little bit about how you found that first job in another interior design studio? Like, once you actually got to New York with your, at that point, fiance, like, how did you get your foot even in the door?
[00:06:43] Speaker C: It was.
So I worked for Trunk Club, which at the very beginning, this was when I was in Chicago, and it was really small. Like, we were just starting out. And now it was like, it. It exploded, and then it ended up selling to Nordstrom. But back in the day, it was like all these girls out of college started, so it was kind of like. Like a sorority in a way. So the girls were connected to everyone all over the US So whenever I moved to New York, I was like, hey, I'm going to New York. Do you know anyone? Interior design? And one of the girls there, she knew someone who was working for my boss, Michelle, and she introduced me to Michelle, and then it was just us three working together for the four years.
[00:07:32] Speaker B: Wow.
[00:07:32] Speaker A: Yeah.
[00:07:33] Speaker C: I mean, it was all honestly, just like, through network and, you know, just. It all kind of just fell into place.
[00:07:41] Speaker B: Well, I think what I'm hearing that is so important for people to remember that I fear people often shy away from is just telling everybody what it is you want to do. You have to speak it out loud for someone to be like, yes, I do know someone.
[00:07:56] Speaker A: You have to meet so and so, 100%.
[00:08:00] Speaker B: And so often we're holding our cards so close of, like, this big, amazing dream that we aren't actually telling every person we meet that this is what I'm looking to get into.
[00:08:11] Speaker C: I agree with, that's with anything in life though too. And I feel like once you start like speaking stories or telling anything, asking any questions, you're going to be connected to the next dot, to the next dot, to the next dot. And the next thing you know, you have this network around you that whenever you need something or if even in terms of the, you know, design with the electricians and things like that, no matter where I'm at, like maybe we have a job in Canada and I know some Canadian based design designers and I'm like, hey girls, I'm headed up. Like I need an electrician or a storage facility. And they're like, of course, here it is. You know what I mean? It's just all about putting it out there and the network.
[00:08:56] Speaker B: Fast forward to today. What does your studio look like? Walk us through your team structure. How many people there are your project volume, like what's your sweet spot for how many projects you guys are managing? And also what does your role look like inside of that team?
[00:09:13] Speaker C: Oh my gosh.
So I love my team.
Obviously my team has grown throughout the years.
We started out just myself in my kitchen essentially, and then one employee. And now we have, there's six of us, there's two project managers, two design assistants, one office manager. And then we have interns that come and one of our interns, she's been with us for three years and she's going back to school soon and we're like, so sad.
But our, so the, the team, it's been growing in terms of like the project count. And then I just, I got to a point where I was like, okay, I have three young boys at home and I needed to sort of put a topper on my projects. And then that then put us like a limit on my employees. And I realized that like, I'm so happy with my team and my count now. I, I was, I am not ready to have more employees essentially.
So I, we take on projects there, everyone. A lot of people ask that question. How many projects do you have? What's your sweet spot? Honestly, I, I never know the exact number because some are starting and some are like, I'm finishing the accessories. I like to say that we have, you know, 8 to 10, like that are super hot and heavy at the time, you know, and then the other ones are maybe like, we just are looking at the floor plans some again with the accessories. And I find that that is such a good number for us. And as soon as we start offloading projects after the install, then I'll start thinking about bringing on another project. But sort of when one closes out then I'm like, okay, I can open it up at our office manager, she's incredible at keeping me, you know, hey Emily, these inquiries are coming in like we're, she's going to be starting here and that there. And she really helps keep me sort of, okay, we can take on a project now. It's not starting until then. And kind of. Or when she knows when we're like at our max, she's like, okay, we, we're going to pass on this one. We need to like just pass for a little bit.
[00:11:33] Speaker B: Eight to ten heavy loaded projects for a team of six is pretty extraordinary. That's a lot. You guys are busy.
[00:11:43] Speaker C: You know, I always say we are a really, we're like a small team, but we're extremely mighty. I am so heavily involved in every single aspect. I like my girls. Maybe we need to pull lamps or something. My girls will pull lamps or all pull lamps, but nothing goes out that inbox or to show a client without me seeing it, me editing it, me adding to it.
And so I think that that also really helps allow us to have these, the amount of projects that we have. Because I'm so heavily involved and each team is completely split. So the project manager and design assistant, they'll obviously meet the other team's clients just based off of being in the office. But sometimes they will never see the, those projects that we're working on, which I think it's, it's great. I can handle working on them all, but it allows my team to hyperfocus on their five or you know, hyper focus on their four at the time and just it works out. And you know, my team is like, they're rock stars. I don't. Can I say that? Can I cut?
[00:12:55] Speaker B: You can say that.
[00:12:56] Speaker C: Please do like rock stars without them.
I, we want to, you know, exist and, and I'm so like, I'm truly thankful for everything that they do. And they're, they're along with us for this like dream in this ride. Like we're just, it's like we do one project and the next one comes, I'm like, oh my gosh, like this is insane. And they're along for this ride with me and it's so fun.
[00:13:21] Speaker B: That sounds incredible. I'd love to hear how you're managing like what your workflow looks like when you have two Designated teams with a project manager and the designer on the project.
And you're saying you see everything that goes out the door or inbox.
What, what level of reviewing are you doing on them? Talk to us about like what your day to day is, because it sounds like your business model is so many people's dream. Like, I want to be involved in every project. I want to get to see everything, but I don't want to necessarily be having to do all of those tiny finite, except execution details. Talk to us about like, what your workflow actually looks like day to day.
[00:14:02] Speaker C: Sure. So I'll take you through my office, what I did yesterday. So perfect. Well, Monday and Tuesday, basically I go into my office two days a week, Tuesdays and Thursdays. And those are my days. I check on my city projects and also I catch up with the girls. The other days I'm going to be on my job sites for new builds and you know, any other stop in that I need to do. But I'll go into the office and, and the girls have everything pulled out. Let's say that we needed to design this new city project that we're, you know, presenting soon. So I'm like, okay, girls, I get, I like the whole team to be there that that's working on it and the interns. And then we just go through and we're like, okay, this is what we're thinking for the living room. And I just start like, we start throwing out the fabrics and like we're all choosing. Like, I truly rely on everyone's eye, not just mine. Like, obviously sometimes I pull out stuff and they're like, Emily, like, chill out. And I'm like, no, guys, this is it.
But so we do, we do a lot of that pulling in the office. The girls will lay out things that I need approval on. Maybe we need to pull pillows. So the girls will pull like 20 fabrics for pillows. And then I go through every one and there's five left and we send those five to the client and they, you know, I'm answering all the clients emails, I'm speaking directly with them. I'm making the big calls with the project managers and the GCS builders. I'm in contact with all of them. My girls, they are more of the back end work of all the computer things. So once I pick those fabrics those girls are going to put it into, you know, find the pricing, get the budget. How many yards do we need? They're placing all the orders, they're getting it to our vendors. I'm extremely loyal to My vendors, they do, they move mountains for us. And like, I, I'm so thankful for them because when we're in a pinch or like, they were like, we have such great relationships that it's like, okay, you know, the girls are sending multiple yards here and there. Something gets mixed up. And everyone, they're. It's like they're really good team players, too.
[00:16:17] Speaker B: Okay, I want to back up a little bit because you just mentioned that, like, you're handling all of the client communication.
Is your team, is your project manager on that particular project's team? Are they, like, drafting the email that needs to go to the client or, like, giving you the bullet points and then you're drafting it? Like, how are you managing all of this client communication?
[00:16:40] Speaker C: I don't know.
I know I write all my emails. My girl. So, like, let's say we have a big open to do list, right? And I, I, So I know the gist of it. I know it's open, but the girls then fill in.
Like, they'll be like, we are sending out.
The Chair is arriving April 4th. This is happening June 7th. Like, they'll type it in, but then I go through, read each one and make sure that it's exactly like what it's supposed to be and then send it out. But they, I will say they tee up a lot of the scheduling. Obviously, they manage the whole schedule. That's also. Kate manages my schedule because I, if it wasn't for her, I would pack in like 100 zooms a day, thinking I could just, like, no problem, one hour.
But they tee up everything in the sense of the scheduling, letting me know when things are arriving. But then I communicate that to the client. I think it's so important that the client knows that I am so involved. There's not anything that happens on a project that I don't know or I didn't make the decision on.
[00:17:49] Speaker B: Yeah, that's incredible. Do you feel like, particularly clients in New York expect their designer to be hyper involved? Do you feel like that's, that's more specific to the, like, level and caliber of clients you're experiencing in New York, or do you feel like that is just how you have always envisioned this running?
[00:18:12] Speaker C: I think it's a mix of both. It's truly a mix of both.
When people do interview us for a project, they are asking, you know, am I going to be communicating with you or am I going to be communicating with your team? And I say, you're absolutely going to be communicating with me. However, my girls will Email and say, hey, this price went up. Is it still okay to proceed?
Or something like that. But I think it's so important. As, you know, I've done my own home and when I work with people as well, I think it's so important for the main, like the head of the company or whatever it is. They need to be involved. They need to know what's going on. Like, I feel like it could be such a bad look if a client is upset calling and you're like, what? I didn't even know that happened, you know, And I just. I think that's when you start to lose your business a little bit. And I'm sure that 100% happens whenever it starts growing and more employees. And I think that's why I stayed so strong and put my feet down of, okay, we're done taking on projects right now. Like, my girls are maxed out, and this is. This is where we're at.
[00:19:20] Speaker B: Okay, and then last question. As far as communication goes, is your studio manager handling invoicing, or are you also sending those financial emails?
[00:19:31] Speaker C: No, she. Kate, my office manager, that's her business. You know, I. I stick. I always tell her. She asks me questions. I'm like, I'm just the talent, you know, Obviously, I did all that stuff in the beginning for many, many years, but it came to a point where I needed to focus and put my efforts in the things that, like, it's really important to the business. And she. She handles all the invoicing, you know, sending that out, getting it, the payments from the clients, community, all that communication. I am on it. And she fills me in every week, like, okay, we're sending out these invoices this month, and these are open invoices. So she keeps me in the loop. But that is truly. I let. I trust her wholehearte.
I see what's going on, but she manages it.
[00:20:17] Speaker B: I think that's such an important delineation because it allows you to continue to have that amazing relationship with your clients and you don't have to get emotionally involved with, oh, well, do we send for that many hours? Do we not? Et cetera. Which brings me to my next question. Can we talk about pricing just a little bit? I'd love to know how you currently structure your fees. Are you doing flat rate? Is it hourly? Is it a hybrid? And how has that evolved as the studio's grown and matured?
[00:20:46] Speaker C: So I. I do commission base and design fee. So if we're just decorating a home, I'm going to do a Straight design fee and then a commission on everything we order. I do extend all designer discounts to my clients. Anything that I get pricing on, they get. I use their credit cards for everything. And then we charge 30% on the subtotal. So it's truly so black and white. There's no gray area. It's not.
I don't know how the hourly would be so hard for me because we're constantly like, we're jumping back and forth so quickly and I'm thinking about them all the time. So for us, this structure works out really well in terms of new builds.
I do set fees for the bathrooms and the kitchen and the millwork. So as the firm has grown, I've really, really gotten into millwork. I think it's just so crucial in taking a project from, you know, here to here.
And I. So that number, the numbers, as our experience grows, you know, more, the square footages are getting larger. So then that means, you know, we're having to put more time. Those set fees, those are getting larger and they grow every year just based off of, you know, typical office things, you know, expenses, things like that. But also projects are getting bigger, more experience.
So we. That number gets bigger. But other than that, I am so, like, it's very strict in the sense of like, no lenience. And obviously people ask, and I always say I would ask too, for like, do you wiggle on this? Do you drop this? What if we give you this? Or you have like, you know, And I'm like, I'm so sorry. I've never wavered on my pricing and I've never gone down because in the world it gets smaller and smaller. And I just, if I did it for one client, she's gonna tell him, you know, and then they're like, emily, why didn't you do that for us? And I have such great relationships with my clients that I just.
It would be a chaotic mess that I just, I don't. I can't do.
[00:23:07] Speaker B: Emily, I think you touched on something that I have been thinking about non stop. And we're working on something internally at our studio to, to bring to market hopefully soon. But this concept of this flat fee for design, because hourly. You talked about it.
[00:23:24] Speaker A: Your experience grows. And if you are just billing hourly
[00:23:28] Speaker B: a. I do think everyone should be tracking their hours. So you know how long it takes you to do totally so you can come up with those flat fees. But there gets to be a point where you can't be charging $600 an hour because you're so Experienced. And that's where this flat fee concept comes in, that you can have a flat fee that can incorporate that proprietary experience that you have protecting yourself. But like, you do end up pricing yourself out if you just keep charging hourly and are reporting every single hour and you're saying it's $250, at some point you are leaving money on the T because you gained so much experience and you do your job faster. And you shouldn't be exactly penalizing or punishing yourself because you can do your job faster because you are so skilled. So I love hearing how you do that. I think the commissioner markup, that's definitely like standard industry practice.
Great to hear that you do pass along all of your discounts and you're still just making flat 30%. And therefore, if you are buying something that's vintage or retail, yes, maybe someone is paying 30% more than retail in those instances. But it's also being made up elsewhere where you're getting, you know, 40 or 50% off as a designer. So thank you so much for breaking that all down.
[00:24:39] Speaker C: I loved. I can talk business like that all day.
[00:24:43] Speaker B: So let's talk about establishing yourself in New York and that market specifically. What were the real challenges of breaking in and how did you navigate them in those early years? I know you said it was your network that helped you land a job at a design studio.
[00:24:59] Speaker A: You were there for four years.
[00:25:01] Speaker B: What happened when, after that did you go right into opening your own practice or was there a stepping stone in between?
[00:25:08] Speaker C: It was just slowly.
I was helping my cousin, then I helped my friend, and it just sort of built because they told their friend. And in the city, it's smaller than what you think, so it just gradually grew.
I.
Wait, I'm so sorry, what was that? What was the first part of the question?
[00:25:30] Speaker B: No problem. What were, like, the real, the real challenges of break into New York? I know that you started by getting that referral to the studio you were with for four years, but then how did you transition from working for another designer to having your own studio?
[00:25:45] Speaker C: Just, it was, it was. I worked for, I helped my cousin and then I helped my good friend, and then it was just referral based. But honestly, I knew new no. 1 in New York, like, New York was not my, you know, network. And. And definitely, like, I think it's just hard work. Like, you have to be ready to put in hard work, put in those hours, be ready to sacrifice. Like, why your friends are all going to dinners at night and you're choosing to do design Plans, and that's okay. Like, I truly enjoy it, and so I'm okay. I don't necessarily consider it a sacrifice at this point.
I feel very lucky. But to get at. To, like, take. Take your baby, you. You just. You just have to work, and you have to put in the time and work hard and being honest and just doing everything at your best ability. And that's. That's truly all. I think, like, anyone could give you a job, but if you're not going to do the work, then, you know, you're not going to get another one.
[00:26:52] Speaker B: How did you navigate working for another studio and then taking on your own projects on the side or, you know, moonlighting with that? I know I've talked to so many people here on the show that are, like, it's their biggest fear that, like, their lead designer starts taking on other work and then goes off. And I think it takes a very confident, comfortable, supportive person to be like, we'll find someone else someday. Like, when that time comes, we will figure it out. But we want to support you in your endeavors. But how did you navigate that relationship?
And then what was it like when you were really like, okay, this is the time I'm. I'm going to start doing it on my own.
[00:27:30] Speaker C: So she had. She had a son, and I had my first son. And I just was honest. I said, I just don't think I can come back and give myself the full, you know, five. Five days. And as, you know, as an interior designer, it's just not nine to five. It's all the time.
And I. I just told her that. And honestly, she supported it, and she said, I understand.
And then I started helping my cousin and then another friend, and she then, because she was so. She is just, like, at such a different level than, you know, when I was starting that, I mean, she was able to then refer me to clients because they were like, they were like, we love you. We love you. But she was like, I'm so busy. And also, like, way out of their price point. Right.
And so I was lucky enough she would refer me to people, and then that helped. I just, I think that I don't. I. Not. Not that I got lucky.
You know, she.
[00:28:36] Speaker B: She.
[00:28:36] Speaker A: True.
[00:28:37] Speaker C: It was just like, we were honest. We talked about it, and she supported it. And she still, to this day, is, like, such a huge, like, supporter. She's always like, I'm so proud of you. And it. It means a lot. Like, I want her to like my stuff.
I'm like, michelle, what do you think
[00:28:53] Speaker B: you know, there's a confidence required to really present yourself as a serious design voice in New York when you're still building those credentials. How did you develop that? And was there a moment where you feel like things shifted and you were
[00:29:12] Speaker C: like, okay, I got this 100%. I'll never forget, we. I had this project in the Hamptons, and we went. It just like, we. I clicked with this client so well. She had amazing taste. It was like, at the time, it was definitely one of our bigger budgets. Like, it was.
Was such a pivotal point in our career. That project just. Just, like, it shined in a different way. And I truly believe it was the first time that the client was like, I. I like what you do. I like your thoughts and how you look at things. And I think that it takes a long time for as a designer to get to that point being like, oh, like, I like this, but I don't know if they're gonna like this, you know? And then that. And then we went to the Paris flea markets and we shopped one year. My. My. One of my longest employees at that time. I was like, let's go to Paris and shop the markets. Like, let's just go.
And we went. And it. It just opened up a whole new world of design. And, like, my love for vintage is like, I knew I loved it, but, like, going there and now I source in France and Italy and London. Like, it's so fun to, like, once you start getting in the world of vintage, it's actually smaller than you think. And so now the. The vendors, they'll reach out and they're like, hey, Emily, we've got this, this, this.
But I think that those two moments in our. In my career that really, like, it just changed everything. And I. And I don't know how to explain it other than, like, it just did. It was like, maybe it was. It was finally the time that people were, like, letting me design what I like versus, like, following a picture or a trend, you know?
[00:31:10] Speaker B: Totally.
If you've been running your firm for a few years now, you've probably got a system in place. And I do use that term loosely. It's going to be a mix of apps, some spreadsheets, maybe a project management tool that was close but never quite right. And you are still the one holding it all together.
But here's the thing. Most tools were not built for the way interior designers actually deliver projects. Materia was concept to hand off approvals to procurement to billing, with QuickBooks sync built right in one connected workflow Interior Collective listeners get 50% off their first month at getmaterial.com free for 14 days, no credit card required. That's M A T E r I o get material.com so one of the things that I think clientele in New York and also markets like Los Angeles is unique is that they come to a project with some level of experience or they've worked with the designer or an architect before. They, they're prepared to have a team. How does that change the dynamic of the design process when someone knows what they want, but then are hiring you to execute your vision?
[00:32:19] Speaker C: So it's funny that you say that, because a lot of my clients, they tend to be younger families. And so this is their first time working with a designer. They're like, I'm building my forever home.
We do build a lot of forever homes. You know, that's like. And it's their first time working with a designer. Sometimes when they have worked with a designer, I ask them, hey, how did you previously work? Let me explain to you how we work and how it's going to be different.
And I think our, the way that we handle everything is so straightforward and like telling that they, they feel comfortable. I always give referrals. I let my client, I let you know, future clients speak to previous clients if they like a certain project.
And I, I, I haven't really, you know, sometimes I've had, you know, if they've had a bad experience with a interior designer before.
A lot of the times it comes down to, I think, the billing aspect. I know that that's like, it's such a gray area. And I'm like, listen, there's not going to be that issue because it's just, it's just this or this, you know.
[00:33:28] Speaker B: Yeah, it's just this flat design fee that you signed up for at the beginning.
[00:33:32] Speaker C: At the beginning.
[00:33:33] Speaker B: What now? I'm going a little bit off track because I still am so interested in how you price. How do you protect yourself with scope creep? Like, so you have this flat rate. But then they're like, okay, let's go ahead and let's actually finish out the basement or X, Y and Z, whatever it is. Do you just like apply a new flat design feed to it or how does that happen?
[00:33:53] Speaker C: So we're only taking on right now projects that are full scale. So we don't, we aren't able to take on projects that are in phases or anything like that. Of, of course our clients will have maybe a new baby or maybe the grandkids need a New updated room. I am more than happy to come back for my clients to do those rooms. But right now, in our stage of our firm, we are just like, you hire us for the full scale, the whole thing at one time, and there's no going back. So that doesn't.
It doesn't really pop up very often, but if the scope grows, then that means the budget's going to grow. Right.
So then I'm charging 30% on that new added budget. So it's.
[00:34:36] Speaker A: It.
[00:34:37] Speaker C: It's sort of kind of like, I guess it protects itself.
[00:34:39] Speaker B: Yeah.
Something that I've noticed is that it just sounds like you are so lovely to work with and so accommodating to your clients.
I'm very process oriented and we talk a lot about process here on the show. How, how tight do you stick to your team's process versus accommodating the way that a client prefers to work?
[00:35:07] Speaker C: I think that they just trust our process. It's like, I know this. I've got it down to a science. I know where it's their first time building a home. And I'm like, okay, we're going to start in the bathrooms and we're going to then work our way out because you're going to need their roughs first. And I know how the home is built, and so I truly guide them. And sometimes my clients, they. I have one client and I love her, and she gets so excited about interior design and she's like, okay, let's go now to this room. And I'm like, no, no, no, we need to finish. Like, we have to make our final decisions on this round because if not, you're going to have these opened over here. Why we've got this. And then it just becomes so overwhelming, not only for my team, myself, but also it's extremely. It's like decision fatigue for the client.
So I always try, like, we'll do when we start design or we do our presentations. I do the main areas first and then I show the bedrooms. So it's. It's separate meetings. That way we've got that big. You're like, where your most dollars are going to be going to. And all those decisions are made. It's designed and then we're going on. So then we also know, okay, we have this amount of dollars left to spend for the bedrooms.
[00:36:25] Speaker B: Do you ever find, I'm hearing a lot that construction costs can creep. Something was unexpected.
And then when it comes to like, ordering the soft furnishings, like the final elements, which is where you're making your 30 commission, that budget ends up getting cut. Do you have, have you had that experience? And if you have, do you have any protections in place to, you know, help ensure that you do get compensated for all the things that you did source, even if they don't end up purchasing?
[00:36:58] Speaker C: Yes. And I think that that's something that just comes along with your years in the industry.
You know, like shit happens and that's okay. And that has happened before where a budget. We went into a project and the budget was this, this and then it got it, it got taken down and that's totally fine. I, we have to, for us to take on the project, we have to have a budget minimum. And that's another thing. I have budget minimum set so that again, I don't have to take on multiple projects for my, for my office to stay going.
And so I do this budget minimum.
[00:37:39] Speaker A: Now.
[00:37:39] Speaker C: I have that as a clause in my contract that if this is the budget minimum, if it is not hit, you are then charged the 30% remaining, you know, whatever. Like let's say it's, you know, a hundred dollars and they only spent 70, then we're going to charge 30% on that $30.
Just because at the end of the day I still have to pay the girls who did all that work. I have to pay the office, you know, all the, all the things.
[00:38:08] Speaker B: Is there an instance when you know, someone's project absolutely exceeds your project minimum but that budget still gets cut? Is that an instance where you would just have to eat it or is there protection against that as well?
[00:38:22] Speaker C: You know, I don't.
That it's. That hasn't happened and if it did, like, if it already exceeded the budget minimum and then I had to cut back, that's fine. It's just that the clients then would just really need to understand, okay, like, like we started here and we need to get to here. That means it's your turn. Like, you have to be understanding to know to like, we can't do that light. We can't do this, we can't do that, and that, you know, that's on you. As long as like my minimum is hit and covered, then I feel safe with like my team taking on and giving that spot away. You know, we only have a certain amount of spots, you know, as things open and close. And I want to be super excited about the project. I want to like, I want to be, you know, I don't not. There's always issues, but like, you know what I mean? I just, I want to be Excited. And I want my team to be excited about it too.
[00:39:20] Speaker B: That is a perfect transition to my next set of questions. Thank you. Talking about pipeline and project flow, it's one of the most anxiety producing parts of running a design studio, especially in a city like New York, when you have rail overhead.
How do you, and it sounds like your office manager manage that, like, feast or famine cycle? And have you built any structure or rhythm into the business that that helps alleviate that?
[00:39:49] Speaker C: No, again, I think that it. I. I think that's every designer's worry, though. Like, I still, sometimes I'll text my boss, I'm like, oh, my gosh. Like, do you ever get nervous? You know, and. And it always comes. And it comes back to the fact of, like, you work really hard, put your head down, and just like, I really, truly try to stay in my lane, do my thing, and just, like, work. And I found for me that that has worked because then it has allowed my clients to refer me to their friends or they're proud of their project and want to show someone, and then that allows our projects in the future. Now we have, like, we have four new builds that will be finished in 2027 that we're currently working on.
In my head, I truly like to be set, sort of like I plan business wise a year in advance. So it's like, okay, I know I have these four new builds and I need to fill in, you know, these couple months with decorating jobs only. So that's like maybe a city house, a suburb house, a second home, something like that. But I really try to plan it out that if so I've got these, and now I know where I need to do my fill in so that I'm prepared. But I always have to think.
[00:41:06] Speaker A: You.
[00:41:07] Speaker C: You just have to think ahead. And then thankfully, phone calls come in like, hey, Emily, like, we're moving, or you know, a previous client that I'm doing another home for, you know, and those help fill in your schedule throughout the year.
[00:41:22] Speaker B: 2. Okay, so you have four new builds wrapping next year. Are.
Have you gotten to the point where your team could take on four new projects at the same time? Or is it like that would be staggered throughout the year?
[00:41:35] Speaker C: Staggered throughout the year.
There's technically, like, two of the projects are finishing in August because it's like they're coming back to the city. So we need to get those cities city apartments done so that the kids can then start their school year.
But, like, typically, all the projects are sort of in a very staggered form. You know, all those Homes were supposed to be done around the same time, and now it's like, one is like going to be five months. One is going to be, you know, four months. So that helps me. But, you know, it always, like, spreads itself out.
[00:42:13] Speaker B: Do you. It sounds like you guys have a healthy amount of inquiries coming in, whether that's referrals or repeat business or new business. Do you run like a specific wait list and saying, hey, we'd love to take you on in 2027 to. Or are you. When you have a gap, is that really when you, like, open things up and then the inquiries come at that time?
[00:42:33] Speaker C: So when the inquiries are coming in, if I can't take them on or say, okay, well, we're looking into September or we're looking. As soon as I know that these two will wrap up, I can take them on. Whenever we do have an opening, I know it's going to be an opening around that time and we have increase, then I can take them on. But at some, you know, at some points I'm just like, I am so. I'll just get. Get so at my limit of, you know, managing everything. And I'm like, we just. We gotta, like, just pause for a minute. Like, I don't. I can't even read them sometimes. I'm like, I get. I'm like, because you want it so bad. Like, they're so. You're like, oh, my gosh, this is. Sounds so amazing. And I'm like, oh, my gosh, my girls are gonna kill me if I take on another one, you know, so is my husband, you know, So I like, it's. I try not. Like, once in that spot, I don't read. But then once I am ready to be back in that spot, I obviously am on board.
[00:43:25] Speaker B: Let's talk about PR and press. How important has press and publicity been to the growth of your studio? And are there any particular placements that you feel really moved the needle for you in, like, a meaningful way?
[00:43:39] Speaker C: I think press it being placed in magazines and in print, I truly believe it solidifies you as a designer. It solidifies your company. It shows you. Shows the, you know, world that, hey, we are doing this level of projects that can have that sort of placement. I think it's really important.
I couldn't afford pr, you know, in the beginning, and it's still. It's an. It's an expense and it's something you have to think about and you have to outweigh. Like, is this giving me more projects? You know, is this generating anything and at the beginning, I wanted it, but I couldn't have it. And so it was, you know, through Instagram and just showing my day to day that, like, hey, we're out here, we're working. Call us. You know, we can. We can do it.
And then you. Once you can get a PR team behind you, they are your liaisons to the magazines again. I try to stay in my lane. I do what I'm good. You know, I. Contacting the magazines and all of that is a whole other beast of its own. So I do have a team that shoots out our images and also, again, back to the network. I just, like, each, like, we just did this incredible collaboration with Bass Stone, and it's because I, like, truly strictly shop with them for my stone needs. I love them. I think their slabs are so clear and vibrant. And the. The. My rep and I, we kind of started at the same time together, and we've grown together. And it's just like, if she needs anything from us, we're gonna do it. And, like, if I'm like, I need that slab there tomorrow or can you get this? Like, she's gonna get it to us. It's like. Like, your network is so crucial, and that's how we got that collaboration. Because I truly love them. I love working with them. And so it was like a very organic, I guess, PR type of situation.
[00:45:37] Speaker B: So talking about product collaborations and collections, you've also expanded with fabric and lighting collaborations in addition to your own faux floral brand.
[00:45:48] Speaker C: Yeah.
[00:45:48] Speaker B: What made you want to go there?
[00:45:51] Speaker C: So I was doing so many faux florals for my clients, and I.
It is such a pain to go and, like, get it all set up and doing that. And I was like. And I met this other Emily, who. She is an incredible florist, like, the queen of, like, the biggest wedding florals you could ever imagine. And I was like, you know, she knows her florals. I know what, like, my clients are going to want. And I was like, where can I get these? Like, what's. What's the best looking faux floral that we can get? And we worked together to get our core flowers, and then it just kind of, like, it took off because it was.
I mean, it sounds like a lot. At first you're spending 200 or 300 on faux florals, but then one year later, when you haven't had to replace them, it's like. Like, I like to call it girl math. You made money, you know, because you're spending like 20 or $30 every week at the grocery store, and it adds up.
[00:46:55] Speaker B: Talk to us more about this, like, faux floral concept, because I have some designers who are like, I would never.
What makes. What makes your market or your clients particularly open to faux florals? And. And aside from the girl math aspect of it, like, how do you. How do you sell them on it to ensure that their space always looks beautiful?
[00:47:17] Speaker C: Well, that's. That. I feel like I'm not even selling it on them because we set up. So after an install, we set up their whole home with all the accessories. And I love going back into a home after a year. And I'm like, you didn't even move that book. You know, like, they love it because I set it up for them. They never have to worry about their entry flowers again, especially in the city. There's no, like, windows are rare in entries. You know what I mean?
They just. It's. They walk in, their guests are walking in every time, and it never has to be. Go back and be fixed. So it's like they start with their entry, and then it goes to their powder room, and then it's like, on their family room table. And they're so realistic looking, the ones that we are selling, that they. They just look beautiful and real, and so they're not like, screaming, like, plastic green fake in your face.
[00:48:06] Speaker B: Yeah. I also think because you do so many second homes and New Yorkers are often out of the city, like you were saying, and then coming back to have things just be set for them when they get back probably is like a huge relief in itself as well.
[00:48:20] Speaker C: Yes. And they can, like, come back and they walk into their home and it's like, oh, you breathe. Because it's like, beautiful.
[00:48:27] Speaker B: Emily, if you were starting your studio again today in New York City with everything, you know now, what would you do differently in those first two years?
[00:48:40] Speaker C: Cry less? No,
[00:48:43] Speaker D: no.
[00:48:44] Speaker C: I would believe in myself a little bit more. And, like, you know, not stress so much. I was so. In the beginning, I was so worried about, is my taste good? Is, you know, am I doing this? Do I like. Like, are people gonna like what I really like? And I think that that, that stressor and letting that go and just do just like, we love this, and if you don't like that, that's okay. Like, you know, it's. Everyone has a different taste and, like, just not be so stressed out about that part.
[00:49:20] Speaker B: Do you think that the fact that you ended up transferring and majoring in interior design, that that was a leg up when it comes to design in New York City because it's like this constant conversation, or I should say lack of conversation. It's just this constant like, like, fact in interior design that there are some hyper successful designers who did not get a technical education, interior design, and they're, you know, killing it and doing amazing things. And then there's also this viewpoint of, like, you're not an actual interior designer unless you've gone to school for it.
[00:49:56] Speaker C: I.
It is such a hard question, and people go back and forth and maybe this is like, controversial, but I, I am proud of where all my girls went to school, to be honest. Like, it's great. However, when I look at the resumes, I. It's not what, where they went to school, it's really the technical. So maybe they didn't go to school, but they got their. They decided to take an AutoCAD class and Photoshop class and like those, like, they do these packages, you know, if you're out of school and you want to get into it, it's. I want to see what they can do that way. And then it's about meeting them. Like, I want to know, like, what's your hustle? Like what. Like, I think that you're. You as a person is so much more important to me and my firm than where they learned their autocad from or how long they spent in school, you know, with interior design. I know that's probably sounds so crazy, but.
[00:51:00] Speaker B: No, I love to hear that perspective because in, in my experience, people who went to school are like, you have to go to school. And the people who didn't necessarily go to school for it are like, it's, it's like you said, it's about what, like, what skills you've been able to pick up, whether you taught them to yourself, you took individual courses.
[00:51:18] Speaker C: It's really about get out there and work. That's the. I mean, that's how you learn everything.
You know, no one care. I mean, well, personally, like, you know, the art history of like, the chairs and things like that. Like, my client, I could tell her that and she'd be like, okay, cool. You know what I mean? Like, it's. And that's what school was. And school also was a lot about for me personally. It was commercial design and school. And I don't do any, like, hospitals or, you know, schools. And so I truly learned everything in the field, like, just getting out there.
[00:51:54] Speaker B: Thank you for sharing that. Okay, last couple of questions for you before we have to go. For the designer listening right now, who is looking at New York or another major market and wondering, is there room for me? Can I make it there? What do you want them to hear?
[00:52:13] Speaker C: Yes.
I knew no one, not a single soul. And you can do anything that you work hard at, put your mind to. And I will tell you, every girl that works in my office, they all reached out to me separately. Like, they reached out via whether that's Instagram or sent our office an email and said, hey, are you hiring? And sometimes it was at a point where we weren't hiring, but I was like, wow, that's an amazing resume. Let's keep that, Kate. And we're gonna, like, if we need someone, we're gonna reach back out. And the. Our most recent hire, she.
She'd reached out to us, I think it was two years ago. And I was like, listen, you know, you sound great. However, like, I really do need someone that knows AutoCAD and Photoshop. It's crucial in. In how we run our office.
And she was like, okay. And she called me again in two years and she says, hey, I know it. I got my two years of experience and can I please. I would like to, you know, interview again. And I was like, wow. I was like, let's do it. And like, just that, like, strength and motivation in herself to do that. That's like, that's the type of employee I want. I want a go getter who's gonna go out there and put herself out there. We all get no's. I get no's all the time. But, like, maybe you reach out to a designer and she happens to be opening and she's like, wow, this girl reached out to me.
[00:53:45] Speaker B: It's amazing. Okay, Emily, last question. As we close out, I love to end the show knowing what is coming up for you. Are there any projects you're specifically excited about, Collaborations or milestones you can share?
[00:53:58] Speaker C: Yes, there is in particular this mountain house that we're doing. It's in upstate New York in Windham. And it's a. It's so different than our other projects. So it's fun. It's like a stretch. Like, it's like, like, oh, we're adding plaid on plaid on plaid. Like, I don't get to do that in, you know, the suburbs of Connecticut. So it's like, it's new and exciting and I can't wait. And I think I truly believe.
And something really funny. I really wanted a mountain house this year. And so at the beginning of the year, I told the girls, okay, girls, we're gonna go get some, like, it was like some westerny fabrics from the
[00:54:35] Speaker A: D and D. And I was like,
[00:54:36] Speaker C: we're gonna keep it in our office and this is gonna be our, you know, way of, of speaking it to the universe. And then it came along from a previous client they called and I was like, oh, my gosh. I was like, girls, this is, we're. We're doing it. And then I really hope that that opens us up to show our range of, like, we can do mountain houses. And I'm just, like, really excited for that chapter.
[00:54:59] Speaker B: That's so exciting. I cannot wait to see it. I love a mountain house and I can't wait to see your version of it. Emily, this was, was so wonderful. Super fun to talk to you and just super inspiring to realize. And just remember that, like, you can manifest it if you're willing to put in the work and you're a perfect example of it.
[00:55:20] Speaker C: Yes, yes. It was so nice. Thank you so much. This was fun.
[00:55:29] Speaker D: For more in depth analysis of this interview, including exclusive downloads, examples and more, don't forget to subscribe to the Interior Collective on Patreon. We are building an amazing private community of interior designers and industry experts open to candid conversations and answering questions. Join us on Patreon in the show notes
[email protected] the Interior Collective. Thank you so, so much for tuning in to this episode. Producing this show has truly been the
[00:55:57] Speaker B: honor of my career and I cannot believe I get to have these conversations.
A big, huge thank you to our
[00:56:03] Speaker D: production team at Idyco Studio and Quinn Made, as well as this season's presenting sponsor, Ann Sachs. Your contribution literally makes this podcast feasible and the biggest thank you to you, our listeners. Your sweet notes, DMs and reviews mean so much to us as we work to keep our show free and always accessible.
Until next time, I'm Anastasia Casey and this is the interior collection of a podcast for the business of beautiful living.
[00:56:31] Speaker B: And a very special thanks to our presenting sponsor this season, Materio, the project delivery system built specifically for interior designers. Visit Materio Co to get started.
