Teaches interior design

Teaches Interior Design
CONTENTS
1
04
MEET YOUR
INSTRUCTOR
E x u b e r a n t , d e c i s i ve , e c l e c t i c : T h e
25
COLOR THEORY
T h e h u e s yo u c h o o s e c a n a f fe c t yo u r
mood—and a whole lot more
award-w inning decorator and
interior designer Corey Damen
Je n k i n s h a s a s t y l e a l l h i s o w n . No w,
h e w a n t s t o h e l p yo u f i n d yo u r s
05
DESIGN STYLES 101
31
MIX AND
MATCH
T h e s u b t l e p o we r o f c o m b i n i n g
patterns (w ith tips from Corey)
A handy primer on some of the
m o ve m e n t s t h a t h a ve s h a p e d t h e
look of modern interiors
13
37
ASSIGNMENT
Pick out a houseplant
SHOPPING FOR
INVESTMENT
PIECES
THE BUSINESS SIDE
Ho w t o i d e n t i f y a ke e p e r w h e n
Fo u n d a t i o n a l k n o w l e d g e
yo u ’r e o n t h e p r o w l fo r n e w
fo r b u d d i n g i n t e r i o r d e s i g n e r s ,
(or v intage) furniture
straight from Corey
19
41
ASSIGNMENT
40
ASSIGNMENT
Create your own salon wall
Take a designer self-assessment
21
46
AN INTRODUCTION
TO LIGHTING
T h e b a s i c s o f g i v i n g yo u r h o m e a
g o r g e o u s g l o w, f r o m f i x t u r e c h o i c e s
to bulb selection
COREY’S TIPS
FOR ASPIRING
DESIGNERS
Re a d y t o t u r n yo u r d e s i g n p a s s i o n
i n t o a p r o fe s s i o n? C o r e y ’s h e r e t o
h e l p yo u m a ke t h e l e a p
2
MEET YOUR INSTRUCTOR:
COREY DAMEN
JENKINS
Exuberant, decisive, eclectic: The award-winning decorator
and interior designer Corey Damen Jenkins has a style all his own.
Now, he wants to help you find yours
T
he winter that he founded his interior design
business, Corey Damen Jenkins knocked on
779 doors looking for his first client. While
the number alone is impressive, consider the
fact that he was in Detroit, Michigan, which
has some of America’s harshest weather, and that he
launched this venture during the coldest time of the
year. If you’ve ever been caught out in a bone-chilling
frost, you understand the resilience Corey showed as he
went block by block, house by house, offering his design
services to strangers.
Corey was chasing a dream, but he was also reclaiming
his life’s story. After years of working in the automotive
business—and enduring two layoffs during the historic
U.S. economic recession in 2008—he was tired of leaving
his career in the hands of others. He decided to strike out
on his own and open his firm, Corey Damen Jenkins &
Associates, in 2009. Since then, he’s won a nationally
televised design competition (Showhouse Showdown, airing on the immensely popular American cable network
HGTV), opened two studio offices (in Detroit and New
York City), published an instant-classic glossy hardcover
(Design Remix: A New Spin on Traditional Rooms),
appeared in the annual power rankings of prominent
industry publications (American magazine Elle Decor,
American magazine Architectural Digest), and taken on
numerous projects for a growing roster of elite clients.
Corey may be a household name now, but he still primarily focuses on the craft of design. He has made bold
colors and brilliant patterns his calling cards—a style he
calls “eclectic exuberance.” Working on both residential
and commercial properties, he ably blends smart jewel
tones and adventurous animal prints with traditional
decorating cues, demonstrating just the right amount of
restraint; the spaces he creates feel unique and of the
moment yet remain rooted in the classic foundations of
good design. His singular ability to curate timeless
rooms without a whiff of stuffiness—while also guiding
his clients through the process and staying on budget—
has catapulted Corey to the upper echelon of the interior
design world.
Along with establishing a distinct visual language for
his practice, Corey’s unflinching honesty about what it
means to be a Black man in the interior design industry
has made him a vital voice in the architecture and design
communities. He speaks openly about the dearth of men
of color in the field when he began. And as a guest instructor at New York’s prestigious Parsons School of Design, he
is committed to inspiring the next generation of designers
and architects.
But you don’t need to be an aspiring design professional
to learn from Corey’s MasterClass. Proper lighting, coordinating color, mixing patterns, maximizing your budget—
the knowledge he shares will be valuable to everybody,
from novices to hard-core aesthetes. In the end, he hopes
you’ll walk away with a strong grasp of the fundamentals
of the trade: how to pull a room together and find your
own signature style.
4
101
DESIGN STYLES
A HANDY PRIMER ON SOME OF THE MOVEMENTS
THAT HAVE SHAPED THE LOOK OF MODERN INTERIORS
● ● ● ● ● ●
YOU KNOW IT WHEN YOU SEE IT: a certain chair, a specific color combo, a
bold pattern, a funky lamp. It’s your style. Defining a personal aesthetic is
tricky, so congrats on figuring out the hardest part of the design process!
While knowing what you like is a crucial first step, knowing how to convey
those tastes when you’re actually shopping is equally important. Best to familiarize yourself with the nomenclature of major design styles. That way, the
next time you walk into that chic boutique or go hunting at a flea market, you’ll
know how to ask for exactly what you want.
5
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6
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Mid-Century Modern
The popularity of mid-century modern (MCM)
has skyrocketed in recent years—so much so that
it’s now become almost synonymous with the
term design. This style refers to an aesthetic found
in American architecture and furniture designed
between the 1940s and early 1960s that incorporated stylistic evolutions of several earlier movements. Broadly speaking, MCM design is defined
by clean lines, simple materials, hardwoods, and
very little ornamentation. If you like the look of
the television program Mad Men, this is your style.
Know it when you see it: Eames loungers, tulip
tables, wood slat benches, wishbone chairs, teak
credenzas, atomic and boomerang patterns
7
●
Anglo-American Traditional
This style is all about the pieces that weather the
trends, from well-placed plaids and farmhouse
sinks to clawfoot bathtubs and tufted leather sofas. Anglo-American traditional (a.k.a. trad) draws
heavily on the look of 18th- and 19th-century
English and French decor, playing up dark woods,
antique metals, ornate detailing, and a rich, earthy
color palette. (Deftly combining modern furniture
and youthful patterns to create a trad space is one
of Corey’s signature moves.)
Know it when you see it: classical European artwork, wingback chairs, damask fabrics, brass candelabras, Chippendale highboy dressers
8
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Bohemian
While it’s not a design movement or a particular
period of time, there are enough distinct signature
motifs to make Bohemian design (often abbreviated as Boho) a category unto itself. You’ll often
see a mix of colors and patterns in these spaces,
which are usually defined by an abundance of
plants, natural materials, and an eclectic internationality. (These often originate from the craft traditions of the Middle East, Latin America, and
India; when decorating, be mindful of appropriation and try to purchase your items from artisans
or sources within the originating culture.) Done
right, this style is like a bed-head hairstyle:
intensely curated so the effect is laid-back cool.
Know it when you see it: rattan chairs, Turkish
kilim rugs, jute accents, pouf ottomans, colorful
alpaca blankets
9
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Memphis
This design movement gets its name from the
Memphis Group, an artistic collective founded in
Milan in the 1980s by Italian architect and
designer Ettore Sottsass. Infusing serious craftsmanship with a sense of childlike wonder, the
group incorporated pop art visuals with exaggerated shapes, bringing the look of two-dimensional
cartoon rooms to life. Bold hues, geometric forms,
a dearth of visible woods or natural fibers, and
whimsical abstraction are common themes in the
Memphis style. Think: highbrow fun house.
Know it when you see it: terrazzo stone end
tables, vintage IKEA lamps in primary colors, retro
pastel rugs, wallpapers with squiggles and dots
10
●
Scandinavian
The style that launched a thousand blogs, Scandinavian is about more than where you shop—it’s
the vibe your space evokes. Combining the rustic
craft of classic Nordic cabins with the highbrow
functionality of MCM (many of that movement’s
most talented designers, like Arne Jacobsen and
Greta Grossman, were Danes and Swedes) allows
for an airy sense of purpose. Simple, well-made
furniture interacts with cozy accents like tealights
and pelts. White and neutral colors—with the
occasional pop of patterns, color, and black—
define a traditional Scandinavian aesthetic.
Know it when you see it: chunky knits, blond
wood, ladder shelves, tripod lamps, sheepskin
pelts
11 ●
Organic Modern
Taking a minimalist approach that mixes elements
of MCM, Boho, and other movements, organic
modern plays up super-clean lines and neutral
color schemes—you’ll see a lot of creams, beiges,
and grays in these spaces. In lieu of bright hues,
organic modern spaces layer textures and textiles
(with the occasional black or gold accent thrown
in to provide contrast). Applying this aesthetic
within a refined architectural context creates an
undercurrent of warmth throughout a space; the
look isn’t fussy, and the materials feel inviting. It’s
also a style that merges minimalist form with
major function (think: integrated window seats
and ottomans that double as storage chests)
Know it when you see it: bouclé sofas, terra-cotta
vases, light wood accents, blown-glass lamps, herringbone wood veneers
12
SHOPPING
FOR
INVESTMENT
PIECES
How to spot a keeper when you’re on the prowl for new (or vintage) furniture
W
hen designing a space and creating a
budget, Corey advises you to “remember the analogy of a toy box.” As he
explains, “Put all your big-ticket items
into the box first. And then put all your
smaller toys in second. In other words, identify the things
that are most important to you, the big-ticket pieces, the
sofas, the chairs—the things that’ll get the biggest wear
and tear every day. And invest well in those particular
selections.”
Accordingly, you don’t want to skimp on those bigticket items. But price doesn’t always guarantee quality;
there’s plenty of expensive junk out there and, conversely,
an abundance of undervalued gems just waiting to perfectly anchor your reimagined space. By understanding
what you’re actually paying for when buying investment-grade furniture, you can ensure that you’re getting
the maximum bang for your considerable buck.
13 What Makes a Piece Investment Worthy?
First and foremost, it has to fit the needs of you (or your
client)—because when it comes to investment furniture,
lifestyle is just as important as personal taste. You absolutely want to love the look of your couch or bed frame, but
you need to think about how it’ll be used in practical
terms. If you have children or pets, you probably want to
look for a piece with a performance fabric—an industry
term that describes durable, easy-to-clean textiles. If you
frequently host dinner parties, you probably want glassware that’s hard-wearing instead of sculptural. The world
is full of beautiful, useful things that are worth keeping
forever, and Corey’s work is a testament to that fact. But
you have to find the items that are right for you, not for a
design blogger or an antiques dealer . On the following
pages, you’ll find four practical tips for sourcing the investment piece of your dreams.
1. Pay Attention to Materials
Materials are the most obvious way to identify a quality piece—or spot one that’s
going to end up on the curb in a few years. Real wood and natural fibers generally stand up
to years of use (in some cases, they’ll look better as they age), while materials that are
less expensive to manufacture won’t develop the same attractive patina. That said,
your lifestyle matters: If you’re placing a table in a high-traffic area and don’t want to
fret over water rings from drinking glasses, you might consider a wood frame with
a laminate top. At the very least, try to confirm that the majority of the pieces you buy are
made from a real, raw material.
15 2. Find the Right Fabrics for You
Fabrics are another crucial piece of the quality puzzle, and this is where you need to know
yourself. Are you a clumsy coffee drinker or the owner of a pet that just loves romping
around in mud? Consider spending more on a well-made, stain-resistant fabric, ideally one
with antimicrobial traits. Keep a pristine-enough home? Look for the best white linen
available (go hands-on with the fabric, and make sure you know the source) or the smoothest leather (look for an ultra-tight, full-grain pattern). These are gorgeous, durable, and
classic materials that will last forever, provided you pay up front for quality and take care of
them. (Alternatively, microsuede or velvet offer more budget-friendly options.)
16
3. Shop Local, Be Sustainable
Beyond aesthetics and craftsmanship, buying sustainably made, locally sold pieces
often enhances the value of an item. If you can’t find a maker nearby, seek out a highend consignment store or an antiques broker. Shopping at a small business may cost
more, but you’ll receive more attention, information, and accountability. One of the
easiest ways to sniff out a quality product is to ask the experts! Buying vintage is also
a neat way to reduce your carbon footprint. And unlike a busy employee at a big-box
store, if a local shop owner doesn’t have something that suits your style (see page 5),
they’ll probably be willing to work with you on sourcing the perfect piece.
17 4. Construction Matters
You should also inspect the construction of your furniture. Pieces that are made
to last a lifetime won’t use staples, nails, or glue; the joints will be screwed or dovetailed.
Look for small cracks or buckles in wood furniture. Embellishments like the
buttons on a tufted headboard or the nailheads on a leather sofa can tell you a lot
about craftsmanship, too—they shouldn’t be popping or wiggling at all.
18
A
SS
IGN ME N
T
CREATE A
SALON WALL
How to show off your art collection in style
Y
ou’ve found a few artists you like, purchased some of their
pieces, sent the art out to be framed, and finally have the fin-
ished products in your living room, just waiting to be put on display.
If you’re feeling anxious about the pressure of hanging art around
your home, the tried-and-true salon wall can help. Here’s how to
make sure your home gallery looks polished and professional.
Play With
Different Frames
Consider varying the
types of frames you use
for the artwork. Oversize gilded gold frames
and sleek modern
mattes can exist not
just harmoniously but
fabulously on the same
wall if balanced correctly. Just try not to
group one type of
frame together—go for
more of a mix-andmatch look.
19 Experiment With
Your Layout
Perfect the layout of
your salon wall by
arranging your art on
the floor first. Note the
shapes and styles of
the frames, the art
itself, and how the layout plays with the furniture and any lighting
fixtures. Do this before
you drill a hole or hang
a renter-friendly hook.
Tape Before You
Hammer
Measure each frame
and test your layout on
the wall using tape.
Make sure you like the
spacing and everything aligns with your
preferred sightline. It
may seem like an extra
step, but it’s much easier to shift four pieces
of tape around than
one large portrait.
Shake Up Your
Hardware
When possible, look for
ways to mix up how you
hang your art. From
gallery rods to funky
visible hooks, there are
plenty of ways to make
your hardware part of
the artistic equation. A
little tweak here and
there can make a world
of difference.
20
AN INTRODUCTION TO
LIGHTING
The basics of giving your home a gorgeous glow
C
orey believes that lighting fixtures can go far
beyond the function of providing adequate
brightness. He thinks about them as a way to
answer different needs that a space is calling
out for—in terms of scale, pattern, color, texture, and finish. “Lighting captures all of [these aspects]
in a way that, perhaps, a piece of furniture or a piece of
artwork cannot,” he says. “So knowing how to utilize the
right fixture in the right way can really make or break
your space.”
Ultimately, lighting your space well is a bit of a balancing act: natural light, various types of fixtures and bulbs,
and the placement of light sources all play a role. Once you
grasp a few key principles, though, you’ll be lighting up
rooms like Corey in no time.
Evaluating Sunlight
Not every room will have natural light spilling in through
floor-to-ceiling windows—and that’s okay! Corey emphasizes that the important thing is this: Avoid trying to turn
a room into something it’s not. So, in terms of both lighting fixtures and design, work according to the amount of
21 natural light exposure your space gets on a given day. If
you can, spend time in the room throughout a sunrise/
sundown cycle. Where does the light hit? How does it
change throughout the day? Which part of the room is
darkest? How about brightest?
Once you know how the natural light moves through
the room, you can get an idea of how to lay out your lighting scheme. You want to introduce coverage strategically,
bearing in mind how the space will be used. If you’re a bibliophile, it might make sense to put reading chairs next to
the most prominent natural light source and layer fixtures
elsewhere. If you’re lighting a bedroom, that might look
like high-mounted sconces on either side of the sleeping
area, with lower task lamps on each nightstand—to ensure
that there’s always ample reading light. If you love to host
dinner parties, you might want to eschew floor lamps
entirely and use a dimmable overhead pendant lamp; that
way, you can increase the amount of light in the room as
the sun goes down during suppertime.
The bottom line: A lack of natural light doesn’t need to
cramp your style.
22
Understanding
Light Bulbs
1000 K
The right choice can make your
space shine (and lower your utility bill)
2000 K
CANDLELIGHT
SUNRISE/SUNSET
TUNGSTEN
W
e’ve all experienced bad lighting—harsh, fluorescent, unforgiving—in a dressing room
or office, even if the fixture and placement
seemed fine. The culprit? Bad bulbs. Knowing what to screw into those well-placed task lamps,
sconces, or overhead sources is essential; it can define the
mood of a room, whether you’re going for warm and cozy or
bold and bright.
For starters, you’ll have to familiarize yourself with
the lingo. You’ll almost always see the Kelvin scale used
to measure light color. The lower a bulb lands on the
scale, the more yellow (warm) the light will appear; a
higher number indicates brighter blue-white (cold) tones.
Along with the Kelvin scale, other bulb measurements
include lumens (referring to brightness) and watts
(denoting how much energy a bulb consumes), which
don’t affect the color of the room as much (but might
affect your energy bill later).
To that end, know that energy-efficient LED lights give
off a brighter light. They’re long-lasting and, crucially,
don’t produce any heat, which makes them a fine option
for task lighting. LEDs are a popular replacement for
incandescent bulbs, the old standards of domestic lighting.
These tend to be warmer and work with dimmers, but
they’re inefficient—they last only about a year before
burning out and are being phased out by most countries
due to their environmental impact (incandescent bulbs
use about 80 percent more energy than their LED counterparts). Another incandescent alternative is halogen
lighting, which mimics daylight and gives off a bright white
light. Halogens are energy-efficient and relatively inexpensive, meaning they’re a logical choice for recessed lighting
and larger fixtures that need to illuminate a wide area.
But when it comes to going above and beyond with
your lighting, the smart bulb is king. Sure, being able to
turn your lights on via a smartphone app is a neat party
trick, but energy-efficient connected bulbs also allow you
to fully customize the quality of the light. That means you
can get a wide range of warmth and brightness from a singular source.
23 3000 K
WARM FLUORESCENT
4000 K
5000 K
DAYLIGHT AT NOON
6000 K
HAZY SUN
70 0 0 K
OPEN SHADE
8000 K
PARTLY CLOUDY
9000 K
BLUE SKY
10000 K
AMBIENT
TA S K
ACCENT
TYPES OF
LIGHTING FIXTURES
Familiarize yourself with the three major varieties of lamps
T
hink about how the
space you’re trying to
light is being used. Is
this a high-traffic area
where safety should be
the number one priority (for example, would floor lamps create
unnecessary tripping hazards)? Or
is this a space for hosting and
entertaining? Implementing the
right type of light fixture creates a
certain practical harmony.
Ambient lighting—anything
from overhead track lighting to
chandeliers—provides large areas of
coverage. Seek out pieces that not
only support the decor of the room
but also cast the right kind of light;
sconces, for example, may give you a
warm glow on a wall, while recessed
lighting can illuminate an entire
space. Ideally, you want multiple
sources of ambient light in every
room, allowing you to use them in
different combinations depending on
the time of day, mood, and activity.
Meanwhile, task lighting is the
most functional of all fixtures. It is
there to support those everyday
activities in the home (think: under
the counter or above the bathroom
mirror). Task lighting can work
with decorative elements of your
space, but it should really be considered a workhorse element in
your overall design.
Finally, accent lighting focuses
less on the entire space and more on
a particular object. Whether it’s a
spotlight on a sculpture or a light
above a painting, it exists to draw the
eye to a specific point, putting a special visual feature front and center.
24
COLOR THEORY:
GOING BEYOND
THE COLOR WHEEL
The hues you choose can affect your mood—and a whole lot more
P
aint: It’s affordable, renter friendly, and fun. Two
coats can fully change the look and mood of
your space, and taking on a DIY project can be a
delight unto itself. In fact, paint might be the
most valuable tool in your proverbial interior
design kit. That said, choosing a color can sometimes be a
serious headache. Keep the following tips in mind while
you’re sifting through swatches.
Words of Wisdom
When it comes to choosing a wall color, Corey recommends
a practical, two-pronged approach: Consider your furniture,
and know your light. As he points out, it’s much less expensive to invest in a few gallons of robin’s egg blue than it is to
redecorate a whole room, so let your sofa or rug lead the
way when choosing a color. Also, make sure to opt for a
shade that works with the natural state of your room, rather
than trying to fake your way into an entirely different space.
Look around: Is this space full of natural light or a cozy
cave? In smaller spaces with north-facing light, it’s usually
best to go for jewel tones (colors reminiscent of gemstones
like sapphires, emeralds, citrines, and amethysts) and
25 warmer, darker colors. Conversely, brighter colors highlight
the abundant beams in a light-filled south-facing room.
Get Psychological
Color won’t just change the look of your room; it could
change your mood. Certain shades are associated with
certain emotions, and while these connections are
inherently personal—and vary by country and culture—
there are a few broad-stroke concepts that can help you
choose wisely.
Warm colors (red, yellow, orange, and combinations
thereof) are generally good for spaces that will see a lot of
activity; cooler colors (purple, blue, green, and combinations thereof) are typically better for spaces where you
want to relax. Red is believed to be stimulating and
encourages attention to detail—a good fit for a home office
or craft space in a Western home. Yellow, unsurprisingly, is
thought to boost happiness and self-esteem. Blue is often
associated with safety and security, which is why it’s frequently seen in corporate color schemes for tech and
banking. Earth tones are a go-to for a soothing and relaxing space—especially if you bring in real botanicals (see
26
27 “Pick Your Houseplant” on page 37) to round it all out. By
all means, let your taste be your guide, but if you’re debating between two colors in a bedroom, you may want to
consider opting for the one with the more calming effect.
Tactical Application
If the choice of paint can subtly curate the vibes in your
space, where and how you apply that paint can overtly
shift the feel of a room—or your entire home. Doing all
four walls of a room in, say, a deep sapphire will project a
totally different attitude from that same shade covering a
single accent wall. And who says an accent wall has to be
an actual wall? Painting your ceiling a bold color is fair
game, too. (Doing so while keeping your walls neutral
makes a statement and alleviates worries about a wall
color clashing with existing art or light fixtures.) Maybe
you even try painting the trim, opting for a wall mural, or
breaking up a space with some funky textured wallpaper.
The important thing, Corey says, is understanding how the
choices you make when implementing a color can be just
as powerful as the colors themselves.
The Final Word
These tips and tricks are certainly food for thought, but
color choice really comes down to one thing: the person living in the space. If that’s you, and you grew up snoozing
peacefully in a red bedroom or are absolutely in love with
deep brown, don’t let arbitrary color guidelines stop you
from resuscitating those colors in your current space. There
are no rules, only helpful suggestions. So get to swatching
and see which colors resonate with you. Experiment, take
notes, snap photos of hues you see in the wild that make
you swoon. Get lost in the possibilities. Enjoy the process.
And remember: You can always paint it white again.
“
Wait to paint. Look at your furnishings, your artwork, your
rugs, and say, ‘Okay, these are the
colors I’m working with.’
­— COREY DAMEN JENKINS
28
29 MIX AND
MATCH
The subtle art of combining patterns
W
hen it comes to incorporating multiple
patterns into a single room, it’s easy to
worry that you’re doing too much. But
sometimes this fear of going overboard
keeps you from going anywhere at all.
Don’t worry: Corey is an expert at mixing and matching
patterns. Follow his five tips, and you won’t regret diving
headlong into the world of repeating motifs.
“Be fearless in your creativity
but judicious in your execution.”
Corey says that you should always select the various patterns you want to use throughout a room before you buy
your furniture. These types of choices are easier to implement if you bring in custom-upholstered furniture, but
31 even if you’re picking up mass-market pieces, focus on
planning—with mood boards, pattern samples, or color
boards—to get the right look. Think about where you have
opportunities to add patterns into your home and how
you’d like each room to feel. If you want just enough pattern to keep a room from feeling staunchly minimalist,
chances are you don’t want to commit to a floral sofa. But
if you want to add in as much visual interest as possible,
make sure you’re mastering balance in that space instead
of simply throwing together a hodgepodge of handsome
polka dot, chevron, and houndstooth designs.
“Find the tie that binds.”
One of the first things Corey suggests is finding your “tie that binds”—the pattern that pulls the room
together and can perform, in his words, like the “lead actor or actress in a Hollywood movie.” It’ll pick
up colors throughout the room, appearing in other patterns or solids, so there’s a cohesion with the
larger design. This keeps the space from feeling too kooky and slipshod, no matter how unconventional the peripheral patterns get. And as Corey’s youthful-yet-harmonious spaces demonstrate, you
can get pretty wild so long as this one unifying pattern anchors the overall look. He also notes that
florals are often cast in this leading role since they can feature multiple colors in one pattern.
33 “You want the eye to rove”
When someone walks into your space, you want them to “be captivated by what you’ve done,” Corey
says. You can achieve this by creating visual diversity throughout the environment. In other words,
“don’t put all of your large patterns together in one clump,” Corey advises; instead, try to “mix in
stripes and smaller-scale prints” to offset the bolder designs.
34
“Contrast but don’t compete”
You want your patterns to “play well together,” as Corey says, and he advises emphasizing the contrast so they don’t feel too busy together. Going with a bold floral? Choose a stripe that will complement the original pattern rather than a smaller floral pattern that will compete. Look for patterns that
vary not just in color but in size and scale, too. All plaids aren’t made equal, for instance, so pay attention to the width and size of the checks when making your selection. And be careful not to select patterns that cancel one another out. Think of it like seating guests at a dinner party: You want them to
be different enough that they’ll have interesting things to say to one another but not so different that
they’ll grate on one another over time.
35 “Build in some breaks.”
Solids are the secret hero of pattern mixing; they set the stage for the patterns to really sing. As
Corey explains, “If everything has a pattern on it, you can get visual vertigo.” Usually you’ll want a
larger item in the room, like a sofa, to be neutral so the patterns can pop up throughout the space
without overwhelming the design. He adds a note about the interplay between these visual breaks
and motifs: “When you’re looking for your tie that binds, consider how it plays with the neutrals in
your space. You can have that neutral color reflected in an accent in that pattern so that every element of the room is pulled into the same story.”
Above all, don’t be afraid. If you’re planning ahead and being thoughtful about your choices, you’ll
end up with a room that’s bold and eye-catching but entirely put together.
36
A
SS
I G N M E NT
PICK OUT A HOUSEPLANT
Use this flowchart to find your botanical soul mate (then read more about it on page 38)
START HERE
I want to nurture a living
thing, watching it
grow and thrive!
Oh, I just want my place
to look nice.
Why do
you want a
houseplant?
Do you care if it’s alive?
YES
NO
NO
Do you want
it to take up a
lot of space?
Get a fake!
Get a bird’s
nest fern!
NO
NO
Get a Hoya
compacta!
Get a
moonstone!
YES
Do you
want it to
double as a
fruit stand?
37 Do you have lots of
natural light in your home?
YES
Do you want
something highmaintenance?
YES
Does it need
to be green?
YES
NO
NO
YES
Get a
citrus tree!
Get a
Monstera!
Get a carnivorous
plant!
Get an
orchid!
Get a fake!
Or any succulent, really. This group
of plants—which come in a variety
of shapes and colors—stores water
in their thick, fleshy leaves. Which
means they can survive extended
periods of drought and thrive
in dry climates.
Yes, really. Nowadays, there are
(surprisingly) believable ones on
the market. Popular faux choices
include ferns, fiddle-leaf plants, and
assorted pothos. Another option:
Check out preserved plants—nonliving examples pumped with artificial sap so they maintain a living
appearance (and scent!)
Get a Hoya compacta!
ANSWER
KEY
Get a moonstone!
The long, rope-like plant combines
the best of both worlds: the lush
look of succulent leaves with the
hanging braids of classic ivy. And if
you’ve got a green thumb and a variegated subspecies, you may get a
flower or two out of it.
Get a Monstera!
This influencer-approved tropical
evergreen (often called the Swiss
cheese plant due to its gapped leaf
formation) is ubiquitous on social
media for a reason. You know you
want one. Do it for the ’gram.
Get a bird’s nest fern!
The foliage recalls a banana tree—
large, simple outgrowths of
fronds—except this perennial
doesn’t need much sun (and is
pet-friendly to boot). Just be careful
when you’re handling the plant: Its
leaves are notoriously fragile.
Get a citrus tree!
Dwarf varieties, cultivated for
indoor settings, need a lot of light.
The payoff? Great-looking greenery that can also offer up a handy
garnish for your gin and tonic.
Get a carnivorous plant!
It could be a Venus flytrap, a sundew, a butterwort—any of those
plants you see eating bugs during
the nature shows on TV. These varieties look cool and aren’t as goth
as you might imagine them to be.
Get an orchid!
And keep it in bright but indirect
light. With minimal watering, you’ll
be able to cultivate an elegant,
spindly houseplant whose Technicolor flowers add a shock of purple
or blue to your space.
38
39 THE
BUSINESS SIDE
OF INTERIOR
DESIGN
Foundational knowledge for the budding professional, straight from Corey
“
There are serious questions to ask oneself before
deciding to venture out as a business owner—
especially in a creative field like interior design,” says
Corey. To decide if you’re ready and willing to start your
own business, he suggests you start by taking an informal
self-assessment questionnaire. Turn to page 41 and complete only the first survey, “Am I Ready to Start a Business?”, now.
Done? Great! If you had trouble answering yes to any of
those six questions, running your own design business
might not be the right fit for you at this time. Consider
interning or seeking employment at an established firm
before starting a solo operation.
But if those questions didn’t faze you, then fill out the
second survey, “Should I Work as a Full-Service Design
Firm or as a Freelancer?”, questionnaire on page 41 now.
If you confidently answered yes to at least 12 of the 14
questions in that second list, you could be a strong candidate for starting your own full-service design firm.
(Note: Corey says it’s important that you know the difference between a design studio and a design firm. The
former is a one- or two-person operation, while the latter
is a larger operation with a staff. Within a design firm,
multiple team members work under the leadership of a
principal, and each of those collaborators has their own
billable hourly rates.)
40
A
SS
I G N M E NT
SELF-ASSESSMENT
SURVEYS
Think you’re ready to start your own design business?
Use these two questionnaires to help you figure it out
Am I Ready to
Start a Business?
❑ Am I a self-motivated
person?
❑ Am I naturally optimistic?
❑ Do I enjoy carrying
multiple responsibilities
(wearing different hats)?
❑ Am I okay with taking
risks?
❑ Do I enjoy talking about
my work?
❑ Am I willing to actively
market my company,
portfolio, and expertise?
Should I Work as a
Full-Service Design Firm
or as a Freelancer?
❑ Are you reasonably
accommodating enough
to deal with strong
personalities?
❑ Do you possess an extensive knowledge of interior
design, construction,
decoration? What about
rough and finished
construction?
41 ❑ Are you a team player?
(Note: It’s important to
gauge how others view
you, not only how you
view yourself. Ask trusted
friends, as well as former
and current colleagues,
to give you an honest
assessment.)
❑ Are you an effective
diplomat who’s able to
settle disputes and
differences of opinion?
❑ Do you crave independence and prefer to be
completely in charge?
❑ Do you enjoy sourcing
and vetting contractors?
❑ Are you comfortable
establishing schedules
for various team members and managing them
to meet their milestones
and deadlines?
❑ How are your grammar,
spelling, and punctuation
skills—both verbal and
written?
❑ Are you willing to work
long hours—even on
weekends and holidays—
in order to meet hard
deadlines?
❑ Are you a proficient
multitasker?
❑ How well do you
understand business
contracts, terms, and
conditions?
❑ Are you able to cope with
disappointments and
setbacks?
❑ Are you able to deal with
indecisive people?
❑ Are you able to accept
rejection and criticism
(fair and unfair) without
taking it personally?
How Much Should I
Charge for My Services?
Corey gets this question all the time, both from design students and those looking to start their own business.
Before setting your rate for interior design services, it’s
important to consider your own credentials. How many
years have you been practicing interior design? What’s
your level of education and experience? Have you received
local, regional, or national press coverage? What are your
competitors charging for similar services in your market?
What are your overhead costs?
Corey suggests researching the average rates—as well
as the rates of competitors offering similar services in
your region—to get a ballpark estimate of what you should
charge. You can raise or lower your rates as your experience, educational credentials, and geographical location
evolve or change. Do not, under any circumstances,
devalue yourself (and your industry colleagues) by working for free.
Regardless of the amount you’re charging, Corey says
you need to have a basic grasp on the different types of
pricing models. According to him, there are several ways
to charge for interior design services:
HOURLY FEE
Hourly design fees (or pay-as-you-go) are a simple and
effective way to maintain cash flow. As of 2021, the hourly
rate for a designer in the U.S. starts at around $85 per
hour, with a national average around $100 per hour. Billing can be done weekly, biweekly, or monthly for the
design work and services you provide.
The simplest formula for establishing an hourly rate is
to multiply all the salaries you are paying out (including
your own) by a variable of three. This means that onethird of your expenses cover salaries, one-third is for your
overhead costs, and the remaining one-third should be
kept for pure profit.
“For all the positives with hourly billing, I believe
there are also some inherent negatives,” Corey says. “Clients can get seriously sticker-shocked when a design bill
comes in unexpectedly at a very large number.” This
tends to happen because the scope and volume of work
can change dramatically from one billing period to the
next; it can be hard for clients to budget for your invoice,
which can create tension and frustration. Often the issue
is that clients simply don’t understand—or perhaps
properly respect—the number of hours that goes into
“
”
Clients can get seriously
sticker-shocked when a
design bill comes in
unexpectedly at a very
large number.
­— COREY DAMEN JENKINS
interior design. “When they balk at your invoice,” Corey
adds, “it can be quite disheartening to have to defend
your practice.”
LUMP SUM FEE
An interior designer can also charge a lump sum project
fee per room. This typically includes a personal consultation; several stages of conceptual development; the creation of original renderings and mockups; selecting and
sourcing finishes, materials, and decor; managing subcontractors; and overseeing the execution. Depending on the
room, other services might be needed, too.
SQUARE FOOTAGE FEE
Square footage design fees can be a good approach for
pricing out larger commercial projects, like condominium
developments, hotels, and restaurants. It can be quite profitable and rewarding, as long as the client is being fairly
charged for all the work you’re going to do. It’s essential to
learn what the client is accustomed to paying.
“I always ask them outright what they have paid before,
and usually I get an answer,” says Corey. “By ascertaining
their expectations, you’ll be in a better position to know if
you’re being asked to design a Ritz-Carlton–level project
or working with a budget better suited for a burger joint.”
To determine a square footage fee, start by estimating
how long the project will take, from initial design to final
installation. Six months? Two years? Next, divide that
number by your hourly rate. Finally, divide that number by
42
the square footage of the project.
“Normally, I take this cost and amortize it over a period
of months so that the client has a fixed fee and can budget
appropriately,” Corey explains. “This also ensures that our
firm has consistent cash flow on the project.” However, he
notes this design fee should be separated from other price
points, like furnishings, project management fees, and any
markups. Those would be charged separately.
RETAINER FEE
With a retainer model, the client pays a set monthly fee for
services rendered over a certain time span. For example, a
client may spread an overall design fee of $100,000 over
two years, meaning a $4,166.66 retainer is paid to the firm
every month for 24 months. This fee is fixed and certainly
has its advantages, according to Corey. Namely, retainers
ensure a consistent cash flow for your business. This
arrangement also guarantees that a certain level of work
ASK COREY:
WHAT’S THE DEAL
WITH MARKUPS?
“Here’s the analogy that I sometimes use: The ingredients to
create a Whopper only cost
Burger King a few cents more
compared to a regular hamburger, but the price is marked
up to a few dollars to sell to consumers. Which is to say: Retail
markup is standard business
protocol for nearly all industries.
Interior design is a business, and
it should be respected as much.
The universal standard for marking up costs on fabric, furniture,
and other similar goods is 20
percent. (Smaller firms may
charge a higher fee, but we
should all be wary of gouging clients and, in turn, capsizing the
43 will be incoming from the client—a major reassurance for
larger design firms with big overheads.
If you opt for working on a retainer, Corey says, it’s
essential that you clarify that fees are nonrefundable.
You’ll also want to set regular intervals—say, quarterly or
biannually—to review your scope of work with the client.
This is to ensure that 1) Your firm is delivering the level of
work as agreed upon, and 2) The client isn’t requesting
services that were not originally agreed upon. To protect
yourself if the latter issue arises, Corey suggests that your
lawyer draw up a strong Letter of Agreement, including a
clause allowing you to reassess and adjust appropriately.
entire project’s budget. It’s very
important to be reasonable, fair,
and transparent.)
On the other hand, clients
should not expect discounts
from interior designers. Legally
and ethically speaking, clients
are not entitled to enjoy these
benefits. Yes, early interior
design icons like Sister Parish,
Dorothy Draper, and Albert Hadley sometimes received product
cost breaks from mom-and-pop
businesses; these concessions
were intended to be commission
rewards for representing those
companies, with the designers
acting as de facto sales reps to
wealthy clientele. Only in recent
years have clients begun to
expect (and sometimes demand)
these discounts for themselves.
This is because some designers
are giving away product at the
net costs, or showrooms are
undercutting designers to steal
away clientele. This not only
cheapens brands but reduces
the designer to a mere ‘specifier.’
All of this behavior is unbecoming and betrays a lack of regard
and respect for interior design as
a profession. Bottom line: Discounts were never intended for
client consumption.
Charging a commission on a
product is essential to maintaining an interior designer’s business and livelihood. So don’t be
ashamed of it. In reality, designers are salespeople and service
providers. If a client challenges
you on this matter or demands
access to your discounts, consider it a serious red flag.” - C.D.J.
COREY’S TIPS
FOR ASPIRING
DESIGNERS
Ready to turn your design passion into a profession?
Corey’s here to help you make the leap
Y
ou’ve studied, you’ve practiced. Now you’re
ready to build a career in interior design. But
before you go chasing clients, take a moment
to reflect on how you’ll market yourself. Having a clear and memorable sense of style will
help potential clients understand what you’re all about and
separate you from the crowd. Past that, you’ll need to continue refining your approach and hone some key skills.
Here’s some practical advice from Corey for burnishing
your professional mettle and building a personal brand.
Master mood boards
You can talk about a theoretical design story as much as
you want, but until someone can see the colors, patterns,
and, well, mood with their own eyes, you’ll have a hard
time getting everybody on the same page. A strong visual
presentation of your design plan will help you and the client align on the project, saving time down the road. Put
simply: Mood and color boards are where you’ll really sell
clients on your vision.
Stay on top of new technology
Corey lays out his spaces with renderings. It’s just one of
the many digital tools available to you—and new ones are
always arriving. Utilizing these will help you show clients
how furniture and lighting will flow in the space as well
as ensure that everything you’re planning to put in the
room is to scale. So take the time to learn about various
computer-aided design (CAD) softwares, which allow for
full 3-D modeling. Keep yourself apprised of the latest
tech by following or subscribing to design industry blogs
and trade publications.
46
“
I want to help you see the
beauty of design and
decoration and how
you can use these things
to enhance the quality
of your life.
­— COREY DAMEN JENKINS
Mind your money
This is twofold advice. First, research market rates so you
know how much to charge a client. And second, learn
how to manage a project budget. You want to push your
clients toward quality, but you also don’t want to blow
your entire budget on a single big-ticket item—even if you
(and they) love it. Work with your client to contextualize
those higher-priced items within the larger mission and,
if it ends up being a must-have, really plan ahead for how
to spend the remainder of the budget.
Build a high-quality website…
Corey was discovered by the American television network HGTV via his website, so that should tell you plenty.
Nowadays practically everything happens online, so you
will want to get your portfolio site up and running as
soon as possible. Take photos of each room of every project you work on, and if you don’t have anything in your
portfolio yet, share your renderings. Make sure to learn
basic search engine optimization (SEO) techniques so
potential clients can find you through an internet search,
and make your contact information clearly available.
…and design a memorable business card
Though they may seem somewhat dated, business cards
are a must. They’re perfect for networking with potential
47 ”
clients, other designers, and shops. No need to go over the
top with the design, but keep in mind that it should represent your visual sensibilities.
Focus on interpersonal skills
Learn how to listen. You may have a million good ideas,
but if they aren’t aligned with what your client wants,
they’re not actually that useful. Listen first and foremost to
what your client wants out of a space, how they plan to use
it, and how they want to feel. Once you understand what
their hopes for their home are, then you can give them a
truly custom design plan.
Know the right way to say “no”
While the client’s needs are important, you are still the professional here. If a client wants something that is too expensive or impractical, it is your job to guide them toward a better solution. A simple “no, that won’t work” is never enough;
always have an alternate design plan at the ready.
Become a calming presence
In a perfect world, it is just you and the client executing
one perfectly in-sync vision. But there are often more
cooks in the kitchen. Hear everyone out to make sure that
no feelings are hurt and you’re creating a space that works
for all parties.
48
Credits
Images of Hecker and Simon residences
Courtesy the Detroit Public Library
Rachael Ray Show footage
Courtesy CBS Media Ventures
Business of Home footage
Courtesy Business of Home
Spread from Architectural Digest
Courtesy Architectural Digest © 2021 Condé Nast