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- [00:02]
Caroline
Welcome to how to Decorate from Ballard Designs, a weekly podcast all about the trials and triumphs of decorating and redecorating your home. I'm Caroline. I'm on the marketing team.
- [00:11]
Taryn
And I'm Taryn and I'm a product designer.
- [00:13]
Liz
I'm Liz. I head up the creative team.
- [00:15]
Caroline
We're your hosts. Join the expert team at Ballard Designs for tips, tricks and tales from interior designers, stylists, and other talents in the design world.
- [00:23]
Taryn
Plus, we'll answer your decorating dilemmas at the end of each episode.
- [00:25]
Liz
We love answering your questions, so don't forget to email us@podcastallardesigns.net now, on with the show.
- [00:34]
Caroline
Okay. This week, we are thrilled to welcome back to the show Nashville interior designer Stephanie Savvy. Known for her ability to blend historic charm with modern sensibilities, Stephanie's design embraces the unique stories behind every space. So it is perfect that today she's going to be introducing and sharing her book with you. Interiors of a Storyteller. It's part personal essay, part your interiors, and all of your latest design projects series. So, Stephanie, welcome back to the show.
- [01:03]
Taryn
Thanks for having me.
- [01:06]
Caroline
So happy to have you. You know, we. We spoke a couple years, maybe four or five years ago, actually. So it's been a minute, but how exciting for your new book to be out this month.
- [01:20]
Taryn
Yes, thanks.
- [01:21]
Caroline
And we get to make sure everybody hears about it and goes and gets it on pre order.
- [01:26]
Taryn
Yeah. I forgot how long it's been since we've talked. We. I was still working from home when we talked, and so I remember sitting in our mudroom to get away from my office. And we've now been here for four years in this space. So it's. Time flies.
- [01:43]
Caroline
Yes. And I think, you know, I think it was in Covid. So we were all kind of.
- [01:46]
Taryn
Was it? Yeah.
- [01:47]
Caroline
Working in a corner of our existence.
- [01:50]
Taryn
Yeah.
- [01:50]
Caroline
Carving out a corner of our house. And I can see your beautiful design space there.
- [01:54]
Taryn
Right. Yeah. We're in our. We have a little shop now, but, yeah, those are. Those are fun, scary times. And now here we are in 2025 figuring out how to do life after.
- [02:04]
Caroline
Exactly. Well, I can't wait to talk about the book because it is rare to have a design book that is laugh out loud funny. And yours is.
- [02:16]
Taryn
Oh, thanks.
- [02:18]
Liz
It most definitely is.
- [02:19]
Caroline
It's laugh out loud funny. But it's also so touching. I literally laughed out loud and cried through various parts of the book. And it just is just so vulnerable and sweet funny. And then on top of all that you get this gorgeous design work that you get to ogle over. So it's definitely one that I think our audience really needs to have in their collection because it's. It's just a book you want to read.
- [02:52]
Taryn
Yeah.
- [02:52]
Caroline
And I think so if you. Design books are.
- [02:55]
Taryn
Yeah, that was the goal. I have a ton of design books, obviously, for mostly decoration. And we always joke in my office like, who reads design books? And I was like, if I'm spending a year and a half doing this, I really want people to actually read the text. And so, yeah, my publisher, Gibbs Smith, really let me kind of do what I wanted to do. And I feel like it's. I really wanted to write a memoir, but no one knows me as any sort of author or storyteller, so I kind of used my interior design work to get the opportunity to write the book that I've always wanted to write.
- [03:31]
Caroline
Well. And you really beautifully weave. I mean, you're a great writer.
- [03:35]
Taryn
Thank you.
- [03:36]
Caroline
Have you always known this about.
- [03:37]
Taryn
No, I think I'm a good storyteller. I do. I read a lot and have a lot of, like, true author friends and know what an art form that is like. But some of my favorite books are written by people like me who just had really good stories to tell and figured out the writing part. And so, you know, I know what truly beautiful writing looks like. And I. I don't think that I am that, but I do think I have some really interesting stories to tell and, you know, the writing is good enough.
- [04:05]
Liz
Totally disagree.
- [04:06]
Taryn
Well, thank you.
- [04:07]
Liz
You have such. Such really great pros. It's really just so fun. And I know I just ended up messaging the team and just being like, oh, my gosh, I just got my hands on the. The PDF and I can't put it down. It's. It really. It really was amazing and it totally hijacked my day and it's been great.
- [04:29]
Taryn
Oh, thank you. Yeah. I really truly hope. I've had a couple people that we've given early to copies to be like, oh, the work is. Looks beautiful. I'm like, no, no, no, read the words. Like, I'll put the work on Instagram one day, but, like, the words will live in that book. And so I just really hope people sit down with it and yes, look at the pictures, but, like, read the stories because I have lived a pretty and I think it's fun to share who I am and how the interiors I create come from that.
- [05:00]
Caroline
You do really weave some of your laugh out loud, funny life experiences. But you weave them beautifully into the design work so it doesn't feel like, okay, here's. Here's the section that's a story, and then here's the section that's design work. You. You've really, like, thread. Threaded the needle in a beautiful way. So I really liked that. You know, for example, one of the stories you introd the book with is going to visit your childhood home and kind of reveling in the fact that it was something that your dad built, but, like, it was still there. And you asked this question, which I love, and I wondered if you could just expand on it, like, when did we stop building things for permanence? I loved that as the introduction to the book because that is so much what your design style is. It's so timeless and can feel permanent in the timelessness. So kind of share with us that.
- [05:56]
Taryn
Yeah, yeah, it was. It was a really interesting, like, neat story of. I went back to the town that I was born in. Both of my parents had already passed away, and I was with my brother. And we. I just was like, can we drive past the house that, you know, is my first house? And so we did. And the neighbor came out, as, you know, a good neighbor does, to be like, who are you and why are you trespassing? And he knew my parents. He lives in the house next door to the. The house that my parents built for 40 years. And so he talks about my dad building this house. And, you know, my parents were poor by all standards of being poor. They, you know, had enough money to build this little ranch house in the 80s, and so they did. And. And it looked, you know, in Nashville, we're building, and it seems to be a common thing to people to be like, well, that's not my forever home. And therefore, like, I don't have to care, even though it will be there forever as far as all of our lives are concerned. Because, you know, it's not like an interior renovation where you kind of rip a kitchen out every 15 to 20 years. You know, exterior architecture is there for most of people's lifetimes. And so as I've seen the town, I've grown up and change and this kind of disposable architecture insert its place in the name of, I guess, affordability, although nothing's very affordable or, you know, getting things done quickly or, you know, influx in population. So we need this. But it's all just. It's all terrible looking as far as the way it's. It's wearing and weathering and. And I Drove back to this house that my parents, who had little to no money, built, and I was just like, wow, it looks as good as the day that my dad built it. Because he, you know, he used brick and used, you know, materials that have, like, been in our construction palette for hundreds of years. And it just really struck me as, like, when did people stop building things even when they were young and poor, that would still be there in 40 years and look like they did? And anyway, I was proud of him. I give my dad kind of a hard time in the book. You know, he had his demons. But in that moment, I was super proud of, you know, him doing that work. He physically did a lot of the labor himself, and, you know, it was something to be proud of.
- [08:21]
Caroline
Well, you know, I've followed you on Instagram for so long, and I did kind of have to chuckle at that one because. Which you do talk about this later in the book, too. I will always see your post on Instagram. That's like, another house got torn down. And, you know, you're. Which I. You know, I love architecture, too, and so I. I'm right there with you. How rude, right? They're destroying the neighborhood.
- [08:46]
Taryn
They're destroying the neighborhood. They're taking this beautiful house and tearing.
- [08:50]
Caroline
It down, and they're going to build.
- [08:50]
Taryn
Something hideous and big. Big and hideous.
- [08:53]
Caroline
Yes. What did you call it? Tall skinnies.
- [08:55]
Taryn
That's. Yeah, that's kind of what I feel like everybody calls them around here. It's just, they tear down one house and they build two on the same lot.
- [09:02]
Liz
Right?
- [09:03]
Taryn
Yeah. It's all driven by numbers. I get it very much from a financial perspective, but, you know, from someone who. We all read storybooks and saw movies, and we want to live in these towns that, you know, we visit on vacation, and then we. We treat our own homes like they're disposable. And I'm like, why can't we aspire to live like we vacation? Like, who doesn't want to live in a Charleston or a Boston or, you know, these historically preserved towns? Nashville doesn't. Nashville does not. It is not a town. Yeah, it is. It's financially driven opportunity type architecture. And it's. I get it. From a business person perspective, someone who, you know, is in a business to sell and make profit, but from something that I'm gonna leave my children when I die and thinking about my grandchildren and just being like, hey, sorry, you know, it reminds me of the Lorax. Did you guys see that movie? Yeah. Like, we're just gonna have plastic trees and plastic houses soon. And, like, kids will be like, remember when houses are made of stone? Or, you know, and it'll be like a urban legend, because it just feels like nobody's doing that anymore.
- [10:17]
Caroline
Well, talk to us about your design style, because, you know, it is very much timeless, informed by the classics. And I wonder if you could kind of speak a little bit to sort of where that touchstone of your projects came from and how you, you know, sort of came to love those traditional elements.
- [10:39]
Taryn
Yeah, I. I was doing some, like, soul searching on that recently, because I wrote an article for Substack, and I haven't published it yet, but I was thinking about where. Where did this love of historic architecture come from? And after my mom passed away a couple years ago, I was going through photographs of hers, and she had this photograph of this Edwin Keeble. Edwin Keeble was a really prolific architect in Nashville starting in the 1920s, and I had only heard of him. It's Edwin Keeble. I'm not sure if I said that right, Edwin Keeble. But my friend Catherine had renovated one of his houses about 10 years ago on Belmay Boulevard. And I had, like, peeked through the bushes to catch a glimpse of this house that she was doing, because I knew, you know, it was. It was a really awesome historic home. He's done several in this area. And so a decade later, I'm going through my mom's stuff, and she has a printed picture that she developed at Walgreens of this same Edwin Keeble house that my friend Catherine was renovating. And I did not remember my mom being, like, an architectural buff. Like, she didn't. She didn't talk about it a lot. She didn't seem to, like, you know, like I do with my children, where I'm like, see that house and see how horrible that detail is. But then she had this stack of photos where she had definitely, like, peeked through these privacy hedges to take photos of this house. And so I think that was something like we just did as a family, because it was free and, you know, it was fun. And we both loved movies like Home Alone or Steel Magnolias that had all these, like, architectural moments built into the movie. And so I've always known from a very young age, I talk about in the book, I lived in a condo complex that one day started putting vinyl siding. And I was little, and I was like, this is not good. I can tell. And I'll get some hate messages for this. I get. I get the point of vinyl siding. But you know, from a historic point of view, and long term, it's not ideal. And. And I've just kind of always known. So when I established this firm, it was in Boston. And that even more so opened my eyes to like, whoa, this is historic architecture in a way that Nashville's never been able to kind of show me. And then I moved back here and I was just ruined. I was like, no, this is not how it should be. There's better ways to do this. And so, yeah, I've established myself on very much like, there is nothing new under the sun. We refer to history for most of our projects. We're not trying to reinvent the wheel, but it's it. It resonates with most people because history does. Like, whether you've pursued it or seen it or however experienced it, it feels like home because it's not new. And that's just what we try to create. And very personalized. Lived in, you know, spaces that feel like they've always been there. And it's so fun because there is so much exploration to happen with learning the old ways of doing things. And there are precedents. And like, when people say, how should we trim this out? I don't just think of it off the top of my head. Like, I'll dig and research and look at proportions of old fireplaces or door casings with transoms and how that details. You know, it's fun. It's like solving a riddle. And there is always an answer. It's. Whereas like picking a paint, there's not a fact, but like the right proportions of a door or a header or a base. We have hundreds of years of precedence and it's so fun to like, help people figure it out. That was kind of a long answer. Sorry.
- [14:12]
Caroline
Not at all. Like, you could go on.
- [14:16]
Taryn
I'm very passionate about it because like I said, there's not a lot of science in interior design. Like, my husband's a physician and there are just facts about his. And my field is so emotion based. Right. If someone likes hot pink, who am I to tell them hot pink is not the right color? But in terms of scale and proportion and materiality, there are facts with that. Like, you can say, you know, it's less opinion based. And I like that. I like something to hold on to and say, this is right, that is wrong.
- [14:46]
Caroline
What. What resources do you use? It's like your kind of go to, like, if someone was like, hey, I have a new house, I need to figure out a trim. Like, what do you reference?
- [14:55]
Taryn
We I collect, like, when I'll go to bookstores. I mean, there's a ton online, but often bookstores, like used bookstores, will have books of, like, colonial homes documented with the sketches, and we save all of that. So a lot of our fireplace designs, the way we do our trim and crown profiles and stuff like that are derived from these, like, colonial architecture books that we found. Or we'll find even just an image, a photograph on Pinterest or somewhere on the Internet and pull that into CAD and draw over it until we get all the profiles ourselves. Yeah, it's fun. I mean, I'll. Everywhere I'm taking pictures and bringing it home. I went to. I had never been to Savannah, and I went to Savannah in October, and it was like my head exploded with just soaking in all the architecture.
- [15:43]
Caroline
Oh, yeah, you're right. And they, you know, they have a very rigid historical society and review boards. Yeah.
- [15:54]
Taryn
You know what they do? They. They have changed their, like, lighting on their lampposts at night, and they're like these blue LED bulbs. And I was like, how did this sneak past anyone? You know? And it's like, there's that side of design, the. The hard things, but then the things like the lighting and stuff, that whole part of it too. And I'm like, this is bad.
- [16:16]
Caroline
Oh, no. Okay. Someone needs to write a letter. Yeah, I'm surprised that. Yeah, true. Just swap some light bulbs.
- [16:24]
Liz
I was surprised. Looking through your, like, on first glance, looking at all of your work, they don't feel like new builds at all. And I think that that's just so remarkable because each of the spaces feels like they have a history or an experience within the space or there's like a built in nostalgia. And it's. That's so comforting.
- [16:49]
Taryn
Yeah, I love. Well, it's part of, like, the storytelling. And that's kind of what I'm talking about a lot this year when given the opportunity is like, I feel like people want to tell a story with their home, but they don't know how. And so it feels safe to do these, like, all white tonal. I'm not committed to anything, and to me, that's like waiting. It's like this temporary housing idea where it's like, well, this is not our forever home, so let's keep. Keep it neutral. And really, like, every part of living anywhere you live should be this, like, slow evolution of becoming, like, who you are and where you want to live and telling a story. So when guests come to your house, you want them to say, like, this feels like you, you know, instead of like this feels like a tear sheet from a catalog or something. And so we just help people. And some of it's. I'm full of it. Like I love to just make up a story. I often when we sell art to people, they'll be like, well, I don't know, I'm not sure about whatever. I'm like, no, it's your story. If that portrait is a stranger you've never seen, you say who it is and you make up that story and that's who it is forever, you know, and same with an old, a new old home. You create the stories. Like we had a project where the foyer had a, a beam in it and it created this like canted ceiling moment. And I was like, this is the story of like this is an attic space. It's not an attic space. But it was a charming quirk of architecture that we wove into the overall interior instead of it being this just like kind of wart on the, you know, it offered an opportunity to tell a story. I think so many parts of interior are just that. And sometimes people just need someone who are a little more, I don't know the right word for it, like full of it, like me to help them, like tell their story. And it's fun. It should be fun.
- [18:36]
Caroline
Well, I, I love that idea of, or I guess that insight about, you know, the, this isn't our forever home. And, and I've, I've thought about that too a lot. Just in that like if you are saying that to yourself, this is not our forever home and then you're not furnishing it as though it's your forever home, then will it ever truly be comfortable enough for it? Like you'll always be uncomfortable in it and therefore looking to the next home where as if you, if you were to furnish it and treat it as though it is your forever home, you might actually have more longevity in that house because you're comfortable there. But if you're always like, I'm never going to do it because it's not going to be permanent, then you're, it's never going to be comfortable and therefore you're always going to want the next thing.
- [19:26]
Taryn
Yeah, no, I've, I've often.
- [19:27]
Caroline
So it's a self fulfilling prophecy.
- [19:29]
Taryn
Yes. Right. Like I've had to live, you know, in different scenarios. My husband went through medical training. So like we lived in apartments for a long time and I often had, you know, I'm a big bloom where you're planted Like, I don't think there's joy found in a well appointed home. I think that if people are. I, I feel like sometimes when you say this is not our forever home, they're waiting for their, their happiness in a way, like I'll be happy when. And I, a part of the book wrote that, that like these homes aren't the, like culmination of happiness. People didn't get these and then say, my life is perfect now. My, my joy is found right interior. A very fun thing. And I, you know, I collected and started telling my story in these rental apartments and then had pieces for our home that we live in now. But it's not. Yeah, you shouldn't wait. You just. Life is too short to kind of save it all for that one day home or that one day life.
- [20:29]
Caroline
I want to get back a little bit to the storytelling element because I'm curious, you know, you have such a. Interesting story and you tell it in such a fun, like not only do you have great life experiences, but you've told them in such an entertaining way. But how did you pick what to share in this? In the book?
- [20:46]
Taryn
Like my journal, I got all the drama of my life. I was like, let's just pick a chapter and tell it. I tried to break it up into kind of an oversight of my whole life thus far. So I touch on being born and in my early childhood and then I talk about being in design school and then I talk about, you know, being young and married and, you know, finding out I have another brother. And. And then I talk about dying and, you know, losing my parents and my brother. And so it really is just kind of a. When I look at the photos of my work, because I've been doing this for a long time now, but for myself 15 years, I remember life through. So if I see a picture of a living room, it's a picture of a living room. But I see that room and I think I was pregnant that month. I was just about to deliver Cora or I remember that project because I thought that was the project that was going to make me as famous as whoever, you know, and it like makes me laugh. So felt natural to share the projects and then tell the stories, you know, and kind of relate to you in that way.
- [21:51]
Caroline
Wow, I love that. And I feel like probably so many of us do that, you know, like there are strange little touchstones in your life that you're like, oh, that was when I was doing such and such. Yeah, that's really. Yeah. Just because I, you know, I'M sure, like, there were so many different parts, like the tree house in West Virginia and little moments where I was like, I. I feel like there's probably so much she could have shared. And I loved the little. The little glimpses you gave us into your. Into your life and how that turned you into the designer and the person that you are now.
- [22:25]
Taryn
Yes. Thank you.
- [22:27]
Liz
I also love tying. Tying the project into, like, those spaces that meant so much to you as a child. You know, like the. Like the treehouse and how you carried that through into the projects.
- [22:41]
Taryn
Yeah, no, the treehouse. That was pretty. That was a monumental kind of first foray into design. And it. It, you know, sealed the deal for me. I was like, yes, this I get. You know, we've all had it. I told. I did career day for my fifth grader last year, last. Last week, and I was like, raise your hand if you've ever, like, rearranged your room or organized something. You just felt like a new person. And they were all like, yes. Like, we all get it. You know, it's. It's just this wonderful piece of life that we can control. Like, life is pretty much like, there's so much you just cannot control. But, like, rearranging the furniture in your room, rearranging your pantry. Like, who doesn't feel like they are ruling the world when we do those little things? And. And the fact that I get to do that professionally for people is such a gift, but everyone can do it, you know, it's. It's like the act of. It's. It's just having control in your life, so. I write about that in the book, too. I think that's why I'm drawn to the profession in general.
- [23:41]
Caroline
Do your kids rearrange their room?
- [23:43]
Taryn
No. I know. Isn't that sad? They really don't. My boys, beds are built in, so. And they just kind of don't care. The girls play school a lot, and so their room is somewhat rearranged, but not like I did, where I was, like, moving ahead, board to a different wall and stuff like that. I. I guess I would let them if they started, but they haven't tried yet, thank goodness.
- [24:09]
Caroline
Yeah, I think about that all the time, too, because I'm like, I loved that about growing up, but if my girls ever did that, I'd be, like, really annoyed.
- [24:17]
Taryn
I know. I feel like we're terrible. We didn't give our parents enough credit for that kind of stuff. I do in that same vein, like, when someone's kids are dressed just like. Like, Total nut job. Like, you know, you're like, I know. You know, that's crazy. And they let them. I'm like, you are my people, so I would let them. But, yeah, I. It would be weird.
- [24:37]
Caroline
You give them the stinka, but you let them do it.
- [24:39]
Taryn
Yeah. Yeah. I hope they were doing a good.
- [24:41]
Liz
Job, but, yeah, my kid just does it in the middle of the night.
- [24:45]
Caroline
Oh, there you go.
- [24:46]
Taryn
Yeah, I love it.
- [24:47]
Caroline
I guess you're at the point, Liz, where, like, there's. There's literally nothing you can do.
- [24:51]
Taryn
No.
- [24:51]
Caroline
About it.
- [24:52]
Taryn
Yeah, when they do it. Yeah. When they do it themselves, it's. Yeah. There's a lot of taping. I mean, there's Taylor Swift taped to the wall and a poster. There's a lot of stuff like that. I have clients who have kind of trauma from childhood of their mom being too controlling. There's a lot of Laura Ashley bedroom trauma where they were, like, a hatred because my mom made me do this. And so I. I encourage people to let their kids do their thing. Like, we have a. One of the chapters in the book that is missing a bedroom. And I've been asked a couple times, what about that bedroom? You said this. This big. I'm like, oh, the teenage daughter decorated that bedroom herself. And I told them, let her do that, because, you know, that's it. There's no point in fighting with that kind of stuff if you, you know. Yeah, it's all white and all very modern.
- [25:37]
Caroline
Yeah. They're just becoming their next. The next little interior designer out in the world.
- [25:42]
Taryn
Yes. They'll have plenty of trauma. Don't. Don't give them decorating trauma, you know?
- [25:48]
Caroline
Yeah. Well, I did want to talk about color, because I love your color palettes, and it's interesting to me how much color you use, and yet I don't know if it's the tone of color or the application, but they don't always come off as, like, colorful. You know what I mean? Like, there's. There's a lot of color woven throughout, but there's a definite subtlety to it and a livability to the colors and the tones that you're using. And I want to just. Maybe you could just tell us about, like, what, to you, feels like a good color, and how are you picking your palettes to where they're. There's a. There's that livability to them.
- [26:32]
Taryn
We like muddy colors. I will say I'm a redhead, and so, like, my default tends to be a very, like, fall, muddy palette. And we attract clients who are similar. So there's not a lot of like poppy beat, like true kind of beachy. Jonathan Adler, you that kind of Palm beach vibe in our work. Talking about color to me is like talking about walking. We just do it. It is very hard for me to say why. I don't think there's like a ton of genius in design, but I will say I do not overthink color at all. It is very quick, and we. We put up and we move on. We do try to work with our clients on understanding that white is not the only general color. So we've done several houses where sage green or like a putty are all the trim and all the doors. And then you work in the wall color or wallpaper on top of that. And that helps establish just kind of a non sterile base. And I think that's why the color is less shocking, because we're not always jumping off of a stark white in trim and stuff like that.
- [27:47]
Liz
That's really great to start with the base, the baseboards or the base as kind of a muddy putty color. But like, where in the process does color really kind of start with you?
- [27:59]
Taryn
Yeah, that's a good question. So paint, to me is the absolute easiest part because the sky's the limit. So we will. We always start with the architecture, and there's always form around everything we do. And then we try to take the next, next hardest thing to change. So it's most often the textiles. And so we'll start looking at upholstery and drapery and things that, you know, there are only four colorways and stuff like that. So we'll build the rooms off of that, go onto rugs and wall covering, because again, to custom color, all that is hard and less options. And then the very last thing we do is paint. And so we just did a paint walkthrough with a client yesterday. And, you know, it basically, like most of the homes, we do have a central kind of foyer, stairway component. And we consider that kind of like where the. The bobbin starts unraveling. So there has to be kind of that core element. So she has, she has a white trim. We did. We used a classic white dove on the trim in that space. And then there's wallpaper. And then the wallpaper has a navy and kind of a putty ground. And so the rooms that spin off of those, not in a matchy way, but they play on that. So there's like a visual layering between each. And there are several rooms that spin right off of that middle and then as we go further out, we tend to, like, dilute it even more. So, like, the playroom is a lot brighter, a lot more cheerful, relates to that center nucleus part. But it doesn't have to be a direct visual layering because there's a hallway. I heard Miranda Brooks speak this week about her gardening and how she layers a garden, and hers was very much about, like, chakras, which I know nothing about, but I found interesting. And I think we're similar. Like, we have that core piece, and as you get wider out, it's more of, like, a release of the tension. But in the middle, we're, like, establishing that case for the palette, if that makes sense.
- [30:03]
Caroline
It does, it does. And I. So, okay, you were talking about the. The paint or like the. The anchor paint colors. You know, the trims, the. The wall colors that flow in multiple rooms being something that's like a jumping off point. But are you picking that last? You're picking that last, yeah.
- [30:25]
Taryn
And then sometimes things will have to flex. So we'll typically pick wall covering before paint. But for instance, on the project in the book called Palmer Avenue, we had this palette of wall covering, and then I needed to pick one. I wanted one trim color to wrap through the whole house in the rooms that were not their own colors. Like, some of them were all green. And what's it called now? Color drenching. I love all these. We have some color. I've been color drenching for, like, 10 years. But so when we laid them all out, a couple of the wall coverings were too. Like, they were yellow or they were too white or so we had to tweak from that. But we went with the ones that worked best. I. And I usually don't give, like, exact Sherwin Williams Relax. Khaki is if you want to do a non white trim. So I've used it in a personal lake house. I used it on the Palmer project, and I'm using on another project now. It's just a really good non white putty that goes with, like, 75% of the wall coverings I've pulled and a lot of tile. Sometimes when a whole house is this non white color, you have to think about things like tile and stone as well. And this color is like, a lot of, like, the very affordable, like, doll tiles have this as a colorway in it, and so you can incorporate it into all the rooms without worrying about something feeling like, oh, where did that come from? You know, are you picking those paint.
- [31:54]
Caroline
Colors, like, in your studio or do you take all of the like, okay, I'm like, when you were talking about laying out of the wall coverings, I'm picturing you like in your design studio looking at all the wall colorings together and like with your paint deck, do you, you're doing it at your studio or do you have to do it in the actual space where it's going?
- [32:12]
Taryn
We start in the studio because it's very non glamorous process. It's like me in the floor. I have a huge work table right here. But I am like working the floor even more awkwardly. It's in the shop, so I'll work in the floor of the shop and people come in and I'm like, sorry, excuse the mess. So we start here and then we definitely carry it over to the job site. Especially, you know, if it's in a different city or if it's a different orientation of where we are. I have had lazy moments where I've picked a paint color, sitting at my desk and then seen it installed and be like, I messed up. Like, we have to repaint this. I was lazy. So I do not let myself pick in one space. We look at, at different lights. And then if it's confusing, like we have one right now that's reading purple in a couple spaces. And so we try not to make the contractor sample every single paint color just to save on cost and time. But this one, I'm like, we gotta put it up on the wall because I'm really afraid it's gonna read purple and it's meant to be blue.
- [33:11]
Caroline
So if we're going back to science and you're like picking your, your, your hypothesis in the studio and then you're testing it in the, doing your, your experiment. Okay, that makes sense because, you know, we always hear people like, you have to see it in a space and you do.
- [33:27]
Taryn
It's like.
- [33:27]
Caroline
And I just assume as a designer, you can't, you can't just always get over to the house and paint it on the wall.
- [33:33]
Taryn
Like, yes. Or we'll do out of town work. I mean, the sun is the sun, right? So like you should be able to get in a certain spot in any space and, and read similarly. I mean, some, you know, like Boston, when I work there, Boston is a lot more gray and cloudy. You have to talk to people about, you know, when it snows here, my house looks the worst color yellow ever. But the other 360 days of the year. Yeah, 360. I'm like, how many days are in a year? It's the, it's the creamiest, most perfect white. So it's just like talking about, like, you know, we're not picking this house paint to go with snow. We, we live in Nashville, you know, but in Boston, you need to pick your house paint to go snow, because snow is on the ground, you know, for a half of the year. And it's just kind of understanding that kind of stuff. And a lot of it's trial and error. But I, I really think we're good with paint. I, I, people want me to talk a lot about paint. You are the mindset behind paint. And I, I do think most people could do design if they give it a good effort, you know, but I do think you either kind of have the paint picking ability or you don't. And, but it's not something I put a lot of thought to. I just like, I see color and, and I go with it. I'm not a big overthinker. I'm not a sit and turn and look at fabrics for 10 days. I'm like, we got it, let's go. And, you know, hopefully the clients with me.
- [34:54]
Caroline
Well, I do love, I do think it's so, I guess, instructive how at the beginning or like the first between chapters, you have a flat lay of all of the fabrics that you've used in the project. And then you layered sort some, you know, project photos, but also some personal photos sort of illustrating the story that you're telling.
- [35:20]
Taryn
Yeah.
- [35:20]
Caroline
On top of the fabrics. But I love seeing, it's instructive to see how the, the fabrics go together. Right. Because some of these fabrics are not used necessarily in the same room. But you can see how this is creating the whole story of the house. And even though they may not be next to each other, they work together. Right, Right.
- [35:42]
Taryn
Yeah. That was fun to do. And we don't honestly always present like that, obviously with my children laid atop fabrics, but, but I thought it was a very, you know, I love like the artistic side. I would be like in a fine art if I probably didn't grow up poor and feel like the overwhelming need to make money. But I loved like that it was, it's an art. What I did in those pages, it was just, you know, it was, is the intersection of the life and the material and stuff like that. But yeah, it was neat to see it laid out. It's very naturally not matchy matchy. Like, we really cringe at homes that are kind of all one palette, you know, said five different ways. And some of My favorite designers are British, and I feel like they do such a good job of putting things in a room where you're just like. Like, I don't even know if I like it at first glance. But then at second and third, you're like, no, this is genius. You know? And I feel like art's like that too. Like, the best art often is not the most attractive at first glance. And then the more you look at it, the more you understand it. You're like, this is beyond anything that I could have understood at first glance. So it was really fun. I was thankful they let me do that, and it definitely helped tell the story of the children and in our lives and stuff.
- [37:04]
Liz
Well, it definitely illustrates that, how you bring your whole self to every project.
- [37:09]
Taryn
Yeah. I mean, I joke a lot. You know, I'm kind of like a over talker on Instagram, and I hope for the better, but you get what you get. Like, I am who I am. I had a client recently. He's like, well, there's no. There's no getting it past Stephanie. What she thinks. Like, I don't have a lying face, which I'm like, you're paying me for my opinion, so if I can give it to you with just like. Like, a wink over a conference table, like, I'm doing my job, you know? Like. Yeah, but, you know, I work with confident people who aren't afraid to push back either. I think that kind of grind and that rub of sometimes we agree, sometimes we don't, creates more of a beautiful product. When you. When you work in a silo or you don't have pushback, you know, I would probably create a lot of the same work, but I don't work for the same people. So every project, it's different because every client is different.
- [37:57]
Caroline
Yeah, you have that third. You have that other element that you're having to work with versus just in a vacuum. Yeah. Okay. There was something you wrote in a tiny little footnote, but I loved it. You were talking about how you described your clients creating color palettes, like going from a hot bath into a cold pool. Can you explain this to our listeners? What you're talking about?
- [38:22]
Taryn
Yeah.
- [38:23]
Caroline
And why we should decorate this way.
- [38:26]
Taryn
So I often think about that with living in Nashville. Like, would I appreciate the beautiful weather if we didn't have ugly weather? Or would I appreciate happy times in my life if I didn't have sad times? And I think of that with interior design and that no matter how large or small a house, we don't do a Lot of open concept homes. I feel like that is kind of not. I mean, we do kitchens, open to family rooms, stuff like that. But that truly kind of early 2000s open Wallace concept, people don't hire us for that. So because of that, we think every space should kind of have a feeling, you know, and a different experience. And like, who doesn't have like a formal living room? Well, I say this sounds so entitled. Please note, I grew up poor, so I know everyone doesn't have a formal living room, but who doesn't have a room in their house when, you know, we're getting to these bigger homes that they don't use, which we don't. And it's because it's like there's not that need to experience that space. So like, like this morning I was on a call and this client kept saying, that's our dark and cozy room and that's, that's where we're going to cuddle and that's where we're going to do this. And I love developing these interior concepts based on that level, that like micro level of attention to experience because it, it brings value to me as being a part of the project. It brings value to your home for yourself. So like, we are programming living how we're going to live. And so, yes, like a foyer, often we walk in and you don't kind of want to hit people in the face with all your feelings. So it's, it's a lighter, brighter, like more neutral moment. And then you'll have the sitting room or the, the office and it's dark and moody and it's this experience that you know, and then, and then you contrast that with another. And so it's this ping pong effect of like emotion through the home. And it's exciting and it's fun and it's worth walking through. Um, and we try to do that in, in homes to just create these different elements that are still cohesive, that still spin off of that like nucleus. It's fun. It, again, it gives it a little more science and reason. I don't like the opinions. It's a, it's a, you know, there's not a lot of fact in interiors on whether a fabric's good or a color's good. But these kind of things give what I do like meat and, and purpose and something to like, like work towards because colors will come and go, you know, you know, things like that. But like function and experience and I love space planning. I could do that by itself and, and never touch a fabric. In my life, but.
- [40:57]
Caroline
Yeah, but you pick such good fabric. Well, no, you do.
- [41:02]
Taryn
There are good fabric designers. We have it. We have it made. There's so many talented people out there that were kind of sleuthing there.
- [41:08]
Caroline
You get to play their talent well. Okay. I. I do feel like there was maybe once upon a time, this sort of rule in decorating where, like, you had to have rooms like that look. That are next to each other. I don't know how to describe. It's like, I love. There was a. There was a room in your. In your. One of your project. I think it was the project that was like, the tiny little. The little house with a family of six. And the yellow mudroom went into, like, sort of a cream kitchen.
- [41:45]
Taryn
Right.
- [41:45]
Caroline
And you could clearly see, when standing at the dining room, this sliver of yellow over there. And I feel like once upon a time, there was, you know, sort of like, you. You can't have, like, this yellow bumping up against this cream, or it'll be jarring. But I felt like there were so many spaces in the book where you could kind of see the room next to it, but you couldn't really see it, but you could kind of get a glimpse of it. And that was so interesting to, like, think, oh, okay, let's go over there. So do you. What are. You know, do you feel like people are nervous about that? And, you know, did you ever feel like there was a point where you couldn't have rooms kind of opposites next to each other?
- [42:28]
Taryn
Yeah, we study that, too. Like, we're very presentation, heavy, firm, and there's not a lot of. So we look at palettes on a table with fabrics like, or in the book. But then we'll also render everything and step back. And so we try to set up because we do, like, getting into the interior architecture. But that layering system with cased openings, those vantage points in the homes are very purposeful, because it is always sad when you have this palette laid out on a table, and then you walk in the home and you, like. Like never see that layered because it's. It's a pillow on a sofa, and then the next room over is whatever. And so we study that. But it's all very intentional. And I feel like, you know, no, our clients don't push back on that because they are bought into the fact that, you know, a mudroom can be a mudroom or a mudroom can be this art installation off the side of your kitchen. You know, so that's what that particular kitchen was it was this. Imagine it as a painting, you know, and it's a very neutral, tranquil kitchen. It's eat in. They don't have a formal dining room. It's in the middle of the kitchen. Very British. And then there's this electric yellow, you know, mud room off the side. And the way we saw that was just. I could tell a story. I mean, you give me two seconds, I could make up a story about anything. I was like, in the morning, when you're headed out the door, you need an energizing color. You want those kids to move, grab your bags, get out the door. I was like, so we got to go with this yellow. And they were like, sold. You know, So I. You know, I like that part of storytelling, too. Within tears, because is. It's explaining your vision to people with words of things they. They might not understand yet, but you just want them to feel it, you know, just go with it. We feel it together. And they were a great client for that.
- [44:08]
Caroline
Yeah. Do you ever feel like there's, you know. Cause like, what a funny rule. Like, I feel like there are all sorts of rules and decorating that they. That existed once upon a time that, you know, don't necessarily make sense. And it's fun to see those rules being broken in a way that's effective.
- [44:27]
Taryn
Yes. Yeah.
- [44:27]
Caroline
And I feel like it opens the door to so many more possibilities to where you're like, you could really make anything work. And isn't that the beauty of design?
- [44:36]
Taryn
Right.
- [44:36]
Caroline
Like, it's. Anything is possible, and that's what's fun about it.
- [44:40]
Taryn
Yes. I feel like our generation is we don't have the rules. And I don't know if it was, you know, I feel. I love magazines. Magazines have been like, a very important part of my career and spreading the word that we are here. But I often think they have to come up with things to write. And I think a lot of these rules were probably just 1992, you know, whoever articles on something to write that took off. So, like the kitchen triangle, stuff like that. I'm like, that's not a thing. Like, we shouldn't limit our kitchens to a triangle. That's silly. You know, there are functions you need to cover, but does it have to be in a triangle? No. And I've had to DISPEL that for 20 years, you know, so.
- [45:17]
Caroline
That's so funny.
- [45:18]
Taryn
Yeah. I don't. Yeah. I don't think there are facts at all. I mean, even like. Like explaining to people. You don't have to have a Kitchen island. You think I would be explaining you don't have to have a refrigerator. You know, I'm like, this is not something that's always been in a kitchen. And there are other ways to do this. And, you know, do you want to lessen the square footage of your house? Like, it's a really easy way to combine a dining room and a kitchen. So I don't know. I don't think. I don't feel trapped by rules at all. But that's my personality, too. Like, can lights. We're still breaking that can light rule. I had a meeting this morning. She's like, do you think I need to do can lights? I was like, I really don't. I really don't. Like, let's put some insurance in the kitchen if you need to light it up to sweep up a mess. But the rest of the house, like, I really don't think you need to line it with can lights. Somebody made that up in, like, whatever decade that that was the right way to design a house. But my home was because they were.
- [46:08]
Caroline
Trying to sell can lights.
- [46:09]
Taryn
They were trying to sell can lights or instill this fear in everyone that, oh, my gosh, I'm going to build this house and it's going to be too dark. So let's do these can lights just in case. And then you look up at your ceiling, and it's just, like, littered with all these, like, UFO circles. And you never turn them on because it's truly the worst light. You know, it's. It's like interrogation. Harsh.
- [46:30]
Caroline
Yeah.
- [46:31]
Taryn
But, yeah, I don't know. Don't do rules. Just go places you're comfortable in and copy that.
- [46:37]
Liz
Okay, that being said, do you have any rules for yourself or for your studio?
- [46:42]
Taryn
I say there are new rules, and then I will say things out loud in my office that are like, I know this makes no sense, but I never do this. Or I always hate that. Like, we never do just a. A toe kick all the way across. In a kitchen of a base cabinet, we always either come up with a detail or we'll have no recessed toe kick. It's not that the toe kick is wrong. I just don't like the way it looks, you know? And, you know, there are certain fixtures that are in some of these lines we all use. And, you know, someone will pull them. Like, I don't like machine brush, brass. Like, I just don't like it. It's to me, not a material that that's been in history. It's kind of a new Finish. And I'm not a new finish girl. I like like the tried and true classics, so we don't do brush breaths. And I can go on and on. It's not facts. And I hesitate to say any of that kind of stuff on Instagram because I think the most important thing about home design is, like, loving your house. And I think reading too much and studying too much can really just steal your joy, you know, if you're in the process, sure, dig in, see what the opinions are and what people have to say. But if you've just decorated your house and you love it, turn it off, don't listen, don't read. It will steal your joy. And it's not because what you did is wrong. It's because we are in an industry to sell and push change and more and more and more. And really all we're looking for is contentment. So if you have found it, turn it off.
- [48:11]
Caroline
Well, and as you mentioned earlier, design is subjective. So while your favorite, you know, designer on Instagram may hate this thing that you just put into your house, if you're happy with it, like, their, their opinion is not the end all, be all. It doesn't mean there's anything wrong with it. Just that, right, it's not their favorite.
- [48:31]
Taryn
But people don't, like, I think you just really have to guard your heart with this stuff. Because people, even me, it's like you, your joy is so easily stolen by these kind of commentaries on right and wrong. And, and it's, it's an awful feeling when people ask you to comment on what's out. There's this hilarious thing going around TikTok right now where this guy's like, I'm designing a kitchen for my worst enemy and he sticks. He picks all these things that I know are in like, half of America's home. And it cracks me up because it's so funny because it's like, you know, every kind of builder grade thing all designers cringe at. But I think of all those people watching that who love their home and feel lesser than because they saw this, like, funny video. And it kind of breaks my heart. Like, I, I don't want my profession, in my insight, in my opinion, to come off as you're wrong or you're about, remember the chevron, how quickly that came and gone. Like, oh, yeah, the Chevron pillow. And I remember people like, chevron's out. And I was like, oh, my gosh, like, half of America just bought a Chevron pillow. Like, don't do this to them. You know?
- [49:35]
Caroline
Yeah.
- [49:36]
Taryn
Which is also why we don't chase trends. Like, we just very much try to say, like, is this something that's cool right now? And is this something that's been cool forever? So, yeah, we try to push forever stuff on people.
- [49:48]
Caroline
Okay, well, this is the perfect opportunity for you to share your strong opinions with our listener, Kristen, who has asked for your thoughts. So this is the time that you get to give them.
- [50:00]
Taryn
Okay.
- [50:01]
Caroline
No remorse. Hi, there a fellow at Landon here who's just not so good at all this stuff. But that's why I love listening to the podcast. Thanks. Okay. That's great. We love to hear that. Y'all are an inspiration. I learned so much from you each time I listen. My question lies in our master bedroom. We have beautifully high ceilings, but the roof line is a bit complex. We also have a gorgeous large window that faces the street and lets in great afternoon evening light. It has a semicircular top to it, so it's posing some troubles when it comes to drapery. My question is really around how to treat the window with window treatments. And what would you do with this layout if you wanted to add closet space first? The people before us loved Amazon gadgets, and they put up a very large, dark, automated drapery rod that opens and shuts with a remote. Not to say there isn't a time and place for that, but I'm looking for something more sophisticated in our master bedroom. They have it hung right over the entire window, and I just don't love it. I haven't invested in my draper yet because I just don't know if we should get a very thin, light colored rod to hang above the whole window or if we go across the bottom of the semicircular area and leave the top open to be similar to the transom. There's a regular window in the room as well that I'd get drapery for when we invest in the main window. I'd love to have Euro pinch pleat drapery and a simple white that I saw at the latest design at Showhouse. Simple, classic, elegant. Those are the words that I want to think of when I see this. So do we hang a bar above or cut the window at the top of the rectangular part? Would the pleats look strange? I'd like to keep them open and be able to shut them out ourselves versus with a remote. Secondly, the master doesn't have enough closet space, but who really does? I'd love to figure out if we can build in some sort of closet space or if you'd suggest getting a large armoire type thing to fill the space where the dressers are. Now I've attached photos and a rough layout of the room. Any help would be so welcome. Welcome. So yes, she has sort of a funky little corner that has a slope to it where she's got two dressers and that's where she is thinking of putting a closet space. And then she's got that window that so many of us would probably recognize where it's got an arch at the top but just the. The curved part is broken from the square part below with a, you know, mulion. So what.
- [52:20]
Taryn
What to do?
- [52:21]
Caroline
Yes. What.
- [52:22]
Taryn
Okay. Well I will say one thing, that the previous owner was probably a fan of opening and shutting that window every day and night. And automation is not a bad idea with a window height like that. I think you're gonna curse yourself if you don't have some sort of automation and want to open and shut it at night. I. I think a. A bra. I don't know the finishes of the whole home. But I think a thinner maybe antiqued brass or polished and lacquered brass would be pretty for the rod. But due to the height, I do think looking at something that has some sort of guided track on the bottom. So not just a rod with rings if you want to operate it. The other idea you're talking about like the pulley thing. No, there's, you know how like hospital curtains are tracked. Antique drapery rod is a good source course. But they come it. It's a nice looking rod but it comes on the hospital tracks on the underside. So it's called a zip rod and it slides if you don't want to automate it and you want it to. To move otherwise. Yeah. They give faux ring options. The one I'm talking about has no ring. So it's just a little bar. And then you clip the drapery into the bottom. That's what we would use if we were opening and shutting it. Dragging rings over a rod on a high ceiling is kind of a nightmare. Even if you lube the top of that bar.
- [53:53]
Caroline
Yeah.
- [53:54]
Taryn
It's just a nightmare. And then your drapery starts to get dirty over time. Especially if you're using a light colored linen like it sounds like she wants to use.
- [54:02]
Caroline
Interesting. Oh, I wouldn't have thought of that.
- [54:04]
Taryn
To square. She may be fine with the. The arch at the top that those geometries are hard to cover if you want square everything off. Sometimes we will do a woven shade over the arch that disguises that it is even arched. And then start your drapery rod above that. But I didn't hear that as being a concern. So we won't make it one. I wouldn't half it. I wouldn't put it below.
- [54:30]
Caroline
Got it.
- [54:31]
Taryn
The transom is what that arch part is. I feel like that's. It's just not something we would do.
- [54:39]
Caroline
Well, it would cut it in half.
- [54:41]
Taryn
And there's no window. Yeah. Light covering. But yeah, that's what we would do as a zip rod. And I like the pinch plate. I think that'll be pretty. But I do also think automation is not a bad idea.
- [54:56]
Caroline
So the person before that hung the drapery, they did hang it above the top of the curve. But just above the curve. Do you feel like the placement of that is right? Should she go higher? Should she keep it where it is? What do you think about that?
- [55:08]
Taryn
I would maybe give herself like six more inches above where it is now. But I didn't really see that as being like, super problematic. Yeah, I mean, I think it. It could be interesting to try the shade if the arch is part of the. I think the arch is kind of hard. And when people do any sort of like curved window like that and you're trying to actually cover it, it's so hard with the different geometries. Because draperies were meant to be in a rectangular formation. Yeah.
- [55:35]
Caroline
Yeah.
- [55:35]
Taryn
We have an oval window right now in a bunker. And we're doing. And I told the client, I was like, they can shove pillows in it. I'm not selling you a window treatment for that. Like, it just. It is what it is. Okay.
- [55:45]
Caroline
And then what do you think about the closet situation?
- [55:47]
Taryn
I wouldn't do like a traditional closet. I would do like built ins to square the room up as a whole. So again, I feel like I need a pen in hand. Yeah. I don't feel like her. I mean, her drapery rods from Amazon. But it's like, like, that's not bad at all. The way they have it. I would do. And we. I'll save this in a minute, but I would do a center bracket instead of the way they have it with a French return.
- [56:09]
Caroline
So you would. You would do a French return?
- [56:12]
Taryn
Yes, I would do a 1 inch diameter French return rod and try to get towards just having the two end brackets and then one center bracket. I think the two brackets kind of throw it off well.
- [56:24]
Caroline
Yeah. Yeah.
- [56:26]
Taryn
Okay. For the closet, I'm gonna draw with my hands. So where the opening is to the bathroom. I would create like a little Vest a vestibule off of it with just built ins. So I'd build it forward to the edge of the wall that meets the open over of the window so that you square off that visual and then you cap it there with two built ins that create kind of just a small little entry. But I wouldn't do a true hard walled closet. I would do it with cabinetry material and build it in like that.
- [56:56]
Caroline
Yeah, yeah. So you would. Yes, there would, Kristen, where your dressers are, you would bring almost like a wall, an imaginary wall forward to the door, to the other, to the hallway, I assume. But it wouldn't be with drywall. Yeah, it would be with cabinet. That makes total sense. So it's almost like on. You're walking, like down a little mini hallway into the bathroom. And on the left side, there's cabinetry for clothes, but. And on the right side there's also cabinetry for clothes. It's just gonna be a funky shape because.
- [57:28]
Taryn
Yeah. And there's plenty of built in. Like, if you look on Pinterest and type in like millwork closet, there's so many beautiful examples where people actually. You're behind your right you. Right now. That's a beautiful way to do it. Yeah. Oh, Ikea.
- [57:42]
Caroline
There you go.
- [57:43]
Taryn
But yeah, there's so many beautiful ways. And I feel like having these. These walk in big closets, like such an American thing. And it's not actually the most functional way to store things because we end up just like piling it in the floor. But a built in that has the shelves and the drawers that you actually need is a. Is a lot more efficient use of space and could give that room so much character because it's, you know, tall ceiling, kind of white box right now.
- [58:06]
Caroline
Yeah. And it'll add. It'll like she can. Everything that she has in that space will then be behind these beautiful doors and it'll all sort of like. Like go away. It'll look so much like. Not to say that your room is not tidy. That's not what I'm implying. But like, it'll look so tidy and just polished.
- [58:22]
Taryn
Like a hot. A place for everything. Like that could be like a. Remember on the office where Dwight Shoe called it, he had Megadesk where he had like three desks. I think I call it mega wall when we do that, because it's like you put so much function into one zone. It's like a machine, you know, for storage. But yeah, huge opportunities for that there.
- [58:43]
Caroline
Yeah. Yeah. All right, Kristen. Well, hope that that answers your question, and thank you for sending it in and thank you for listening.
- [58:51]
Taryn
So sweet.
- [58:53]
Caroline
Okay, Stephanie, thank you so much for sharing your book with us and coming on the show to share it with our audience. It really was such an enjoyable read. Laugh out loud. Funny. I. Like I said, I laughed. I cried. It had it all.
- [59:10]
Taryn
I cry. I laugh and cry in my own book, too.
- [59:15]
Caroline
And obviously, it's so lovely to see your design work and get to see the personality from Instagram that we all know and love.
- [59:23]
Taryn
Oh, well, thank you and thanks for letting me be on the show again.
- [59:26]
Caroline
Yes, we'll have you back anytime. Anytime.
- [59:29]
Taryn
Oh, don't ask me. I'll definitely come back again. I'm already perfect. I don't want to be. I don't. I would have no desire to be a podcast or pod. You know, have a podcast.
- [59:39]
Caroline
So good at it, though.
- [59:40]
Taryn
No, it's just so much more. It's like, I don't want to throw the party. I just want to, like, come to the party. So thank you for letting me come to your party.
- [59:47]
Caroline
Of course. There's special guests anytime you want. All right, well, that's our show. And that's our show. You can find all of the show notes on our blog howtodecorate.com podcast to.
- [59:59]
Taryn
Send in a decorating dilemma, email your questions to podcast Ballardesigns.net so we can.
- [60:04]
Caroline
Help you with your space. And of course, be sure to follow us on social media at Ballard Designs.
- [60:09]
Liz
Don't forget to subscribe wherever you get your podcasts so you never miss an episode. And please leave us a review. We'd love to hear your feedback.
- [60:15]
Caroline
Until next time, happy decorating.