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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. And I'm Taryn and I'm a product designer.
- [00:13]
Liz
I'm Liz. I head up the creative team. We're your hosts.
- [00:16]
Caroline
Join the expert team at Ballard Designs for tips, tricks and tales from interior designers, stylists, and other talents in the design world. 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
Welcome back to the how to Decorate podcast. I'm Caroline. I'm here with Liz.
- [00:39]
Liz
Hi everyone.
- [00:40]
Caroline
And we are thrilled to welcome back to the show Corey Damon Jenkins, principal and CEO of Corey Damon Jenkins & Associates. He's an AD 100 and Elle Decor, a list designer known for his traditional but boldly colorful and patterned room. He's also a masterclass instructor and a published author. Today we are getting a first look at his upcoming book, his second Design Reimagined, a fresh and colorful take on timeless rooms, publishing this fall. With Rizzoli, we're going to be discussing the evolution of his design philosophy, the tools he uses to create layered, polished spaces, as well as his new YouTube series, aptly named Design Reimagined with Corey Damon Jingen. So, Corey, welcome back to the show.
- [01:22]
Corey Damon Jenkins
Thank you so much for having me. I have been looking forward to this chat and, you know, we're such huge fans of all of you and the brand, so I'm looking forward to this discussion. It's going to be fun. Yeah, thanks for having me.
- [01:34]
Caroline
The anecdote that stands out from your first book is the 700. What is it? 79th door. So I think we have to start from there. Just for any of our listeners who aren't already familiar with your work, you can kind of tell them about that little anecdote from Design Remix and then we're gonna get into design rematch.
- [01:58]
Corey Damon Jenkins
Well, I would give the experience of the 779 doors a one star and do not recommend it. Something that I had to do when I launched this firm 15 years ago. I initially got my start in interior design back in 1996. I enjoyed my studies of drafting and architecture, and I made a big pivot into the automotive business world for about 10 years working as a prototype and direct materials buyer for the big three for GM and Chrysler. So my responsibilities included designing and Selecting furniture for the lobbies and for the executive offices, but also office supplies and the fertilizer used on the lawn, like, you know, signage on the property. Like, I did the whole encompassing purchasing agency for the company. So it was somewhat creative, but not nearly as exciting as what I would hope for a design career. But it paid well, and that's very important. I was living in Michigan at the time, and I did that for, like I mentioned, 10 years. And in 2007, when the great Recession hit, I got laid off. And that was definitely unexpected because I thought I was going to basically continue working there and retire from there, get my pension as most Michiganders do. That's like the Michigander dream. You work at the big three, on the line or at a bank, and you get your pension and you retire and you go off into the sunset, right? Well, my sunset came a little early, and I was retired out against my will, basically. And I found myself at home with some boxes from my office thinking, what am I going to do next? So after a couple of false, I decided that I needed to create a new beginning for myself, a reimagining, if you will, and get back into my original first love, which was interior design. A job that could not be outsourced to a different country. Right. But that was a daunting task because we're at the height of the recession at this point, it's 2008, and people in Michigan are very conservative, very laid back. They don't believe in showing off their wealth, especially to friends and neighbors who they know are going through a tough time financially with the economic meltdown that we were experiencing. So the idea of launching a design firm at the height of a great recession in Michigan of all places, is a tall order. But I was very determined. I had a Honda Accord, and because of what I was planning to do, which was basically installing a grassroots campaign to find my first client, I did not feel comfortable driving my Honda Accord around to find my first client. So I went to the local enterprise rent a car shop, and I explained to them that I had a goal. I'm going to knock on 1,000 doors in metro Detroit to find my first design client. And chances are that client's probably going to be an executive or in some way, shape or form related to the big three. And the big three makes gm, Ford and Chrysler. So I cannot drive a foreign vehicle up to their driveway. So I need to, you know, rent from you a Chrysler 300. And I need the same Chrysler 300 each and every time I come to you, because I want people to think that it's mine, you know. And so the owner was completely, you know, sympathetic to my plight and he got me a beautiful black and silver Chrysler 300. And it was such a beautiful thing to look at because my Honda Accord was white with orange accoutrement on it, ergo rust. And I realized I needed to kind of, you know, upgrade a little bit to get this first client in the door. So I drove around and I saw beautiful homes being built. Even during the recession, there was lots of construction going on. If I saw a house being constructed, I would, you know, pull up to the driveway, get out with my little satchel, and I had, you know, color boards and renderings and, and of course, brochures and business cards. And I had a very simple spiel. My name is Corey Damon Jenkins. I'm an interior designer. Are you in need of design services today? And if I saw a hotel that needs to be renovated or a restaurant, anything that I thought was in bad taste, I pulled up to that location and knocked on that door. I set a goal for myself for 1,000 doors. After about 778 doors in, I started to get a little discouraged. Remember, I had just been laid off during the Great Recession and now I've had so many rejections at these doors. People would open the door and then slam their door, you know, back in my face. I had a couple of people set their dogs out on the property and chase me off. I got up, you know, real close and personal with a husky, one that had one eye was blue and one eye was green. I should never have had that much up close personal information about that dog. Way too close, way too, way too 4K high definition for my taste, right? I had some people call me some very unsavory names, right? I am soliciting business. So I was, I guess, eligible for that. And then there were the people who invited me in and took me for all of my ideas. And then when I gave them a letter of agreement, would ghost me. So there was lots of rejection back to back. And I got very discouraged. My self esteem kind of took a downward spiral. And so I rounded down my goal from 1,000 doors to eight. And I said to myself, if I don't get a hit by door 800, I'll just hang this up, get a job at Starbucks, because, you know, at least they have healthcare insurance policies available, you know, and I'll just ride this out until the recession blows over. And at the 779th door, this wonderful couple Came to the door. I pulled up to their gated community, and I waited for, you know, someone to type in their code. And the wrought iron gates open. They pulled in. So I pulled in after them. I got out, started walking the street, and I came to the 779th door. Beautiful home in this gated community. And this doctor and his wife answered the door. They had just parted ways with their previous interior designer, and they were just lovely. It was a cold, blustery winter day. They offered me coffee and scones, which was a really great sign because no one had ever offered me anything. And if I can just say this, when someone offers you something, that's, like, hospitable, that's a signal that they're looking at you as a potential partner, as a guest, and not just the help, if you know what I mean. So that was a really great first sign. And long story short, because it's a long story, they ended up hiring me to decorate their home. I put my heart and soul into it. We transformed several spaces. I got it professionally photographed. Emptied my little piggy bank on that because the photographer was very expensive, but she was worth it. And I put the imagery up on my GoDaddy.com website that I had designed on my own with a friend. And three weeks later, HGTV's casting executives discovered my work online and cast me on my first television show. It was one of those HGTV design star competitions where you go up against other designers and fight to the death in front of national, televised audiences. And I won. And that catapulted our brand to international and later. I'm sorry, it catapulted our brand to national and then later international acclaim. That we are very grateful for today.
- [09:13]
Caroline
Well, I love that story. Not because I know it was obviously a challenging time, but because I do feel like it really encapsulates so much about you. Your determination, but also, like, your positivity. Your rooms are just so exuberant, you know, and bold and just so, like, positive. But in, you know, in the, like, they're so happy.
- [09:39]
Corey Damon Jenkins
Thank you.
- [09:39]
Caroline
And so I, you know, you obviously retell that story with such a positivity to it, even though I'm sure it was a very hard time.
- [09:48]
Corey Damon Jenkins
One star, do not recommend.
- [09:52]
Liz
That is quite the hustle story. That's amazing.
- [09:56]
Caroline
Yeah.
- [09:56]
Liz
But I think that also speaks to, I think, the way that you approach your practice now. I feel like there's such generosity in. In your practice and how you teach and the amount of information that you are giving in your Masterclass and your upcoming YouTube series. It's. I. I find that very inspiring.
- [10:18]
Corey Damon Jenkins
Thank you. You know, I. I appreciate you saying that. I felt when I launched my firm and got really serious with the business, I encountered some gatekeeping, Liz, that I felt was very discouraging. A lot of the designers there in Michigan did not want to share information like, who's the best Wal installer, who's the best painter? People were so selfish with their resources, and I told myself, if I'm ever blessed to climb to the top of the ladder of success, I will not pull it up after myself. I will leave it down and help others climb. So now I'm in a position to kind of give back and to hopefully inspire and encourage others, whether there are creatives in the field or not. Just. I think we need to kind of move past this whole gatekeeping of. Of sources and information and be more willing to accept the fact that there's enough for everyone and to just be more generous, you know, goes a long way.
- [11:13]
Liz
Everyone has their own perspective, and everyone's gonna bring their own. Their own ideas. So let's build on each other.
- [11:21]
Corey Damon Jenkins
Yeah, it's so easy, and life is so much more simpler when you do it that way. So I enjoy it.
- [11:28]
Caroline
We're talking about your book Design Remix, where you tell the story of the 779th door, but that was released in 2021, so it's really only been four years. And, you know, what really was the. What kickstarted the path to your second book? You know, it's a big undertaking to write a book. So what was it that you felt compelled to say that you wanted to write another book? To say it?
- [11:51]
Corey Damon Jenkins
Well, we had such a great reception with Design Remix, and so when the publishers invited me at Rizzoli to come back and consider a second, you know, partnership or a continuation of our partnership with the second, the idea was, what can we do that we hadn't done before? So Design Remix was governed more by themes. Each chapter focused on a certain tenet of design and decor, or decoration, I should say. So, for example, how to select bold colors, you know, the bold standard, or how to design eclectically eclectic exuberance. Right. These are the different chapter tiles that focus on different types, you know, black and white and pattern play and, you know, textures and things of that nature. Design reimagined, however, is much different in the sense that it's actually governed by 10 actual projects. And that format is just different. You're gonna see entire projects from beginning to end, completely fleshed out kitchens, dining rooms, bathrooms, bedrooms, but all from the same home or the same project. The thing about Design Remix is that I had several clients homes feature, but they're split up over the entire book from front to cover because they're being governed by the topic. With Design Remix, if you want to find one particular theme or design tenant, it'll be covered in that chapter with that home. And then like Design Remix, Design Reimagine also has takeaways in the solid. What I did on Masterclass, which was the foundation of Design Remix, we took that same theme, if you will, and we teach a lot about how to, you know, bring these different principles home in a way that's affordable and relatable. Bite size and easier to achieve. It's a bigger book size wise. Design Remix will stack on top of this one. It's a much bigger trim. It's probably, I think, 30 pages, 40 pages longer than Design Remix. It's a fancier book. They gave us a bigger budget with this one. I think that's what happens when your first book does well. It's heading towards, I think it's seventh reprint. They were like, let's really make this book so like, for example, the pages are gilded in copper, the edges are gilded in copper, and the hard case is wrapped in this gorgeous peacock feathered linen. Now, no peacocks were injured or maimed in the making of the book, but it's definitely more textile friendly, textile driven, more fashion, like more haute couture fashion forward as far as the design of the book. And I'm looking forward to people seeing that when it arrives.
- [14:37]
Liz
Oh, I can't wait to have one in hand.
- [14:39]
Corey Damon Jenkins
It's so fun.
- [14:40]
Liz
And congratulations on selling reprints. I know that's outrageous.
- [14:45]
Caroline
That's a lot for a design book.
- [14:46]
Corey Damon Jenkins
I'm happy just to get one reprint. So I feel like a recording artist when the sophomore album comes out. Please don't let this one flop, you know, but we're very excited. It's only a few dollars more than the first book, even accounting for inflation. So again, it really shows the support that we have from the wonderful publishers and editors at Brazil to give us such a. A big, chunky book for only a few dollars more than design remakes. I mean, it's just. We're just so thrilled.
- [15:14]
Caroline
Yeah. I loved in the introduction you talk a lot about flexibility, you know, and you kind of talk about it both in the term in terms of life and the sort of the direction change that your life has taken in the last four years. But Also in, in the context of your, your client project. So I wonder if you could just talk about why it's so important in design. And I guess maybe what you've learned about flexibility in the last couple years.
- [15:39]
Corey Damon Jenkins
That'S such a great question. I've learned that nothing changes in life but change. So if you're not experiencing changes and pivots, you're not really living. And so between closing my offices in Michigan and saying goodbye to my beautiful home there, I had a home there and an office there. And I also had an apartment and an office in New York. But consolidating all of our resources to New York City was a big change. Right. And then hiring more staff and expanding our office. I had a good sized atelier. When we got the office space in New York on the penthouse floor, we've now doubled our size. We have about 50% of the top floor now and we're still growing. I'm very proud of that. But that comes with responsibility. We have exciting client projects. And the thing about being a New Yorker versus being a Michigander is that there's a bit of a wall that I think separates people from reaching out to the Midwest to hire for design. I don't know why, because we have great taste and style in Michigan as well. Whereas New York, if you're a New York based designer, people reach out to you and they bring you all the way up to the northern northeastern seaboard, all the way down to the south, over to California, to the Midwest. It's just a much more centrally located place to be for our firm. And our clients love coming to us now and meeting with us in New York City. They'll go and catch a great show, a play, great food. Whereas Michigan, it was always come to us. Cause for whatever reason, people didn't want to come to the Great Lakes.
- [17:08]
Caroline
Yeah. So you're saying moving to New York made it to where you had more national projects?
- [17:14]
Corey Damon Jenkins
Yes, absolutely.
- [17:15]
Caroline
That's so funny. I mean, I guess it, it makes total sense, but also does in some ways seem counterintuitive.
- [17:20]
Corey Damon Jenkins
Yeah, I mean, it's definitely, I think, a logistical decision that I made that I was scared to make. Honestly, I was nervous to make the decision, but so far, you know, it has paid off well and we have great clients and just a top notch team. I mean, I'm very, very grateful.
- [17:37]
Caroline
Yeah, well, you talk in, in that introduction, you talk about flexibility and you talk about how important it is when you're tackling a design project. Know, like in life there's always Something that maybe requires, you know, to be reimagined. And I wonder if you could kind of share, like, some of the. Some examples of things that maybe were not in the original plan, which then sort of you had to either solve as a puzzle or bring in, you know, based on circumstances for, like, the project in the design project.
- [18:14]
Corey Damon Jenkins
Yeah, yeah, absolutely. So the one thing that I think sets apart this book from Remix is that every project in Reimagine are renovations. There is no new construction in this book whatsoever. Whereas Design Remix had a few new construction projects. That's just by pure coincidence. We've done new construction projects since 21. We just did not put them in this book. Hence the term reimagined. So when you are embarking on a project and it has a historical provenance to it, or it's just an older home that you're renovating, you're gonna come across things that are unexpected. It could be a beam in the ceiling that you cannot move, because if you move it, the entire house collapses upon itself. That's a big problem. Or perhaps there's plumbing that is essential, and you need to work around that, or who knows what else is kind of laying beneath the floorboards, above the ceiling, in the walls. So you have to be very flexible and willing to pivot. It's like sailing a ship on the water. You know, you don't sail in a straight line. You're constantly making pivots and turns and curves because the earth is round. As long as you arrive at your final destination, that's what really matters. So we may set out with a color palette or a design plan that's going to be a certain thing, a certain way. The client may change their mind. They are 100% entitled to do that. But that could cause for, you know, that could be caused for a pivot, or you may encounter something structurally that calls for a pivot. So as a designer, you just have to be willing to not take yourself seriously and recognize this is part of the job, is to be very flexible and very open to change.
- [19:55]
Caroline
Do you think that openness is something like, did you have to learn that? Or something that you've always had as a strength in your kind of tool belt?
- [20:03]
Corey Damon Jenkins
I think I learned that lesson best when I lost my job during the Great Recession, because that was when I personally had to make the biggest pivot or the biggest change. I had a very set goal of what I wanted to do up to that point as far as a career. And then life said, guess what? We have an update for you. And as you download your life's iPhone and get these new protocols, you're now going in a completely different direction. And so I resisted that for a minute. Caroline. I'll be honest. I did resist that inclination, that pivot to make a change, because I just wanted to set my life in a certain direction. But it all came into into fruition in a way that I could never have possibly imagined. So I'm good with the lessons now. I'm not saying I want to continue learning that lesson over and over and over again, but I learned that one.
- [20:57]
Liz
But you put all your chips in on you, and that was amazing. And that totally paid off.
- [21:02]
Corey Damon Jenkins
Yeah, definitely.
- [21:03]
Caroline
One of the things that I think is so, I think, pivotal, I guess to use that word again in your work, is this combination of traditional and, you know, contemporary or modern. Now your work, I would say, overall, like from an aerial, it does read more traditional because you have this layering, you have these bold colors. It's sort of a maximalism in there. But then when you really look at the details, there's so many more sleek shapes. A track arm, a modern dining table or modern dining chairs, chandeliers, that kind of thing. So I. I found that so interesting because, you know, at first glance, it feels like, oh, it's so traditional, you know, but then if really it's. It's really not in. In many ways. So I'm curious, you know, kind of how you land. Like, where did that design DNA come from? Is that intentional? Is it just sort of like the way you see rooms, you know, and then. And then maybe we can talk about how to get sort of recreate that for our listeners.
- [22:07]
Corey Damon Jenkins
I think both of my grandmothers and my mother were keen decorators. They had beautiful homes, and they were fearless. Especially my mother. They were very fearless when it came to being okay with incorporating things that they had. Things that have been passed down from family generational wealth, if you will, things that had a nostalgic value in learning how to make it work. If it was a great grandparents credenza that was passed down, that may be stylistically was not what my mother wanted. She would be out there painting that piece and making it fit the vernacular that she wanted for her living room. So I think realizing that there's something that's very beautiful about a Saarinen table with a Louis XVI brugere, and then having that pair with a Kagan sofa up against a maximalist de Gorde wall covering, and then acanthus leaf detail and egg and dart molding. It's very traditional. And then, I don't know, an art deco chandelier, all these different styles. And I think having representatives of each design style coalescing into one mix or one remix, if you will, I think it takes the time stamp off of the room because they all are representatives of. They're all constituencies from different time periods. The Saarinen table brings the 1960s vibe into it. The Kagan sofa. Right. The Louis 16 may be an antique, a vintage piece, but there's something that's very beautiful and sexy and dynamic about being unapologetically, eclectically exuberant and finding joy in the fact that not everything has to match, but everything should flow. And we will not be held captive to what my neighbors are doing or what my mom and dad did or what my sister did for her house. I will defeat homogeny. I will defeat the pressure from, I don't know, large catalogs that come unsolicited, that are dropped off on your doorstep, that are just so gigantic and full of gray and beige interiors. We will defeat the pressure to do like everyone else. And we will go to the flea markets, we will go to the estate sales, we will go to this and that, and we will accept the things that are passed down from our families, and we will make it all work, because life is short. And while I'm here, I'm going to live for me authentically, because I only have 70, 80, 90 years to do it. And I think when people figure that out, they realize there's so much more freedom and joy in living authentically and beautifully with what you have versus trying to impress other people with things you don't really need, with money you should not be spending for things you really don't want.
- [24:57]
Liz
And I think we're done here.
- [25:01]
Corey Damon Jenkins
Bye.
- [25:06]
Liz
No, I really love how you do take the time to dig in and layer all of these things that have such different provenance. And I think layering is the key word there, too, because kind of just like having your personality unfold in a room where you get to see, like, oh, yeah, I like this, but I also like that. And it just kind of helps. Helps the room unfold and, you know, the personality of, I think, the homeowner.
- [25:42]
Corey Damon Jenkins
Yeah. Yes. And it's actually, Liz, a more cost effective way to do interior design. So many young people that are newly married have access to things that their parents give them, and they may feel this pressure to not use them because, well, I don't know. I didn't buy that for myself or my Girlfriend. Her entire house is modern, and I want to be, you know, an interior that's very cohesive, like she does. Well, you don't know what her circumstances were, but you have this great credenza from your great grandmother that has all these stories that are so authentic and special in a real conversation piece. There's simply nothing to talk about if everything in the room is brand new, if everything in the room is beige. You know, I always say life is too short to live in a beige box. And I love beige. I loved Hope. But can we throw in a little emerald green with that? A little chocolate? We can do shades of chocolate and taupe and brown and tan. Plus throw in some white and some gold and a little bit of black. Right. Even in neutrality, there is versatility. And so I think people just have to be more open to being eclectically exuberant and being joyful in the joy of design.
- [27:01]
Caroline
Well, plus, if you take your aunt or mother, grandmother's credenza, that is more dollars that you can put towards something else that you really want, and you can get a better quality of that thing. So I'm with you. I never understood that philosophy of, like, saying no to free things.
- [27:20]
Corey Damon Jenkins
Yes, Take it and repaint it. Change the hardware. You know, it's also environmentally responsible. It's less waste on our planet. So please embrace these beautiful things because they're unique to you and no one else is gonn to have it but you. And I think that's just a reason to do somersaults in this life that we have right now.
- [27:41]
Caroline
You don't have to say yes to, like, a half broken IKEA bookcase, but like, an antique that maybe isn't original, isn't really your style or something you would have picked out. Like, come on.
- [27:50]
Corey Damon Jenkins
Yeah. Learn to embrace it and lean into it. Remember, you're just simply doing your part to defeat homogeny.
- [27:56]
Caroline
Yeah, okay, but. All right, Liz, you said combining this and that, how do we make sure that this and that can work together? Like, what are. Okay, you get this credenza from your grandmother. Not something you want. Maybe you can paint it. But, like, how do you. How do you make it work within a whole when on its own? Maybe it's not what you're looking for.
- [28:20]
Corey Damon Jenkins
So, like, I taught on my masterclass, I really believe in creating a mood board or a color board. Take a picture of the credenza, for example. Print it out and lay it on a table. Take pictures or screenshots or print off images of furniture you're considering from various websites like Ballard or, you know, whatever the case may be, and lay it all out, cut it out and lay it out together and see if there's a harmony in those pieces. Furniture and interiors, accessories, lamps, they do speak to each other. And it's important that we remember that design is all about the composition of a space. I'm using another analogy here because, you know, I love to speak in analogies. When a conductor is composing an orchestra, there are various instruments in the box that are playing. They have a warmup session, and it may sound like utter noise because they're tuning their instruments. But once they have their musical sheets in front of them, they have their notes, it's gonna be a harmonious accompaniment of gorgeous music. But you need a conductor to kind of guide them through the process. So if the strings over here are too loud and they need to be cut for a minute to allow, I don't know, the drums to start playing, he's gonna kind of direct that. And the same thing holds true with interior design. Lay out these pieces and see if there's a harmony. And if something does not feel harmonious is truly a gut re. You just know. And it's like I said on the trailer for Masterclass, you know, when it's ugly, you know, so. So you don't. Don't keep trying to fit the circle into a square. Let it go. And that's the benefit of planning it out with a mood board versus. Versus buying everything and then being stuck with all this stuff. I prefer to plan things out strategically and then edit. And any design plan that does not require an edit, at least one or two rounds of editing is not a solid design plan.
- [30:14]
Caroline
So it's not done yet.
- [30:15]
Corey Damon Jenkins
It's not done yet.
- [30:16]
Caroline
Yeah.
- [30:17]
Corey Damon Jenkins
Yeah.
- [30:17]
Caroline
Okay. What. What if you. Okay, once you've laid it all out, you feel like it works? Am I then, like, what about measuring? Because that. That seems to me like a big trick. Trip up. That's the word I'm looking for. For pulling, like, sort of disjointed pieces together because you've got this credenza. Like, you need to find the right mirror to put over it, but it has to be the right scale. So what if they align maybe visually on your mood board? How do you know if it's gonna, like, work scale wise?
- [30:54]
Corey Damon Jenkins
Well, I think that scale is absolutely important because that's what lends itself to a more functional space. There are some general rules that you could consider as principles versus rules. I try to stay away from. From using rules. Overall because rules are meant to be broken. So on my upcoming Design Reimagined series, I talk about space between furniture and I say, as a general rule, consider three feet between pieces of furniture. But you can also get away with, you know, two feet or a foot and a half. If the curvature of this Louis XVI chair by time it, you know, curves out with the leg is only 18 inches from the sofa. And that's enough to put a table there. A little martini. Go for it. Don't use the three foot rule there because visually you don't need it. I think they should be really used as principles to guide you. And again, it's all about how it feels, it's all about how it looks. There are, I think, parameters that should be followed when it comes to being safe in the space. Chandelier should not be hanging six feet over a bathtub. If you stand up and try to turn the light bulb on and zap. Goodnight. Goodbye. There are some rules there you have to follow, but I do think that there's something to be said for having the freedom of letting things kind of play out and seeing what feels right as you navigate through the space.
- [32:22]
Caroline
I love the mood board idea because I think you're right. Once you sort of see them next to each other, you start to really, like, sort of zero in on maybe things that are different about the pieces but that work together. You know, for example, a really like, sort of square console table looks so good with like a round mirror over the top. And you don't necessarily think about that until you're seeing, you know, you've got a credenza, you're seeing the pictures on your mood, your, your, your surface together. And like, you've got a square one, you've got a mirror and you're like, oh, just the mirror one looks so much better. And you're not gonna like, find that until you're laying it all out on surface, like you said.
- [33:03]
Corey Damon Jenkins
Absolutely. And the piece of furniture will also dictate what needs to come next. Like if you start with a grounding piece, like this sofa section I'm sitting on here in my living room, putting a square table here with this L sectional. It's not very comfortable to get in here because I may nick my leg on the sharp corners of a table when you're, you know, nestling it in with this sofa sectional. So we have a round Saarinen table here. And because of the curvature of the table, there's no chance for me to scrape my leg or to have any sort of Tripping hazard, because the round circle just geometrically favors the L shape shaped intersection of the sofa sectional. So it's also about living with the space and seeing what feels right and perhaps doing so in a way that avoids you damaging your legs. But I think there's something to planning it out. If you can use paper, trace paper, sketch things out, sketch a floor plan out. There's even online tools right now that you can use on different websites to plan these spaces out.
- [34:07]
Caroline
Yeah. Shameless plug. We have one. It's called. It's called our room planner. But I will say that I, um, I learned so much from learning how to draw in scale. And it's so easy, and I feel like you could teach it to yourself probably in an hour. You get some graph paper, you get like a little scale, like an architecture scale that you can get off Amazon. And there is so much that revealed itself to me when I just drew it to scale because, like you said, you can tell when it looks bad, right? And so you draw it to scale and you're like, this doesn't work, period. Like, yeah, got everything. Gotta be flexible. Gotta find something else. The scale is everything.
- [34:50]
Corey Damon Jenkins
So, yeah, yeah, absolutely.
- [34:52]
Caroline
Yeah.
- [34:53]
Liz
I love your approach to moving through a space. And definitely how you talk about, and this might be controversial, that the kitchen is not the heart of the home, the living room is. And the placement of furniture within a living room is so important. Can you talk a little bit about your ideas about the living room?
- [35:22]
Corey Damon Jenkins
Yeah. We spend over 1000 hours a year on average, as human beings in our kitchen or the place where we make food. So I'm not saying it's not an important part or an important nucleus of a home, but once you have met your goal there as far as making food, you usually leave and go sit down someplace. So the living room is often where people land or the dining room. And that's where you have great conversations, memories are made, arguments are had, discussions about future planning, vacations, watching tv. Again, where all the memories are being crafted. It's in the living room. So I think that's really an eligible candidate as the heart of the home, in my personal, professional opinion.
- [36:06]
Caroline
I could not agree with you more. I'm a cook who does not want people in the kitchen with me. Go away.
- [36:11]
Corey Damon Jenkins
Go away.
- [36:12]
Caroline
Let me work, and then I will join you. You.
- [36:15]
Corey Damon Jenkins
Yeah.
- [36:15]
Caroline
Shoe.
- [36:16]
Corey Damon Jenkins
Yeah, yeah, Yep, absolutely.
- [36:20]
Liz
But I. I also love, like, how you talk about the space planning of a living room where, you know, I know you're sitting in your own living room on a sectional but that's not your first choice.
- [36:35]
Corey Damon Jenkins
No. And it's not. I hate diplomacy. Sectionals? Yes. Diplomatic magic. There some little abracadabra for the sake of my relations. Yeah.
- [36:48]
Caroline
Why do you hate a sectional?
- [36:50]
Corey Damon Jenkins
I don't hate them. They have their purpose. They're just not my first go to. But I think in New York, in smaller spaces across the board, they definitely tuck into a corner much better than a sofa or a love seat might do. In Michigan, I was designing these big, big homes, and we had these gargantuan sized rooms, so there was just no need to have a lot of sectionals because we had plenty of space to move around. But in New York and other smaller space, a sectional has great purpose. This one is made for this corner. I mean, it just tucks in so naturally, and it gives you the chance to have other seating, you know, other groupings of seating in the room. So I've come around to it. Again, you mentioned earlier about my evolution, Caroline. Okay. I've evolved and pivoted to accepting sectionals into my daily vernacular for design.
- [37:40]
Caroline
You're so right, though. People think that if they have a big room, they just have to fill it with a giant sectional. But sectionals are so specific. They're very rarely gonna move. I mean, you did it. But they're very rarely gonna move to your next place and work.
- [37:55]
Corey Damon Jenkins
Yeah, yeah. I think it's more of the. I think it's more the latter of what you just mentioned, not just using the sofa sectional as a band aid to fix a large room. I rather zone the room out into several bite sized tableaus, if you will, or little vignettes where a sofa sectional can be one. One vignette, and then maybe there's another sofa elsewhere in the room with a couple of, you know, swivel chairs that are partnered with it and maybe a desk. I think a desk in a living room is awesome because some people have. Have ergonomic back issues, and they don't. They don't want to sit on a sectional all day and watch tv. They may have to get up and stretch and change the picture of their back. So I think having a nice desk and a desk chair is a nice option for people to have in the family room so that if they're watching a family movie with everyone, they're not missing out if their physique is not allowing them sit on a sofa for, you know, hours at a time. So I just think versatility is very important.
- [38:51]
Caroline
Yeah. Well, speaking of a desk in the living room, I really loved the first chapter of the book, it is this fabulous. What's also the COVID It's this fabulous Upper east side apartment, and it's also episode one of your YouTube series. So can you tell us a little, Tell our listeners a little bit about the project? Why did you open with this project? Project.
- [39:13]
Corey Damon Jenkins
It was a really fun, joyful, colorful project. And all of my clients are so wonderful, and they all come with such diverse personalities and worldviews and styles and tastes. And so this one, you know, I usually have to push my clients to be a bit bolder, and this one I did not. I had to sometimes, you know, temper what we were doing a little bit because she wanted to really embrace maximalism in its fullest degree, which was great. We had so much fun with it. She was making a big life change of her own and moving her two daughters from their previous home to the New York City area and had purchased this beautiful apartment overlooking Central Park. The apartment itself was in a historic pre war building, and the lobby was beautiful and classic. But the apartment itself was horribly renovated in the 80s, or maybe it was the 90s, and just devoid of any sort of character of any kind. The only redeeming values were really just the views of the park. So we set about doing a complete transformation of the space, and we went all out. She's a very haute couture fashion forward lady, and she loves the intersection where fashion and design for interiors kind of meet. So you'll see a lot of celebration of texture and color with Gracie wall coverings and beautiful crab and the Jofa fabrics and Schumacher mixed in and great rugs and incredible chandeliers from eye holes. Like, it's just. It was a very thrilling job to work on because there was no stopping her. She wanted to create a space to set an example for her daughters to not settle and to select at all times. And she told me my mandate. She says, corey, your mandate is to make this home a place. Place for little women, for girls. And so you'll see a lot of pink, but also a lot of lavender and a lot of green and peacocks and the whole nine silk embroidered wall coverings. You name it, we've got it. And I'm just so thrilled that it landed the front cover.
- [41:26]
Liz
And I love the YouTube series where you really break down how you think about, you know, building in the butler's pantry in this beautiful blue and gold tile and how that references into, like the hand painting in the Gracie wallpaper and just kind of how you're going about carrying through the Design throughout the entire space.
- [41:51]
Corey Damon Jenkins
Yeah, yeah. The sofa had a great Susani velvet on it. And we want to give it an anchor, if you will. Lives in that space. And so the backsplash by Anne Sachs in the. In the butler's pantry was an easy, understated way to give that so gravity in the room. And it's also visually beckoning. It makes you want to go up there and make yourself a drink. So there's lots of jewel tones at work in this home, and I was happy about that because historically, jewel tones, when you think about emerald green, sapphire blue, ruby red, amethyst, when you look at ancient civilizations, those colors in dyes, in garments and in furnishings, you know, drapery panels and things of that nature were reserved for the wealthy. The poor cannot afford access of the dyes to make their own clothing and interiors colorful. So they were always draping their bodies in their homes in beige and gray and white because that did not require dye. And so therefore it was, you know, quote unquote, affordable for those who were poor. What's interesting is that during the Great Recession, everyone was painting their homes beige and gray. And the reason why, I think just from studying it and how color theory works, when people are about to take flight or they're about to part ways with something, or they're anticipating losing something, they go for non committal colors. So people were painting their homes during the Great Recession, the housing crisis, if you recall, beige and gray, they figured that that would appeal to everyone. I might not have this house a year from now, I might not be here three months from now. So I'm gonna go for the least offensive, least, you know, visually committed color palette that will hopefully appeal to everyone, because I don't really have a dog in this fight anymore. So if you look at the way how colors have translated themselves throughout history, from those who were poor in ancient civilizations to even the Great Recession of 2008. We associate neutral colors with being going with loss, going without, you know, parting ways, not committing, not feeling permanent about the decision that you're making. Whereas if you have a home like this client and. And you fill it with all the joyful colors that you love, you're not concerned about who's going to buy the house after you. If they buy the house from you, that's their problem, to make it their own. But she refused to live in this recession esque world where I'm going to just go for the safe, neutral colors in case I might sell this home. Who lives life like that? That's not really design reimagined. And so that was why we did the home with the jewel tones that you see throughout the. The property.
- [44:34]
Caroline
Also, don't you need. Don't you need, like, joy and happiness and color more when you're, you know, struggling?
- [44:41]
Corey Damon Jenkins
Yes, absolutely. It's great for the mood.
- [44:44]
Caroline
Okay. That purple dining room is. I mean, I'm so glad it was the COVID because it is absolutely spectacular, the most gorgeous shade of purple. Talk to us about the sort of genesis of that room. What was the starting point? Did you know that you wanted a purple dining, or did the client know she wanted a purple dining room? And this actually was one of the rooms where I was like, that room feels so traditional just in the color palette, the lacquer, the gilding, the chandelier. But the chairs are quite modern. Well, not modern, but, you know, they're very streamlined. The table even has this, like, sort of modern fluting and bass. So that was definitely one where I was like, huh? It's, you know, it reads traditional, but there's lots of modern hotels in here.
- [45:29]
Liz
See, I see this dining room as Josephine Baker as a dining room.
- [45:34]
Corey Damon Jenkins
Like, I love that.
- [45:36]
Liz
It's amazing.
- [45:38]
Corey Damon Jenkins
If Josephine Baker was a person, was a dining room, this would be, like, space. Yeah. High tea at noon, man. Yeah. You know, this dining room sits between the family room, which is that very exuberant, joyful color bomb, and then the foyer, which is in the front room, which is wrapped in this really incredible silk embroidered wall covering. It's lots of greens and blues and peacock level, you know, color palettes. So the dining room becomes what I call a palette cleanser. So when you're designing a space, you think about, how do these rooms relate to each other? Remember the whole mood board thing? We lay all the mood boards out. The mood board for the front hall, the mood for the mood board for the dining room, the mood board for the family room. If you put a Gracie wall covering on all three rooms, and they all are shinrazeri or, you know, some very, you know, detailed, organic pattern, the eye can get overwhelmed. It can become too busy. So the dining room became like, the break the visual, you know, palate cleanser, if you will, between two very powerful rooms. So that's why we went with that soft kind of lavender lacquer, because we just needed to give the eye a break. Initially, I was not gonna do the family room with that Gracie wall covering I had. She wanted to go a bit bolder. So it really drove the need for the dining room to be a Bit more simple and understated, even though it's also maximalist with that incredible art deco chandelier, the palmetto piece that took, like, eight hours to assemble. And as you mentioned, you know, Caroline, the panquettes and all the other elements that are at work in the room.
- [47:15]
Caroline
To say that it had to be a palette cleanser is. Is fair in comparison to the living room, but on its own, like, God, it's spectacular. I. I think it was my favorite room in the whole book, just because also that purple is not a color that many people go to, and it's so elegant, so feminine, and it just looks so good with that, like, sort of walnut table. I mean, just everything. It's so pretty and. Okay. I. All of a sudden, I was flipping. Flipping back through it, and I was like, oh, my gosh, you used a jute rug in here. What an unpredictable choice. But it really is perfect because it kind of brings the whole thing sort of down a little bit. Like, you know, down not in terms of, like, energy, but, like, down in terms of its, I guess, accessibility. Yeah. Like, it's more casual.
- [48:05]
Corey Damon Jenkins
Understated.
- [48:06]
Caroline
Yeah, yeah, yeah.
- [48:07]
Corey Damon Jenkins
Understated. Soft underfoot. And again, not everything has to be at a 10. We can dial it down to a 3. And it doesn't compromise the overall beauty of the space. Um, so, yeah, we. We try to create rooms that make people jealous. Um, and, you know, and I. I've had clients that will say to me, I think I'm lo. Some friends over this house because it's so much fancier than theirs, and that is not my problem. I've done my job. We want to create rooms that make people feel a certain way. And when I say jealousy, I mean it from the angle of the envy of living a life well lived. And whatever that might mean for you, as far as the budget, whatever you can achieve, make it custom to you. That dining room was customized for my client, Erica. That's who she is. That might not be who you are, but whatever. Whatever it is, just do it to the max. Even if it's modern and minimalist, do it to the max. As far as finishing it and making it really tailored to your personality.
- [49:04]
Liz
You know what? Make your. Make your friends and neighbors jealous. They can have it too.
- [49:08]
Corey Damon Jenkins
Yeah. Yeah, hire me. No, I'm just kidding. Yeah, I mean, I think it's just about. I think about how she wanted to make that house a statement not only for herself, but more importantly for her little girls, to show them what to expect from their men in the Future and how to live their lives elegantly. I think it's great.
- [49:30]
Caroline
Can you tell us more about that? Was it a challenge to design a home that you knew young kids were going to be in? Did you? I mean, they're not that young. I saw a picture. They're like middle school and high school. It's not like they're three. Yeah. Was that challenging?
- [49:46]
Corey Damon Jenkins
No, we. We. We spent a lot of time with the parents with their children in the room, and we interview the children. We, you know, kind of draw. And the parents will tell you if the children are rambunctious, if they're very careful. These are young ladies. They have traveled the world. They know multiple languages. They're very gifted, upwardly mobile young ladies. So I already knew that they were gonna be respectful of furniture and fabrics and drapery treatments. They were not gonna come through and trash it. But we have some projects where the children are the exact opposite. They are gonna live as children. They have dogs and cats, and they're gonna live a certain way. So that's where we started bringing in fabrics that are indoor, outdoor rated, that can take a beating, that can take stains. The jute rug in the dining room was not just there for visual, but it's also a bit more forgiving for the wear and tear that a dining room might receive. Scotchgarden furniture. Right. These are all things that we take into account. Even smooth lines on furniture itself, like not having sharp edges. These are things that can rip stockings or skin if you're walking by it. A sharp edge table. So we think about all of that when we're thinking through the traffic flow of a room to make sure it's really functional for everyday life.
- [51:05]
Caroline
Yeah. I have said this before on the podcast, and we'll stick to it, but, you know, outdoor fabrics are great, but there's no better kid proofing than color and pattern.
- [51:15]
Corey Damon Jenkins
Yes.
- [51:16]
Caroline
I mean, far more indestructible than a beige outdoor performance fabric.
- [51:23]
Corey Damon Jenkins
Yes. Just remember, color and pattern covers a multitude of stuff. Yes.
- [51:30]
Caroline
Camouflage. Let's talk about the YouTube series, because the YouTube series that you, you know, recently launched on YouTube kind of outlines. Well, episode one outlines sort of the beginning of the design process with this same client. What was the kind of impetus behind the YouTube series? You know, you have a masterclass class sort of. What is it? I guess you would say a course. So what made you want to go and kind of launch it for everybody and not just masterclass?
- [52:06]
Corey Damon Jenkins
Well, I think that we are always looking for ways to shake things up at Corey Damon Jenkins and Associates. We're trying to do things differently and there's never been a coffee taste that had a streaming series dedicated to the front cover. And conversely, there's never been a streaming series that has been filmed as a compliment to a coffee table book. So we're making some history here and changing the way how I think people look at coffee table books in general. It's like you can watch this series and really get a behind the scenes look into what made this project possible. It's not HGTV where you're designing the home within one week for, you know, 500 bucks. No shade against HGTV, but I don't believe that they really portray an accurate view of what really happens with the design process. No, this series keeps it real. We're discussing real price points. We don't hide the fact that it took 18 months. The client wanted it done in three months. I told her that is not happening. And thankfully she had the patience of a saint and the interest to see it through all the way. But it took 18 months of my life. Right. It's produced by Goodbye Pictures, which is a multi Emmy and Peabody award winning production crew. They are behind television hits like Project Runway, the Dream Home makeover with Shay McGee, Million Dollar Decorators. The entire series was filmed in 4K, so it's the first design show of this nature to hit the YouTube platform that is Netflix or Hulu Disney or level definition as far as television quality. So it's like watching a movie on the YouTube channel about a design show that keeps it real and authentic and it's humorous, it's emotional, it's fun, it's educational, it's got a tint, a tinge of reality TV with it, but it keeps it relatable. It's a multimillion dollar home, but I feel that we package it in a way that makes everyone feel that they can achieve it with the tips and tricks of the trade that I share at the end of each episode that has not been done before. And so we're excited for people to kind of come into this world where we're taking these projects and making them feel down to earth and not, I don't know, disenfranchising or like I said earlier in our conversation, gatekeeping others from having a worldview into what is possible with decoration and design.
- [54:49]
Liz
It is really such a wonderful compliment to the book and I loved digging into the book and then then getting a peek at the first episode of the YouTube series and really dissecting the room in A different way, in a way that was a bit more accessible. And I love that you say that. You know what? This isn't. Not everybody has this budget, but there are so many things that you can take away and so much that you're giving to your audience.
- [55:19]
Corey Damon Jenkins
Yeah, it was fun. I'm so grateful that Erica, my client, was willing to be on the show and be a guest star with us. Not everyone's willing to do that, but she was on board with letting us bring the cameras into her home. The finale shows her coming off the elevator and seeing the home fully furnished for the very first time. When she had left about four weeks earlier, the house was just being painted. She hadn't seen a shred of any decor, so we had the cameras rolling. It was an emotional reunion for her to see the home. It's very different than the television shows you see out there, because I think that the viewers will get a chance to follow the adventure from start to finish and get a real understanding of what price points really are and timelines really are to create a home and to walk away from it, hopefully feeling inspired, or as I conclude every episode of Design Reimagined. Be bold, whatever it might be, just be bold and inspired. Have fun with it.
- [56:21]
Caroline
Yeah, it was interesting to be able to see, you know, because obviously you're sort of walking us through the design process, but we get to see before pictures. We get to see sort of the room where paint and wallpaper is done, but, like, the furniture isn't in, and then you see the furniture being out. So you. You kind of get to see the midway, which you don't often get to see that in this design project. I think it was. It's really. It's really helpful just to be able to get a. And, you know, there's something about video that gives you such a. Better understand the space in a way that, like, a flat photograph, while gorgeous, just you can't tell the dimensionality as well.
- [56:59]
Corey Damon Jenkins
Yeah, I'm so glad you said that, because I think that that is very exciting for the reader. They find out that there's actually a streaming series dedicated to this first chapter. They'll go to the YouTube channel, and in the streaming series named Design Reimagined, which is the same title as the book, so they kind of go hand in hand, and they'll get a chance to see for themselves what went into those decisions, and then they can use those tips and tricks for themselves in their own home with their own budgets. And I love the design democracy of all of it that we're making it in such a way to where people can make these interiors possible, whether it's with a designer like myself or with someone else or on their own, they can achieve some of these tenets with me helping them as an instructor. So I'm looking forward to people watching it and hopefully feeling. Feeling inspired.
- [57:52]
Caroline
Yeah. Well, you know, we agree, because we also feel like people need to customize their space, and we really try to make that happen as much as possible. So, yeah, we're on the same page.
- [58:03]
Corey Damon Jenkins
I love it. I love it.
- [58:05]
Caroline
Well, I did want to talk about, you know, you kind of talk in the book about anchor pieces, and we've, you know, talked about anchor pieces a lot on the show. What? One thing that I've. I've sort of been thinking about recently is maybe you find a great fabric. Right. And I think maybe this doesn't necessarily apply if your anchor piece is a wall color or, I'm sorry, a wallpaper or a rug. But what if you find a great fabric? You know, you love it. You want to design your room around it. There's so many ways you could use an anchor fabric. So how do you know what to put it on? Like, what's the vehicle for that fabric? Is there ever, like. Because you could use it anywhere, really.
- [58:48]
Corey Damon Jenkins
Right. Great question. I would say it would depend upon what is the scale of the pattern on the anchor fabric, if there is a pattern. For example, what's the price point of the anchor fabric? Because that will determine whether or not you're going to upholster a sofa that may require 18 yards of that fabric or just some accent pillows on the sofa. Right. Which may only require, you know, three or four yards of fabric. So that's going to be, I think, a big part of it. But if you really love it and it's truly the most special thing you've ever seen, my recommendation would be to use it in a profound way that makes a big statement. So it could be on the sofa. It could be drapery treatments or window treatments on the windows. It could be an accent chair. Right. But I do think it's something that should be showcased in the space that you will appreciate and enjoy every single day that you walk by it and be okay with splurging on that and really making it the wow factor that it deserves to be, even if that means cutting back on another part of your budget to make other things happen. It's okay to splurge. Think of it like a toy box. A toy box has a lid on it. You put all your big toys in first, and then all your smaller toys have a way of kind of trickling down and finding a little nook and cranny to nestle into. And the lid closes. Well, the toy box is your budget. If you find this really amazing toy that's like the big toy in the box, like this anchor fabric, put that in and then you'll see how much room you have left in your toy box, you know, ergo, your budget to put all the other little fabrics and elements in. And it always, it's amazing. It always has a way of, of, of closing. The lid always closes. But prioritize the special thing first.
- [60:32]
Caroline
You, of course, in the, in the first episode, have this gorgeous Gracie wallpaper that's sort of your, your anchor piece and everything sort of flows from there. And, you know, your sort of emerald banquette and the blue sapphire blue sofa and the wallpaper on the ceiling and everything. So.
- [60:51]
Corey Damon Jenkins
Yeah, yeah, yeah, she did about face on me on that project. She called me, it was around midnight. We were texting and she was like, I had some concerns. I want this room to be even bolder. And we were texting back and forth. And I was actually at the studio stories. You wanna just call me on the phone, just like hashes out, she says, it's too late. I'm like, well, it's already midnight. You might as well. We have that relationship. And so we had already purchased that green silk wall covering for the walls. And then she said, I wanna pivot to something a bit bolder for the walls. So we ended up putting the grass cloth on the ceiling and then tying it into the Gracie design. So again, the lid always closes on the toy box. It's just a matter of, you know, how many things you can cram in there. But it always, it always, always closes.
- [61:39]
Liz
The green grass cloth on the ceiling is absolutely gorgeous.
- [61:43]
Caroline
Yeah, it is.
- [61:43]
Corey Damon Jenkins
Thank you. It's fun. Also was a cost effective way to make that work because we could not send it back.
- [61:50]
Caroline
Had to use it somewhere.
- [61:52]
Corey Damon Jenkins
The restocking fees, I'm telling you, they will kill you. So I said, this is not going bad. Just so you know, I can't send it back. So it's going on the ceiling. But it worked out.
- [62:01]
Caroline
Yeah. Yeah, it did. Well, Corey, thank you so much. This was delightful. And everyone needs to go look up your YouTube channel. It's designed, reimagined with Corey Damon Jenkins, obviously pre order the book on Amazon. Where else can they find and follow you?
- [62:18]
Corey Damon Jenkins
Instagram at Corydamondjenkins. I'm now on TikTok now. After Erica's house went viral. Oh, the TikTokers got a hold of it and it started becoming like a viral thing. So I started getting some pressure from my team to join because they did not want someone else to, like, hijack my username on TikTok. So I'm on TikTok now. I have not made a single post yet, but that's coming with the Design Reimagined streaming series. Subscribe on the YouTube channel to get all the new episodes, the new book, and then also we just announced a new lighting collection with iColds.
- [62:53]
Caroline
Exciting.
- [62:54]
Corey Damon Jenkins
So we're excited about that. That'll be debuting worldwide in January of 26.
- [63:00]
Caroline
Okay.
- [63:00]
Corey Damon Jenkins
So we're excited about that.
- [63:02]
Caroline
Lots of big things in the works. Love to hear it.
- [63:05]
Corey Damon Jenkins
Thank you. Thank you so much for having me. And again, we just love Ballard. We love the accessibility of the site. You know, I love the product. You'll see it throughout Design Reimagine.
- [63:16]
Caroline
I was gonna say I'm my little eagle eyes.
- [63:19]
Corey Damon Jenkins
Yes. It is everywhere in that book. It's everywhere in the front cover and on Design. Reimagine the series because the product is beautiful and it's got a great quality level to it and it's accessible, and it's so easy to mix it in with all the beautiful things that we do for our clients. So thank you all for being such a consistent and dependable resource for designers. I think that's very important. We don't always get that, but we can always depend on Ballard to come through.
- [63:46]
Caroline
So, you know, we're your biggest fan. We have been for many years.
- [63:51]
Corey Damon Jenkins
So thank you.
- [63:52]
Caroline
Thank you for saying that.
- [63:53]
Corey Damon Jenkins
Thanks for having me.
- [63:55]
Caroline
And that's our show. You can find all of the show notes on our blog howtodecorate.com podcast to send in a decorating dilemma. Email your questions to podcastallarddesigns.net so we can help you with your space. And of course, be sure to follow us on social media. AlardeSigns.
- [64:10]
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.
- [64:17]
Caroline
Until next time, happy Decorating.