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- [00:02]
A
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.
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B
And I'm Taryn and I'm a product designer.
- [00:13]
C
I'm Liz. I head of the creative team.
- [00:15]
A
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.
- [00:22]
B
Plus, we'll answer your decorating dilemmas at the end of each episode.
- [00:25]
C
We love answering your questions, so don't forget to email us@podcastallardesigns.net now, on with the show. Today we're joined by a designer who perfectly embodies American laid back high style design as a fifth generation Californian. His work is infused with sunny colors, natural textures and bold, fun touches. He's a top interior designer, a lifestyle and entertaining expert, and you've likely seen him on the Today show or in the pages of Architectural, Architectural Digest and House Beautiful. He's already shared his passion for design in two of his best selling books, American Style and I Love California. But today he's here to talk about his highly anticipated third book. I love creating stylish, thoughtful and personal spaces. It takes us behind the scenes of his creative process, blending English bohemian influences with global inspiration. Please welcome to the show, Nathan Turner.
- [01:23]
D
Thank you. I love. What a nice intro.
- [01:25]
C
Gosh, Nathan, it is so exciting having you here and this book is really fantastic.
- [01:32]
D
Oh, thank you. Thank you so much.
- [01:34]
C
Let's, let's kind of start about your inspiration and your start into the world of interior design.
- [01:42]
D
Oh my gosh. It kind of happened by accident, you guys. It was, it really. It's one thing that I always tell people starting out in any career, young people especially, to be open, be open to opportunities and open to experiences and don't ever close yourself off because you never know where it may lead. And it's kind, because it's kind of what happened to me. I, I grew up in Northern California and I went to college and studied business and economics, which was a crushing, like I couldn't like, I wanted to like throw myself off the Bay Bridge because I have very conservative, practical parents and they said, you know, you're, you, you can't go to school, to college and get a degree in like basket weaving, which that was always their thing. And I was like, you think you're funny, but like, I'd actually love that as a, as a degree. I think I'd, I think I would have excelled at basket weaving, but I did that because. And I had no idea what I wanted to do. So I didn't even have an argument of, like, well, I really feel strongly about this. So I. I did it. And I got actually a double major, which was, like, weird, because when I realized how close I was to getting a degree in economics as well as business, I was like, oh, I'll just do that because I'm so close. So it was super boring. And to combat the boredom, I had learned about a. An international program that you kind of, like, did an international business degree. And so I understood that you had to go abroad. And I was like, ooh, that sounds great. So I went to Italy, and I had already been studying Italian, and my Italian was pretty good, and went to the University of Siena, and I had done. I'll take you back. I had done an exchange program in high school in Parma, Italy. So I was already, like, in my Italian era and loving it. And so this all made sense. And I did that and I loved it. And it was really fun and satisfying. And I was. I was like, doing on campus interviews in Italy, and I remember getting a job offer from Piaggio that. The scooter company. And I was telling my parents, and they're like, you have to come home. You realize that, right? I was like, no, no, no, no. I already have. Like, see, I see my Italian life. I'm not coming home. I'm, like, staying here. So I came home because I had a year left of school, and when I left college, I still had no idea what I wanted to do and I was doing. You know, they had recruitment interviews come to campus, and I remember interviewing with, like, Deloitte and Touche and Chevron and, like, getting, like, high up in the, in the interviews because I was a good interviewer. I was like, great in the, in the room, obviously, and, and people. Yeah, questionable, but I don't know how I got through this, that. That stuff. Um, and I remember just being like, I don't want to do any of this. This all sounds really, like, not the right fit for me. And I moved to Southern California with, like, no idea what I wanted to do. I just finished and I moved down to Southern California and my parents had a beach house in Laguna Beach. We kind of grew up going there. And so much to my parents dismay, I moved into their beach house and. Which was a great life at 22 years old. But I. Through my. My mother, I met an antiques dealer in, In San Juan Capistrano, and he was doing a buying trip, and I spoke Italian, so he said, oh, you could come be my assistant. And so we did the Parma fair and then all the fairs in Europe and all the things. And I was like, wait a second. This is a job. You go to Europe and go to France and England and Belgium and Italy and buy old crap and bring it back and sell it. And I'm like, sign me up. This is fantastic. And so I worked for him for several years and then probably prematurely decided to open up my own shop in Los Angeles. Um, and I say that just because I had the, like, the aesthetic chops. Like, I really had developed my eye and had an understanding of. Of buying and putting things together. But, you know, I probably could have had a little bit more practical experience. I. I joke that I opened my store in September, and by January, I had no money. I had spent it. I had overspent on inventory and was
- [06:42]
B
like, you're sleeping in the store now.
- [06:44]
D
Rent, rent and other expenses. I forgot about those. I would get overzealous on buying trips. But, you know, I figured it out. And my original shop was this really charming little house. And so it had a fireplace and it had a little kitchen, which I, like, reinstalled the kitchen. And I started cooking and doing dinners and lunches. And it garnered a lot of attention at the time. And back when we had a home section at the LA Times, shortly after, it was this big, giant cover story on the home section. This guy's cooking and having event, like, dinners in his shop. And it was so funny because LA is so la. And I would get calls and say, like, I'd like to book a table for two. I'm like, I would be, oh, no, no, no, it's not like that.
- [07:41]
C
And.
- [07:42]
D
And then if you tell people no, they're like, all of a sudden, the assistant calls back, and they're like, I'm calling from so and so's office. And I would like to. And I was like, girl, it's not like that. Like, I'm not, like, trying to be coy or exc. Of. It's just like a shop. Like, you just come in and shop and we'll be friends and I'll invite you. So that was really funny. And the events went from, like, literally, like, my very first thing was, like, a dinner for, like, six decorators. It went from that to, like, I'm tenting the whole inside of the shop in white gauze and putting a table down on the floor and doing like, a Turkish dinner. Like, all these big Fun events. And so the shop was really where everything started for me. My, my, obviously my antique dealing career, my whole entertaining thing. And then I really think, because the, the shop was a home, and I kind of set it up that way, that it really gave people a, a, A sense of, like, my aesthetic. And so people, that's when people started, like, asking me, oh, I'd love to hire you to do my house. And I'm like, hmm, okay. And I had done my own and, like, you know, helped friends. But again, going back to what I said earlier, I'm not like, I'm an adventurous. Yes. Kind of Person. So I was. Even though I was maybe a little nervous or, like, I don't know how to really do this, but, like, I'll figure it out. And that's how I started decorating. So it all kind of just like, fell into each other. And it sounds like much more simple than that because it came with a ton of hard work. But, yeah, it wasn't something. I didn't go to design school. I never had the practical experience of working for, like, a big design firm, which, you know, I, I, I feel two ways about it sometimes. I'm really envious, like, to have missed out on that, like, experience of what it's like to just have gone into this knowing how to, like, run a big job, interface with clients, billing, all that stuff. But then the other, like, I try to think on the positive is like, sometimes it's really hard to get out from underneath the shadow of working from somebody. And so I didn't, I just was like, me. I just always did my own thing. So whether it's good or bad, I, you know, have to figure it out.
- [10:17]
C
Well, I think it's worked out for you. Following your instincts has really worked out. And this book in particular, you're showcasing projects that you've worked on all over the globe.
- [10:31]
D
Yeah. So it's really easy. I think this has worked out for you. Yeah, that part is really something that wasn't, you know, on my bingo card to be working in, like, all over Asia. I work a lot in Asia. I recently finished a giant job in Sydney, the islands. Like, it's, it's really fun and interesting and exciting and really challenging at times, like customs and containers and, you know, all the, all that stuff that comes with it.
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C
All the logistics.
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D
Yeah.
- [11:13]
C
But, okay, so you've worked on all of these projects that are all over the globe. I've got to say, not one of them looks the same. It's. You have a really incredible way of dialing into who's living in these spaces and where they're located. Can you talk just a little bit about how you're able to get to know your clients and the location so well?
- [11:42]
D
That's a great point because it's something that I learned early on in the decorating part of my career that this process is not about me per se. You know what I mean? It's like my job is to take the home and the people that are going to be living in the home and give them the best version and use my skillset to do that. So, you know, I don't. I have a look like this is my office. And I love BE probably, you know, because I started in antiques. I love collecting. I love things minimalist. I am not personally. And so when I get a job that the client has that same kind of taste or aesthetic or likes that kind of collected look, I'm really excited because it's very easy for me to lean into. But again, like, you're not going to see, like, open the book and see everything kind of has the same vibe to it because of that. So I'm not going to do this in Singapore, where it's like the first time I ever went to Singapore to, to meet a client, it was smoldering, like, humid and hot, and. And I was planning my next site visit and everything. And I said, well, when does it cool down? And thinking, that's when I'll come back. And my client started laughing. She's like, it doesn't. We're basically on the equator. It doesn't. This is it. This is what it's like all the time. So because of that, like, I'm never going to do, like, you know, like, the New York apartment in my book, with like, upholstered walls and velvet sofas and deep colors. Everything needs to feel light in a place like Singapore. But it's also incredibly sophisticated. I mean, it's one of the, like, you know, banking centers of the world. And it's such a, like, international hub that the people, my clients included, are like wildly sophisticated, interesting people. So it's a funny line of like, real being colorful and relaxed, but at a certain level. So I'm. This is what I'm thinking about constantly when I'm working on projects in. In different places.
- [14:07]
C
Well, let's talk a little bit more about the Singapore spaces because there are two of them that you did. And am I right in that they're the same client?
- [14:16]
D
Same client. And I've done probably 10 projects for this client and they. It's, it's actually really, it's. It's really fun when you get to be super, like, you have a, like a shorthand with clients. And this happened with us. And I've worked with multiple members of this family and I've done their offices and, you know, vacation homes and so, yeah, the, the, the, the main apartment is. And I feel like a lot of my Singapore clients, nobody lives there full time. It's kind of an in and out kind of situation. There's a bigger apartment and then there's a small apartment, which was really fun to do because it's like her office slash closet. So we converted most of the bedrooms into, like, rolling racks of, like, one of the most incredible. I'm like, who am I kidding? One of the most impressive wardrobe I've ever seen in my life. And so that's fun. It's fun to do, like, different, you know, take spaces and transform them into very specific uses for specific people that, like, maybe isn't the norm.
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C
Yeah, I just thought that one was so fun because the main living, the main apartment, condo space, I don't know, penthouse. I mean, it's incredible. Like, I mean, it is so incredible. And I love how you took the fact that you are on the equator and it's warm and amazing all the time, or hot all the time, and you put the dining room out on the balcony.
- [16:01]
D
Oh, yeah, yeah, that also. Because, you know, in a place like Singapore, space is limited. And like, this is a really large apartment, especially for that city. But, you know, there is a table inside, but, like, we put the big table outside, which not a lot of space. Not a lot of, like, penthouse apartments have these outdoor spaces and have that much room. So it's like we're going to utilize this. And I could see them using it for dinners and such more than, like, going out there and lounging, like, on a sofa, so. Because I feel like they're going to use it more at night anyway when it does, like, cool down. Um, yeah, so that, that was always looking to maximize spaces no matter where I am, you know.
- [16:53]
C
Yeah. And then I found it so fun to, like, see the other side of the personality in the other space. But one thing that I really love about this book is that at the end of every project, you walk us through the highs and the lows of every. Of every project that you've worked on, but then you give us your favorite places to visit. And so the book becomes interior design, plus fantastic stories, plus a bit of a travelog of your favorite spots in the cities. What brought that about?
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D
Well, it's very similar format to I Love California, my last book where I focused on different parts of the state and then I would kind of. I didn't give the back the behind the scenes, but I would always give my favorite things in said city. But when we started laying this out, we knew we wanted to kind of try and, and mimic that format a little bit. But it really came from the fact of like, I thought I wanted to make it a little bit diary like and share my experiences because I do think it's a little unique to work in a place like Jakarta, Indonesia or go down to Turks and Caicos or, you know, it wasn't like, I'm an LA based designer and most of my work's in California, you know, so I've had so much fun working in these places and had so many crazy like adventures and incidents and things go right and things go really wrong. So I thought, you know, I'm gonna like bring people along for the ride with some of this stuff and. Because when you are working, I've been working with, you know, clients in Singapore and Indonesia for 12 years now. So I know I have some good info, I have some good intel on like what I like to do there. And if you, you know, if you are going, like, I have a pretty good list.
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C
Okay, that's awesome. So it, it begs the question, if you were going someplace not for work, where would you go?
- [19:02]
D
Oh, gosh, you know, probably the Californian in me loves Mexico. We go to Mexico a lot. There's a hotel that I was just at recently that we go try and get to at least once a year called Hacienda San Antonio. And it's an 18th century coffee plantation that's a hotel. And it's aesthetically one of the most beautiful places I've ever been. And it just, the whole vibe of it is so me, my family, we're, we're cattle ranchers from Northern California. So I love to be able to get on a horse and be out in the country and so that, that really like ticks all those boxes. I love Mexico City in Mexico also. We go to Scandinavia a lot. We go to like Sweden and Denmark. That's a summer favorite of mine, which isn't necessarily like the norm because most people like, like to be in warmer water and the temps go above 75. But to me, I love that. I love like, I don't mind having to put on like a sweater and go to the beach in July. But I love the whole. I also love the whole, like, aesthetic of Scandinavia. The food, the furniture, the design. So that. That's always very satisfying for me, too.
- [20:33]
C
Well, I think we need a full travelogue. This book is just a great, like, dip into all the places that you've traveled and all the places where you've done incredible work. The other thing that you talk about, I've mentioned that you kind of go into the highs and lows of all of these projects. And, you know, I was wondering, you know, and by that I mean, like, you're highlighting some of the issues in layouts or budgets or, you know, the real. The real life constraints that are happening in design and in these projects. I'm wondering, do you think that you thrive in those kind of environments? And is there any challenge that really sticks out of you when you think. When you think of, like, oh, my gosh, how am I going to get out of this one? And then you hit it out of
- [21:21]
D
the park, you know? God, it's just. I always say to people that are starting with me in the office that I just need to remind you that basically decorators were just problem solvers. That's all that, like, it comes down to, like, no matter how on top of your game you are, and we're on our game here. We're like, I have an amazing team. It's just the nature of the business, because you have. You cannot prevent human error. And if you take look at one piece of furniture, like a sofa, and you look at the process from the shopping for the fabric to ordering the fabric to the fabric being delivered to then the sofa being made and then the trim arriving and then the. All the things, and then it has to be delivered. And then how many hands touch this one thing? And then you times that by a gazillion in a big old house, things are gonna happen. Things are gonna happen. So my whole, like, you know, motto, whatever you wanna call it is don't flip out and solve the problem. You know what I mean? Like, I. And this is how I feel about, like, vendors that we work with. I detest when it's like, people are scrambling to find the blame. Who is. Who's at fault? Who's gonna, like, who's gonna fall on the sword for this? Because if it's my fault, the first thing I'm gonna say is, oh, my God, you guys, I'm such an idiot. I ordered the wrong fabric or whatever it is, or they cut the wrong fabric or whatever it is. Okay, that's figured Out. Great. Ultimately, who cares? Because the bigger question is how do we fix it and how quickly can we fix it? Because I need this piece in two weeks. So if you stand by me and you fix it and you know, obviously if there's costs involved, that part you figure out or you split it or whatever it is. I will work with you forever. Because we're in this together. We're all like, this is. This will happen again, you know, and not because somebody's being, you know, somebody slipped up or it's just stuff happens. So I am not a screamer. I mean, it makes me laugh even because I know so many. I have a lot of stories of hearing, you know, decorators that are lunatics that scream at people. Not me, not my vibe. I just want to fix it. So, you know, that's a huge part of what we do is like having the skill set to jump in and problem solve. So without that, I don't think you can really excel in this world because like I said, it's kind of inevitable.
- [24:25]
C
Yeah, no, that's really great life advice too. You know, you just gotta keep. Keep moving. Yeah, it's like recognize what's going on and keep moving. I think my team knows that the bigger the smile, the bigger the problem. I'm like, okay, let's fix it. Let's get moving.
- [24:40]
D
Yes, I know. It's just not, it's also not worth it. It's like, it's not, it's not worth the. I am not a like stress prone person. You know, there are bigger fish to fry, you know, in, in, in the scheme of things. So let's just keep rolling, you know.
- [25:03]
C
Well, thank you for your honesty in the book. It was it made for a really, really great read.
- [25:07]
B
How do your clients deal with that? Speaking on the other side? So I know it sounds, you know, from your side. Something gets messed up in office, you chill it. Cool, let's fix. But how do you work with your client to make that work too? Same.
- [25:20]
D
Tell them to, you know, to be perfectly honest with you, most of the time they don't even.
- [25:25]
B
That's when you're doing your best work.
- [25:27]
D
You know what I mean? It's like that's like that's our job. Like they are hiring us to facilitate this entire process. So I am not going to come to them unless, unless there has been such a delay with something and I'm not even going to get into it with them. I'm not going to tell them like we. Someone ordered the wrong fabric or somebody to X, Y, Z. Because, again, like, that's my job is to, like, diffuse all of this stuff. If it. If it's a situation where then, okay, said item is not going to be in the install. When we install their house, they move in. I just explained to them there was a huge problem. We have fixed it, and that piece will come in two weeks after you move in. You know what I mean? And if it's something that's like an important piece, like a nightstand, before I even tell them, we've, like, bought something from Ikea and we put it next to their bed, and so there's something. You know what I mean? Like, we're never gonna just leave an empty spot, and I buy it myself. And you know what I mean? So it's like, I'm not charging them for that. It's like this was on us or on somebody else. So we do everything in our power to keep them out of it.
- [26:42]
C
So you start this book by taking a tour of your own home.
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D
Yeah.
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C
And you have the most warm and loving living room that is in a beautiful pink.
- [26:54]
D
Yes. I finally got a pink. I always wanted a pink living room, and I finally got a pink living room.
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C
Everybody looks good in pink.
- [27:01]
D
They do. And that, I think it's calamine pink by Faron Ball, is at least in the California light. Cause I know things look different everywhere. It's just perfect. I really love it.
- [27:12]
C
It is such a great room. And I just want to kind of double back on, like, some of the things that you mentioned in the book. Like, you're even honest about, like, you know what? I put the wrong drapery panels in there.
- [27:23]
D
I did.
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C
But the drapery panels that you have in there now are absolutely perfect.
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D
See, they needed. There. I knew it. You know, I. As a decorator, people always ask, like, you know, is it like the shoemaker's children with your own homes? And it's kind of the opposite for me. Like, I have. I make decisions too quickly sometimes because I just am such a machine. And I just like, go, go, go. And I trust my instincts, but sometimes I make a mistake because I didn't think it out with a client. I'm never that fast. I will put. You know, I'm like, okay, wait a second. Let me think about this for a second. Let me look at this. And then I marinate. And then I come back. I'm like, yes, let's da, da, da. Myself. I'm like, okay, this, this is. And that. And that's what happened in the living room. And it Just. It didn't have enough, like, weight to it. And we got. We made them put them up, everything. And I was like. And the second they went, I was like, okay, I made a mistake. But, you know, nothing goes to waste. Those are in the guest room. They're fine. They look great,
- [28:26]
C
you know, But I really appreciate you sharing that. And, like, it really does feel like your home is the designer's laboratory always.
- [28:35]
D
Yeah.
- [28:36]
C
So I'm wondering, what is going on in your house right now? What's bringing you joy? What are you experimenting with in your own home?
- [28:43]
D
Um, well, right now, I'm kind of all about outside. Um, I've just. Was just this morning, drove down from Ojai. We kind of live between LA and Ojai, California, and we are having an unusually hot spring. It's been in the 80s and 90s, so everything's just, like, bursting very, very early. Like, we have some orange trees and grapefruit trees. So all the orange blossoms are out. And it's my favorite thing when they're. That's my favorite scent, period. It's orange blossom. It's just, like, I can't get enough. So I've been spending a lot of time outside. We have an. A really great outdoor kitchen in Ojai. So I've been kind of fussing out there with the garden and, like, changing some stuff and really unglamorous stuff, like power washing our swimming pool. And. Yes, I do it myself. Um, you know, so I've been, like, very outdoor focused.
- [29:43]
C
Yeah, I think. I think most everybody is right now. I'm. I know I spent the entire weekend outside just trying to make everything in that extra space that we have just so wonderful, and. And it expands your home and expands your life to be able to have something outside.
- [30:00]
D
I mean, it's. It's like my favorite art. It's like, I. I actually love the decorating process when you get to outdoor spaces, because I always tell people to, like, you have to treat them like rooms. You have to, like, create different sitting areas for different activities. Like, make sure you have shade. You know, accessorized through, like, potted plants and trees and found cool, like, elements. We totally live outdoors. And when. When we put in our outdoor kitchen, I was like, I want an outdoor kitchen. I don't want, like, a barbecue. I have a range with, like, an oven and a, you know, gas stove top. And, like, I am, like, cooking. And my friends call me grandma. Cause I'll do, like, I just put up a huge batch of orange marmalade and you know, like, I do. I do canning. I can. Yeah. Oh, my God. Yeah, I do. I do canned tomatoes in the fall. Like, I am like an old grandma.
- [31:03]
A
I love that.
- [31:05]
C
That is so fantastic.
- [31:06]
B
And how you have more, that's kind
- [31:08]
C
of the magic of California living.
- [31:10]
B
That's amazing. And this home that you're speaking about, the Ojai one, is also in the book.
- [31:14]
A
Correct.
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D
I kind of bookended. I started with our home in LA and I ended with our home in Ohio. And then all in between are like,
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B
well, you have such a. What looks like a rambling outdoor space with different levels and walkways. And so I can see why you there. And it does, like you just said, it feels like you found pieces along the way. And you have some bamboo and some stone and beautiful teak pieces out there too. It looks so lush.
- [31:44]
D
Yeah. It's really important to mix. And I think people get in because most outdoor furniture comes in kind of sets that I think people get locked into that and it's okay. It's actually not okay. It's like, more than okay. And you should mix it to make it interesting. You know what I mean? And even if you buy a set, then break it up and put the sofa in one area and take the pair of chairs and put em in the front yard or somewhere else, so you get this kind of, you know, layered, nuanced look that feels a little bit more intentional and more like your interiors than just like plopping. And it's the same with the sets. Come with the same fabric. And I'm like, no, no, no, mix it up. Like, do it the same way you would inside.
- [32:27]
A
Well, I wanted to ask about your outdoor space because I get in theory how we decorate outdoors with the same accessories and, you know, kind of like a room. But it's a totally different language in the sense that I know the language of. Of sort of accessorizing my indoor space. You know, I got books and I've got pottery and I've got extra pillows and like, there's more, I guess, items to play with for sure. So what are some. What are some outdoor accessories that maybe we haven't thought of? I mean, obviously there's plants and containers, but. And outdoor pillows. But, like, is there anything that you like to play with outside that maybe, you know, wouldn't have thought about?
- [33:14]
D
I think that, like, thinking outside the box a little bit with materials, like, I use a lot of, like one. It's. So like I said, it's really important to mix materials. So if I have, like, A wood sofa. Then you can see, like on one of my sofas, I have a stone top table. And it's like, okay, I don't want wood there. And then I have a super upholstered one. And I'd be like, okay, I'll put a wood table there. So think about that balance. But accessories. In that same area, we have a big stone that we brought in, and we. It's just like a big stone, but there's a sofa and there's a coffee table. And then you see this big stone. And what isn't pictured is when we have guests, I take an old horse blanket and I fold it in half and I put it on top of the stone. And it serves as a. As a seat, like a cocktail seat or whatever. So I've done that with like, I even have this inside. Like, I have two tree stumps from our ranch that I have had since I moved to LA when I was like 23 years old as like a weird, like, touchstone back to home. And I have that as a side table in my living room. But like, things like that we. I have. I have like pulled over on the side of the road because I've seen like a big giant, like eucalyptus, like this big, like sliced from someone taking down a tree. And I'm like, can I take this? And it's a coffee table. So, like, you know, I try to. It doesn't have to be anything precious or it could just be like strange things like that that you kind of implement. And I think being outdoors, you have a little bit more freedom to where it doesn't have to be so perfect.
- [35:00]
A
Okay. I love that idea of salvaging natural items. I'm gonna try that.
- [35:07]
D
Yeah, no, it looks good. And it's like a lot of times
- [35:10]
B
for free trash to treasures.
- [35:14]
D
Exactly.
- [35:14]
A
And you can always, you know, make up some fun story about how it came out of the yard or like, come up with.
- [35:20]
D
I cut this down.
- [35:22]
A
Yeah.
- [35:23]
C
With my own two hands.
- [35:24]
B
I love your sweet little orange guest room you guys have in Ojai too.
- [35:31]
D
Oh, thank you. That was for nieces and nephews. And we have another guest room that has a normal sized bed. But I loved that kind of leaning into that old fashioned again. Like, I definitely. Grandma's a theme with me. Like twin beds with like those grandma chenille bed covers. It reminds me of like being a little kid at the ranch when I, you know, at my grandparents or whatever. And so my niece and nephews are. I. My nephews are like football bros. These giant guys Now. So it's like we've switched the twin beds out since because they're like, oh, we don't fit in here anymore. Um, but for a long time, they loved it. It was really fun.
- [36:16]
A
Yeah. You use your orange patterned wallpaper on here. And I'd love to hear about your wallpaper and fabric collection because I was doing a little shopping and ordering some samples of your fabrics because.
- [36:31]
D
Oh, I love that.
- [36:33]
A
And I love that one behind you on the wall of the wainscoting.
- [36:37]
D
Oh, thanks.
- [36:37]
A
They're so beautiful. Tell us about the collection and how that sort of started and where you get your inspiration for patterns.
- [36:44]
D
Oh, my gosh. I've always. I love textiles. Always have. When I'm decorating, when I start a new project, a new room, it's where I always start. It's funny, some people start with a carpet or color. I always start with my fabric scheme. Just probably because I love it. I love putting textiles together. So I knew I always wanted to do a fabric collection. And, um, all when we really dove into it, I had done wallpaper first. And then when we dove into the fabric line, all the inspiration came from my childhood and all my California, like, touchstones, like growing up on the ranch and the things that were and are around me that, like, you know, permeated my memories. So, you know, like, this one is called Theodora, and behind me in the office here. And I knew I wanted to do some kind of floral chintzies because my. I knew both my great grandmothers, but my great grandmother at the ranch was English and had a very English sensibility to her. And she had this chintz bedroom. And I. It was one. It's one of my earliest design memories. And I. It was so pretty and it smelled good. And you're on this kind of working, Working cattle ranch, so I don't need to tell you what it smells like. Most of the places there, um, and then there was just this little, like, beautiful oasis. And so I think that's kind of where my, like, Anglo American aesthetic comes from. Definitely from her. And I love how she would, like, reupholster something. Maybe everything was, like, originally chintzed out, and then the chair was worn, and so she reupholstered it in, like, a lilac velvet and things just start. Or just the cushion and things just started to, like, take on a different layered look. And I think that's, like, really ingrained in me. Um, so, yeah, like, that was a big one. I have. Oh, it's so funny. Cause I have a sample Sitting right here from a job. This is one of my favorites. It's called Heaton, and it's. We have wild blackberries. And so much of my childhood, I would walk from one family to member to another. And I walked to my grandmother, my grandfather's sister's house, and along the way, there were BlackBerry bushes, and I would just like blackberries, shoving them in my mouth, and show up purple and go to her house, and we'd make something, a cobbler or pie or whatever. And when I started playing around with the designs, it all felt a little, like, kitschy, like, kitcheny. And then I saw an image of a flowering BlackBerry, and I was like, oh, that's it. So let's turn it into a floral. And, you know, I have oak leaves and acorns and a California quail. Because in third grade, I had a project where I raised California quail from eggs in an incubator and then released them out onto the. To the ranch. So everything's super personal and has, like, some kind of, you know, guttural memory or. Or experience. Probably my favorite, though, is I have. I love Tual. And my childhood bedroom, which still exists, is a green traditional toile all over. And when we started digging into, like, the idea of a toile, we did a cowboy toile. And instead of, like, fancy French people, it's like a cowboy and a rattlesnake and a lady with a prairie skirt and a ranch dog. And it's super fun and charming. And, you know, I had such a good time doing it because it just. I pulled from so many personal things.
- [40:53]
A
I really hope you've put that cowboy toile in a little boy's room in some client's house, because it is so fun.
- [40:59]
D
It's really fun.
- [41:00]
A
It's pretty enough to be, I don't know, in any room, but how fun for a kid's room.
- [41:07]
D
I recently did the pink and brown version in a bar in Santa Barbara that I decorated, and it's really fun, and it actually goes really feminine, like, especially with the pink and brown. We did, like, pink velvet sofas, and, you know, it's. It's surprisingly kind of versatile. So it's fun watching. I'm having so much fun watching people use these things, because it can have started out with such a, like, strong point of view from me. Like, I have one called North Star blanket that is based on old horse blankets, and I sent some stuff to my pal India Hicks in the Bahamas, and she did her son Conrad's room in one version of that. And it looks like the chic David Hicks bedroom. It's like she took the one in blue and put it all over the place, and I'm like, I love how this thing that kind of, to me, looks like barbed wire. And then she took it and used it in a completely different way. And it doesn't look western at all. It looks very at home in the tropics. So that part's been really fun, and I love that.
- [42:17]
A
It's. It's. You can buy it on Wall Shop, and so anyone can order it, which is really fun because, you know, without a trade account.
- [42:26]
D
Yeah, yeah, you can. You can obviously, trade can get it from. We have showrooms. I'm with James and Ainsworth Noah in Atlanta and my own showroom in Los Angeles. But it's nice for people to be able to. To get it if they're not working with the decorator.
- [42:44]
A
Well, they're beautiful. There were so many of them, and I was like, oh, I need to order a sample of this.
- [42:48]
D
Thank you. Thank you.
- [42:49]
A
Yeah, and I love the way you. You layer patterns in your spaces. You know, that pink living room at your house, there's so many different patterns in that space, but there's something about. They're all very much in the same vein and color palette and, like, there's a similar tempo to them. I was wondering just maybe talk about how you. How you layer patterns and how you think about it. You know, kind of is there a point at which it gets too much? And how do you know you're there? And then is there a point where you're like, oh, it needs more and more? Like, what are some of those questions you're asking yourself?
- [43:28]
D
I love pattern on pattern. It's just. It's my favorite. Um, and it's surprising how many patterns you can get into one room. And for me, the key is staying in the same color palette. You've gotta stick with the same color palette with patterns otherwise, like, to. In my opinion, it looks cuckoo. It just is too discombobulated. But you can throw in so many patterns if you stick to the same colors. I also really think you need to balance out the scale of the pattern. So, you know, like, this. This one behind me has a lot of negative space in it, and then on the sofa, it's denser, and at a glance, it kind of looks more like a solid color, but there's a pattern on it, so then it doesn't fight with that size. And then I think there's kind of like, a great balance with types of patterns. So I'm not going to bring in another large floral into this room, but I'll bring in like a ditzy floral, something with like little tiny flowers on it. And then I'll be like, okay, I'm done with florals. And then. Oh, but I have another chair, so let's put in a stripe. And I'll add a stripe to that. All same colors. And then. Oh, I have a pair of ottomans, though, that I want to put in front of the fireplace. I've done a stripe. I've done two florals. How about a geometric? A geometric would work. And then. Okay, now I need pillows. I love an animal print. You know, like, there's. I just keep, like playing with types of patterns and scale of patterns, and then keep it all in the same color way and like, go for it.
- [45:08]
C
That is great advice.
- [45:09]
A
I always feel like that's something that us novices don't, you know, or maybe too afraid, too intimidated to mix patterns. And that's really what creates that warmth and, you know, coziness. When you look at designers spaces, there are a lot of things, but to me, it's really that. That layering of pattern that makes it feel real and like a home and.
- [45:37]
C
And elevated at the same time.
- [45:39]
A
Yeah. And personal.
- [45:40]
D
A little collected and layered. And I think also that it's not something we see out in the world, like in the retail world a lot. So it's harder for people to walk into a retail environment and look. And there's usually like a solid sofa and everything's typical. And I understand it because they're trying to sell a piece of furniture and like, let people put. Use their own imagination, but sometimes people need the assistance with it too. Um, so I think it's harder to your point of, like, diving into the whole mixing pattern situation, but thank God for Pinterest and Instagram and you get to see it through, you know, us crazy decorators.
- [46:27]
C
Well, and come on over to Ballard.
- [46:29]
A
I mean, that's true.
- [46:30]
C
Yeah, we've got all the patterns.
- [46:33]
D
And I know, as I was saying, there's like, you guys have a lot of pattern, which is so great.
- [46:37]
C
Yeah, you can get a. You can get a neutral sofa, but, you know, you can also get one
- [46:43]
D
in animal print, which is so great. It's so. It's like, be adventurous. Do a. Do a striped sofa, an animal print sofa. People get so afraid and they just assume they have to do a solid sofa. And I'm like, it's actually really boring. And it's like, not if you love the print or you love the color, you're not going to get tired of it. You're just, you aren't, you know what I mean? If you really love something, then go for it. That's all. But that's my biggest piece of advice
- [47:10]
A
and most of the time patterns are much more forgiving than solids. This is something I certainly am learning with two kids. You know, the pattern pieces that I have are, you know, much less likely to show imperfections.
- [47:27]
D
Always, always. You know what you're not going to see a little bit drip of grape juice on is Cowboy 12.
- [47:33]
A
That's true.
- [47:34]
D
It's really busy, you know what I mean? So it's a really good point, you know.
- [47:40]
A
Well, it's a gorgeous book. I like Liz said it's fun to see all of your favorite travel travel spots and your highs and lows and just the breadth of different client spaces. I mean Colorado to Singapore, India, California, New York. Like it's, each of them are so different and, and you know, you kind of get transported to that locale via your design work.
- [48:08]
D
I'm so glad to hear that because that's what I wanted to do. I wanted to, it's fine, it's great to like, you know, show some pretty interiors and stuff. But I just did want to try and bring people along for the ride a little bit because it is unique to work in in places like this. So thank you, I appreciate that.
- [48:28]
C
Well, thanks for inviting us on the journey. This was really a fun read and really excellent work.
- [48:34]
D
It's really so beautiful and I love your writing. Oh thanks. I, I, you know, I am, it's the Californian in me. I'm not a formal person. I am, I, I joke sometimes. I can sound like a 13 year old girl from the Valley. Like, you know, like I, you know, I, I, I, I don't take a, I, I obviously take my job seriously but at the same time I don't take it seriously either. You know what I mean? In the sense of like I love what I do. Hence I love decorating. I love that I, I get to get to do it in cool places and with such interesting so you know, always I always keep that at the forefront of my mind to like have fun with it and not take it too seriously.
- [49:29]
C
Well, the joy is totally showing through. Good, amazing. Um, so can you tell everyone where they can follow you? Find you find the book, find your stores, the sh.
- [49:44]
D
Yeah, if you're in la, definitely, please come. I have a fairly not even a year old back in the shop game on La Cineca Boulevard where we have the whole California collection. And I'm back into antiques and vintage, which is really fun to be back into being a shopkeeper. You can find me on Instagram at nturner Design. And the book is available April 14, but it's pre order now on Amazon and all book book retailers and in my shop. If you want a signed copy, call the shop and we'll send you one.
- [50:23]
A
Yeah, it's a must have.
- [50:25]
C
It really is.
- [50:26]
D
Thank you so much.
- [50:27]
C
Well, thank you so much for joining us today, guys.
- [50:31]
D
This was really fun. I could talk to y' all for hours.
- [50:34]
A
We are a good time, I'm sure. Seriously going to check out on the Wall shop and order some of these. I have been looking for a great fabric for this little Bergre chair and I haven't found anything.
- [50:45]
B
Well, he was just saying he was in.
- [50:46]
D
All right, well, let us know he's
- [50:48]
B
in town because he's put his fabrics in Ainsworth Noah so you can have. You can go see him.
- [50:53]
A
Oh, yeah.
- [50:55]
D
Oh, yeah, that's true. Yes.
- [50:56]
A
I have a friend who works at Ainsworth Noah, so I'll have to ask
- [50:59]
B
her about it and tell her that you. Yeah. Not to talk anything about you.
- [51:03]
A
Okay. No, I'm gonna be like, I just met Nathan Turner and he told me
- [51:07]
B
that I had to come see you.
- [51:10]
D
Yes, exactly. Oh, my God. I got the whole scoop. Jeez.
- [51:15]
A
Beautiful. They're beautiful.
- [51:17]
C
All right, well, that's our show.
- [51:21]
A
And that's our show. You can find all of the show notes on our blog howtodecorate.com podcast to
- [51:26]
B
send in a decorating dilemma, email your questions to podcastallarddesigns.net so we can help you with your space.
- [51:32]
A
And of course, be sure to follow us on social media at Ballard Designs.
- [51:35]
C
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.
- [51:42]
A
Until next time, happy decorating.