← Talk Shop with Ariel Okin: A Fenimore Lane Production
Talk Shop with Ariel Okin: A Fenimore Lane Production
Revisiting A S1 Favorite: Jake Arnold on Design and Storytelling
00:44:28
Loading summary
Transcript197 lines
- [00:00]
A
Before we dive in, I wanted to take a moment to thank this season's presenting sponsor, Shopmy. Shopmy is a platform that connects designers, tastemakers and creators with shoppers who trust their style and recommendations. With Shopmy, you can discover and shop the pieces experts actually use and love in their own homes, all in one beautifully curated place. And now shopping is even easier with the launch of the new Shop My app. Create circles with your favorite curators like myself or today's guest. Discover new products tailored to your taste and save everything you love with wishlists and snapshot right in the app. Download the new Shop My app at the link in the show notes. And now on to this week's episode. With the holiday week upon us, we're sharing a favorite conversation from the archives while we get new episodes ready for you. If you missed it the first time, you're in for a treat. And if you didn't, it's a perfect revisit for a cozy week. Enjoy and happy Thanksgiving.
- [00:55]
B
You have to choose what you love, save it all, and then edit. But you can't do everything you love in one space. And so you have to decide, what do you really love out of all the things that you are drawn to? And if you're drawn to tons of prints, but then all of a sudden there's like an image of something that's insanely minimal. Like, there's got to be some variation of like, how do you achieve both because you can't have everything.
- [01:20]
A
Welcome to Talkshop. I'm Ariel Oken, a New York based interior designer, writer and editor looking to bring a little bit of magic into our homes every day. After years as a writer and editor in the interiors world, I founded my own editorial site, Fed in more lane in and the Talkshop interview series was born. Each week I delve into the personal experiences of the top interior designers and tastemakers around the globe. I am so thrilled to welcome the fabulously talented AD100 designer Jake Arnold to the podcast Jake Spark. Eponymous. With ease, luxury and comfort is at the forefront of a new wave of designers creating fresh, modern spaces that transcend time and trends. Along with designing homes and spaces for celebrities like John Legend and Chrissy Teigen, Jake has collaborated on collections with top brands including Parachute, Lulu in Georgia and most recently Crate and Barrel. Earlier this year, the E design platform that Jake co founded with his best friend Leo the expert, where I'm one of the expert designers, launched an E commerce line providing consumers access to the best of the trade brands. Rare, vintage and made to order Showrooms from the Expert's impressive roster of designers. And look out for Jake's new podcast, the Expert out now. Jake's first book, Redefining Comfort, was just released from Rizzoli, highlighting nine projects with through lines of his signature comfort form and lived in sophistication. We've got a lot to talk about, so please join me as I welcome Jake to the podcast. Well, welcome Jake to the podcast. I am so excited to have you on. I feel like I know you even though we haven't officially met in person. So I can't wait to chat with you.
- [02:59]
B
Me too. I'm so grateful and excited to talk to you about all light things for once.
- [03:05]
A
Yeah, exactly. Well, to kick off the conversation, we've been asking everyone, can you describe your style in three words or less?
- [03:14]
B
So I would describe it as livable, impactful, and unexpected love.
- [03:23]
A
For those who may not know, which is absolutely no one on earth because you have taken over the industry. Who is Jake? Tell us a little bit about yourself, where you are at this point in your life right now. I mean, you have so much going on. I'm just amazed by everything you're working on.
- [03:40]
B
Well, that means a lot coming from you because you are also killing it and just seem to be doing it with such grace and ease.
- [03:48]
A
Definitely losing my mind.
- [03:50]
B
I know, I know. It's a lot harder than it looks. So my name is Jake Arnold. I'm originally born in London, England and moved to Los Angeles in 2012. And I'm an interior designer and the co founder of the Expert, which is a direct video consultation with the top designers around the world and also an e commerce platform. And I have collaborations with Crate and Barrel, Lulu and Georgia and Parachute, and that's in a nutshell, amazing.
- [04:26]
A
And the Expert, for those who don't know or haven't used it yet, I am on the Expert. It is the most amazing, amazing way to connect with people that I wouldn't connect with otherwise. And I just have so much fun meeting new clients on there and just, you know, seeing people's homes and helping them. So what a great idea.
- [04:45]
B
Well, we love having you on the Expert and it's such a privilege that people enjoy spending their time speaking to people all over the country. So it's really exciting and so easy and accessible for people and there's someone for everyone, which is really been so exciting to work on.
- [05:04]
A
Yeah, there really is. I mean, it's an amazing thing and I love getting to meet people on there. So tell me a little bit. Walk me through your career so far. Is it true that you started your firm in 2020?
- [05:14]
B
So technically, yes.
- [05:16]
A
I mean, that's mind blowing. Walk me through it. Because I'm blown away by how much you have accomplished in such a short amount of time and how very distilled your aesthetic is. But it's ever evolving and I think that's really hard for people in the industry to do.
- [05:35]
B
Well, that's very nice of you, thank you.
- [05:38]
A
So walk us through how you kind of got into design. Were you always interested in design?
- [05:43]
B
Yeah, I think my background into design is similar to a lot of designers that I've always been obsessed and moved my bedroom around as a child and like was going around my friends houses and moving their rooms around. So it's always been in my DNA. But then I. I studied business and economics at university and in my last year I was having a really hard time at university. It just was not for me. And I read this book actually. It's called the Secret. A lot of people I'm sure have heard of it and if you haven't, it's definitely not a book I would need to recommend now because there's so many others. But at the time it's very much like basic overview of Law of Attraction.
- [06:24]
A
Yes. And it was like the first of its kind. Like I remember when that came out.
- [06:28]
B
Yeah, it was just like a very simplistic, easy approach and I think that you find those like crumbs, I guess, like as you go. And for me it was the right time. And I read that book and I realized, oh my God, I could do whatever I want and I really should start just like deciding and making my future and being a co creator. So I just reached out to a design firm in LA on Twitter. I don't even have a Twitter account now. And I tweeted them and I was like, hey, I wish I could find the tweet. I'm actually going to deep dive after this because I keep meaning to you.
- [07:05]
A
Should I frame that?
- [07:06]
B
I do want to frame it, but I remember writing like, hey, I was just wondering if you offered an internship. I'm from the uk. And they actually responded.
- [07:15]
A
That's wild.
- [07:16]
B
And then I went for the summer. I'd never been to LA at all California ever beforehand. And so I didn't know.
- [07:25]
A
How did you pick that specific firm?
- [07:27]
B
I think it was just weird. I searched interior designers, looking for designers in London just to do an internship. I didn't have any intention of moving here. I didn't even know at that time, no one, like, when I was 20, no one I grew up with was moving countries. Like, that was not a thing. I think, in my head when I saw this company in LA, I think, like, most people in their early 20s have this whole concept of what California is like.
- [07:55]
A
It's like New York, too.
- [07:56]
B
It wasn't even a choice of New York or L. A. I think I just saw this company and they had a sizzle reel on YouTube of a show that they were doing to do, like, a reality show. And this was at the time that, like, the Osbournes and those types of shows were huge. And I was just like, who are these people? Like, they're working on these amazing projects and working with, like, Courtney Love and, like, all these crazy clients, which was so far removed from where I'm from, which is like the suburbs in England.
- [08:25]
A
That's essentially, like, couldn't be further from what LA is.
- [08:29]
B
Yeah. So they were like, come over for a month, we can't pay you. And I thought I'd won the lottery. I was like, fuck everyone. I'm going to LA for a month.
- [08:38]
A
But you knew, right? Like, you had this kind of, like, gut instinct that kind of drew you there. I feel like.
- [08:44]
B
Yeah. It's weird because when I went on the internship, when I look back, I actually never intended to even move. I didn't know that was an option. Like, I think I just was doing it. I showed up, went to a random apartment that I had no idea where I was. I showed up on the job the first day in Bel Air and I was like, where am I? This is ridiculous.
- [09:04]
A
What did your parents say? Were they dying?
- [09:08]
B
My parents? I think. Cause at the time, it was just a month that I was just going for an internship, so it wasn't really a thing. Part two, I came to LA and I fell in love with just my whole experience. I was so lucky that the company I worked for, Woodson and Rummerfields, they took me under their wing. Like, the first day I came, they invited me to their 40th birthday and I was just like, so nice. So nice.
- [09:32]
A
Yeah.
- [09:33]
B
Like, I just was not used to people being so open and friendly and nice and, like, they just showed me all of the old side of la. So I would go to all these old school supper clubs on the east side. They would take me to all these architectural gems. So I had a very specific experience of LA that I think I was really fortunate that I got to see a different side to it.
- [09:53]
A
Such a blessing. It's like a right time, right place, 100%.
- [09:57]
B
Long story short, I was then helping with an architect who shared an office with SD Stanley, who's now a good friend of mine who's also a really amazing designer.
- [10:07]
A
Yeah.
- [10:08]
B
Essentially, the client decided to go in a different direction and wasn't necessarily sure if she wanted to work with a designer. And she said to me, do you know anyone who could just casually help? I just. I don't want a full designer. I just need someone that can, like, help guide me through the process. And I don't know why I had the balls to say at the time. I was like, I'll do it, but.
- [10:29]
A
That'S what it takes, right? Like to start your own thing. Like, you have to just be able to put yourself out there like that.
- [10:35]
B
And bearing in mind, at this point, I didn't even know what like a dye lot was or like what. I didn't. I didn't know anything. Like, literally, I had no. Other than always loving design and being interested in my background, I had zero training, no formal training.
- [10:52]
A
I mean, you and I have that in common. I didn't go to design school either. I had to learn everything. And I didn't. I didn't intern anywhere, which is my biggest regret. And so, you know, I made some pretty stupid mistakes in the beginning because I just didn't know I had to learn all on my own.
- [11:07]
B
But I think that's the best way. Yeah, but you have to be good with people. Like, I feel like that's the biggest thing, I think, in this art industry is that even if you do have all of the background and the skill set. And I say this to people who ask me all the time, should I go to school? And I think that the reality is that you need credible skill set that you can actually apply for a job like that, for the most part is the majority. But at the same time, it's also not enough because you have to have the ability to be good with people and take risks and be able to be solution oriented. Like, oriented, whatever the word is. According to.
- [11:48]
A
Well, it's so much of psychology. I mean, working with clients is a full lesson in psychology. I think.
- [11:55]
B
Yeah, it's 100%. And I also think when you start your career, you have to work on things that. Not that you might not necessarily want to do, and that's okay. And so at the beginning, I was very much just. I would say yes to anything and everything.
- [12:11]
A
Yeah, I was the same way.
- [12:12]
B
That's what you have to do. It's just.
- [12:14]
A
Yeah, because you don't know what you're going to get next. You have to take it.
- [12:17]
B
Do you think if you knew. I'm curious. Do you think if you knew what you knew, you would pursue what you've done?
- [12:23]
A
Yes, I would still do it because I just love it. Like, every day I wake up and I'm like, I can't believe I get to do what I do for work.
- [12:29]
B
Not because you love it, obviously, because you like it, but more so, like, if you knew what it took. And it's like. What I'm saying is, it's like, isn't it better to. Ignorance is bliss. Because I think if you knew every single thing that you had to go through, you wouldn't have had the courage to do it.
- [12:45]
A
I think especially if I knew going into having my first kid what that would be like.
- [12:52]
B
Right.
- [12:52]
A
And balancing that. I mean, that was really hard in the beginning, like, just figuring out, like, the boundaries and all of that. But I never wanted to. And I think this is true of so many designers. Like, I had a corporate job and I was working in public affairs, and I was so unhappy. And I feel like people who start their own firms always kind of know deep down, like, that you can't work elsewhere. Like, you need to kind of make your own path in life. And I feel like you knew that from a really young age.
- [13:24]
B
It sounds like even just having this conversation now, it's. I forget that it is something that I guess I did know subconsciously. Why I asked you that question is if I knew what I had to have endured, I think I would have not been able to do it. And I think that that lack of knowing really served me in so many ways because I didn't have this, like, little plan that I was going to move to L. A and, like, post a bunch of pictures and do the bare minimum. Like, I had my head down for, like, 10 years, honestly, before I started my own company, before I did that. And the only reason why I was able to transition to my own firm is I had started bringing on all interior design clients to the architect. Like, I would work on all these projects on my own. Like, I'd bring in the clients, do the projects. And I was. And at some point, I just realized that for me to get the type of experience that I want out of this and build a team and a company culture, I have to do this on my own. And I think that a lot of people forget that I'm also not from here. So logistically on the back end, just getting visas and all of that stuff that must be.
- [14:36]
A
I mean, that's a whole different world.
- [14:38]
B
It's an incredible. I would say it's one of the most stressful things I've ever been through of just not feeling.
- [14:43]
A
Yeah.
- [14:44]
B
Like safe. That you could be where you. Yeah. And so that was always in the back of my mind and was so difficult. And I think that had I not had that experience. Look, everything happens for a reason. Everything is set up for everyone's own individual journeys. And I think that that was just a big part of mine. And it made me push so hard to really fight to be here and do what I like to do. So I never take it for granted. And I have so much empathy for a lot of people who are really trying to work so hard and just to even be safe where they live or feel like they can be there no matter where you are in the world. Like, it's such a. It can really dampen your spirit, I think, if you don't have that. Because I do think that an element of safety in life, whether that's physically or emotionally, is so important when you're enduring on building a business. Because that's your one thing that you don't have to worry about. Do you know what I mean?
- [15:45]
A
Yes, 100%. Because when you're starting, it's this gigantic question mark, right? Like, you don't know if it's going to work or not. And so you need to know. I mean, I stayed at my day job for three and a half years and I worked nights and weekends and people didn't know that I had a day job. I would just ask them to meet like late at night or not late at night, but late in the afternoon. And I would be like, oh, I can meet at like, you know, five o'. Clock. No one knew I had a day job, but I was, I couldn't leave my day job because I didn't, you know, I. I needed to pay my rent. So I did it for three and a half years and then I waited until I built up enough of a client book where I was like, okay, I could. I have six months where I'm like, good, and if it doesn't work, I'll find another job. And if not, then great, and thank God.
- [16:32]
B
Yeah, no, I mean, 100%. I think it's just, it's always a risk. And I think especially when you don't have everything set up for you and some people who, if you don't have connections or know people. I think our industry is very much Represents a very closed off environment for people to break into. Because I do think it tends to be either people who have like family connections and all that stuff. And I think when you don't have that, it can kind of make you not feel as confident to go for your goals and dreams. And why I keep saying that, like not knowing and having such a plan is always the best move. And just to work incredibly hard and be the best at what you're doing at that given time, I always think serves people because I think when you are so planned, it's just you set yourself up for failure because when it doesn't go to plan, that kind of stops you pushing yourself and taking risks as you think there's failure, when actually it's just a stepping stone to getting where you want to go next.
- [17:36]
A
So true. So you, you took on these little side projects from where you were and then when did you decide to go out? You, you had enough of these side projects and you finally were like, okay, I feel comfortable enough to do this and really go out on my own.
- [17:51]
B
I think I really credit and I'm so grateful that I had the experience of working for someone that had the infrastructure of just like a company to be able to even take on those projects. And I think that I now can look back and like really honor and be happy that I had that experience. But I think in 2020, honestly, just.
- [18:13]
A
Before the pandemic, I was gonna say crazy timing.
- [18:17]
B
I can't even explain to you the level of stress that like that I was in 2020, honestly for the last three years. But I had really amazing clients that I got from like press and really Instagram was so instrumental for me, to be honest with you. And I think that it was at a time when I first moved to la, a lot of designers were working on really bright, beachy type of aesthetic. And I think when I came here, I was doing everything was a lot moody, darker. And at that time you weren't seeing it as much.
- [18:52]
A
I feel like you crafted like an entire genre.
- [18:55]
B
Of course, like everything is derived from something. And I'm incredibly inspired from where I grew up in London. And also a lot of my favorite designers that I look up to in Europe. That is definitely more of a sentiment that I think that Europeans live by. That's a lot layered, richer, darker, moodier. And people in LA specifically were not doing that, of course, because it kind of contradicts the climate and the environment. But that was like my big thing. And I think that people, it allowed me to kind Of I think people noticed that and they wanted something that was different. And I think at the time I didn't even realize I was doing that. It was more just my natural inclination happen to be like richer, moodier spaces. And to your point, it's like now I want to always am trying to evolve because I think no designer and I'm sure are the same. You don't want to be pigeonholed into an aesthetic versus a feeling. And all designers want to say that we can do anything.
- [20:00]
A
And I think you've done such a beautiful job at it. I mean, all of your projects have a through line that, you know it's you, but they all are so different and iterative in different ways. And I think that's really hard to do as a designer. So, I mean, thank you. And the bespoke element also, I mean, everything you do is so custom. I mean, the tree in John and Chrissy's house is insane.
- [20:23]
B
Oh, my God. That tree. That tree.
- [20:28]
A
The fact that you. Did you embalm the tree? How did you.
- [20:32]
B
I like real trees only. I don't do fake plants, trees, none of it. But at the time I was like, there's no way I'm putting in like a 20 foot tree that is in a month is just going to die inside and then we're stuck.
- [20:44]
A
Yeah, we need like a full irrigation system also for those who don't know what we're talking about. Jake has designed for like many, many a list celebrities, and among them are John Legend and Chrissy Teigen. And in this house, they put this gigantic. Is it an olive tree? Yeah, a gigantic olive tree that sits in the house, like in the middle of the house. It's the craziest, most beautiful thing. So tell us how you got it there.
- [21:14]
B
So I started doing like a deep dive and I found someone who basically takes. And it's actually the most like, environmental thing is to take a tree that is essentially no longer living. And they call them embalmed trees, where they're basically, they start creating these like, handmade silk leaves that they attach to the actual existing trunk and branches. And so I worked on that and it was. Yeah, it was so amazing because it was almost like an art installation because I had to make it look as natural as I was actually there last night and they were doing a Halloween party in the tree. Like, so many things. It's seen Christmas, it's seen Halloween, it's seen so many lights and things hanging off that tree. And like, if that tree was real, it would have been, yeah, it would have been dead in two seconds.
- [22:09]
A
So it's amazing to me that you have the ability to kind of shift gears in a sense. Like you have this sense of creativity. You work on the most, truly like the most bespoke of homes. And then you also, you've done amazing collaborations with Parachute and Lulu in Georgia and Crate and Barrel. And you co founded the Expert, which is like a massive company unto itself. So how do you kind of balance all of this? I, I, I'm so in awe of everything that you like how many irons you have in the fire at once?
- [22:43]
B
Well, it's a good question because I'm still always, always figuring it out, to be honest with you. But I will say I think the fact is that like having a good team is so key and I have a really good team in my design studio and people that I can really trust and are able to execute, which again has its challenges, I'm sure, you know, like running a business, like sometimes the hardest thing is running a team and not necessarily the clients. And even when you have a great team, it's still a lot that you're juggling. And so with the Expert, I'm so fortunate that my co founder, Leo Siegel, who is actually one of my best, best friends.
- [23:26]
A
I love that you guys are best friends and started it.
- [23:28]
B
Yeah, we just have such a good relationship and we work so well together because he is so uninhibited and is able to just take something to fruition very fast. And I love to idea and bring my whole thing with the expat and I really was so key at the beginning is that we didn't want it to be a tech company where people, even though, even though it is technically.
- [23:54]
A
It doesn't feel like it.
- [23:55]
B
Yeah, like it's just so important that it's design centric at the end of the day. Like it's, it's born out of making good design and making design accessible. And I think that a huge part of my intention and what I do is that while I do absolutely love working on high end bespoke projects, I also very much enjoy sharing and spreading the love of like there's just enough for everyone. And I think that it's a shame to keep something that's all about making the world more beautiful and more interesting and opening those doors. So to answer your question, in terms of how I balance, I'm still tbd. I'm still figuring that out, but it gets better because I think over time I've been able to focus on all these things at different times. Like you can never do everything at once. And so it's. It requires a lot of planning and really figuring out the schedule so that you can focus on absolutely everything that you do. I mean, you know, you're doing this podcast now. You have so much going on yourself and you have to find time, but it also means that you. Leanne Ford actually gave me this advice and I think it's the best advice. And she said you have to be able to say no to the good so that you can get the great. And I think that there's so many good opportunities when you've established your business and you've put yourself out there that we are so fortunate to have that. And I don't take it for granted. But then you also have to recognize what is best use of your time and what's going to give you energy back. Like you put so much energy. Everyone in their job, no matter what you're in, whether it's banking or you're an artist, you're still putting out so much energy and you have to do something that feeds you back.
- [25:52]
A
Yeah. That replenishes you. Otherwise you're going to lose whatever your sort of like source is for everything that you're putting out into the world. 100%.
- [26:00]
B
Yeah.
- [26:01]
A
So walk me through your day because you kind of. You've got the expert, you've got all of these collaborations and then you have your design business. What does it look like day to day? I mean, I know everybody's day to day is kind of different in the.
- [26:13]
B
Design world, but so every day is different and I kind of block my calendar so that I have some type of schedule so that I know and don't get overwhelmed in the week. So I already. A lot specific times. I do certain expert related things at certain times. Same thing. The thing with all the collaborations that they're very heavy at the beginning and you're. There's a lot of involvement and then eventually and all the way up to law and then you have launch. But in between starting and launch, like there is a period where we're not involved every day it kind of goes quiet. Yeah, it does go quiet. I think the majority of my time is always on client projects, which I always try to edit as much as my time to just be pure design, to have everyone else in the team take care of everything else because that is the time best spent. I haven't been doing it because sometimes you have to get involved in everything.
- [27:10]
A
Yes. But for the most part I Think it's a really smart way to structure a firm.
- [27:15]
B
Yeah. Because technically, like, I think I've had clients in the past that, like, how do you have time to take on this project? I'm like. Because it's. Because when I'm just designing, that is. Comes easy. That's the easy part.
- [27:27]
A
The pure creativity.
- [27:29]
B
The logistics are the.
- [27:30]
A
The logistics are the nightmare. Yeah, exactly.
- [27:33]
B
And. And I think what's hard is I'm sure you're the same because you kind of have to. When you start your own firm, you have to be good at all that stuff, too. And so I think that I used to have. I used to project manage. I used to do everything. So when you've done it before, I try to make my. Yeah. Like, I try to make my days as edited as I can, but it's kind of thinking about switching it up as well, of just how much of my time is actually spent on really looking at the things that bring me joy and the things that I don't enjoy. And that's always a work in progress. But I think, as any business owner will agree, there's always some things that you don't want to do that you have to do always.
- [28:16]
A
Yeah, well, because you get wrapped into certain things that you kind of just have no way of not. You have to be there for certain things.
- [28:23]
B
Yeah, totally.
- [28:24]
A
When designing a space, is there anything that you find to be like, your North Star? Something that's, like, the most important thing for you?
- [28:33]
B
I think the most important thing is a balance of. And I always just come back to history of design. And I'm always so. A big part of my storytelling is that, like, historical reference point. And I like to make sure that there's always a mix. And so nothing gets too, like, on the nose or thematic. And so I think that that's always. My North Star is to. I'll pull back and I'll edit something. I'll make something a little more simple. If this thing is a little more decorative. And there's always this yin and yang approach in my process. And sometimes at the beginning, I could go so heavy on something, and then it always does get distilled eventually. But I think it's, for me, important to throw all of that against the wall and then edit it, pair it back, and then also just to understand that people are living in these spaces. So it's not just. What do we want it to look like. It's such a.
- [29:26]
A
It's not a movie set.
- [29:27]
B
Exactly.
- [29:27]
A
I have to often remind myself that, too.
- [29:30]
B
It's like, this has to be functional. And it's like, even though I love maximalism, I really do. Like, it's not something that I live in for myself. Everyone is different. And so I think, just bearing in mind, I think, to your point, it's like, it's not just about a style. I think it's the through line. And I think that that through line, I think, just happens. I think, for designers, almost naturally, it's just what you would draw on to. That's the best part of the job and the least that you get to do sometimes.
- [30:00]
A
Yeah, it's always at the beginning, and it's the most invigorating.
- [30:04]
B
Yeah.
- [30:04]
A
Like, I feel like I'll block a couple days, and I'll just kind of zone in and just focus on that and put all the boards together. And I feel like that's when I feel the most excited and invigorated about what I'm doing and also the most grateful for what we get to do.
- [30:20]
B
Yeah, 100%. I couldn't agree more.
- [30:22]
A
What do you think your home says about you?
- [30:25]
B
Oh, my God. It says that I work too much because it's never done.
- [30:31]
A
I think that all designers, we're cobblers with no shoes.
- [30:34]
B
And honestly, like, I'm fine with it. Like, I. It's always a chapter. Like, I live right now, honestly, in a condo.
- [30:41]
A
It's so beautiful, though.
- [30:43]
B
Where I lived before, this was an apartment that was, like, from the 20s. It was like Bette Davis lived in the building. Scott Fitzgerald lived in my unit. It was just such an amazing old Hollywood.
- [30:54]
A
I remember seeing that you moved from.
- [30:56]
B
There, and then I moved. Cause it had mold. Cause anything that's nice has mold. And now I just live in a place that I treat like a hotel. Like, I keep it very simple. All my furniture is literally white slipped. Everything is, like, white slip covered on black jute rugs. It looks like Calvin Klein 90s. Like, that's very often. That's the. That's the vibe. I'm going for that. But I also think that you don't. I don't know. It's weird. It's like, if something's too designed where I live right now in my life, like, it feels like work to me, and it's overwhelming.
- [31:29]
A
Like, I. I feel like because we look at pattern and color all day, it's almost like sensory overload to come home to. Like, too much stuff.
- [31:37]
B
Yeah, totally.
- [31:38]
A
Like, my bedroom is very muted because I can't sleep with, like, a ton of pattern.
- [31:43]
B
Yeah. I mean, that's the thing, and that's what's so interesting is it's like you can't be creative without that space, I think.
- [31:51]
A
Yes, I agree. Is there anywhere in particular that you find that you are more inspired or that you. You go to find inspiration?
- [32:00]
B
I mean, I think, like, most humans who have a brain cell will agree that, like, anything in France, honestly, like, I know it's very cliche. I love France so much, and I find it to be. It excites me and gives me so much joy when I can put all of the pieces together of the history of all the things I love, and I see where it stemmed from and I understand the backstory, and that just gives me so much joy. And I find that I'm mostly attracted to a lot of, like, French design, especially, like, 30s, 40s and like, and then. And then even, like, honestly, like, 17th century. So it's all in the mix.
- [32:39]
A
I can see so much of, like, the 30s in your work. I feel like.
- [32:44]
B
Thank you.
- [32:44]
A
You have a Frances Elkins element to you.
- [32:47]
B
Oh, my God, what a compliment. Love. That's my favorite book.
- [32:53]
A
Speaking of, what have been the three biggest influences on your aesthetic, do you think?
- [32:59]
B
I went to a really English school, that people had houses that have been in their family for a long, long time. And so I would go to these crazy old, original Georgian, Tudor, you name it. And so I was always in that. And the school I was in, the building was like a Georgian manor house. Now I go back and I was like, wow. I was around a lot of that growing up, and I never realized. And I used to think it was all old and horrible at the time, but it is a huge part of my work is influenced by that. And I think just the relaxed, laid back part of California. And I think there's so many elements from French, 30s, 40s, and, like, Belgian a little bit. And I kind of am veering off being inspired from the Belgian minimalism because it's, again, everything is context. And I think just learning that, again, that you evolve. Like, there was a point in time where I loved that, but I now prefer to create a story depending fully on the context of a space and not necessarily trying to hone in on an aesthetic, because I find that that's very limiting.
- [34:13]
A
It's funny you said about growing up, because I grew up in an area called the Main Line, which is like a small, small town outside of Philadelphia, and I went to an all girls school. And the building's very, very old for America. It was 1888 that's like, new for you. But I think so much of where I grew up also, like, we had these old Pennsylvania stone field houses. It's like very Americana. And I think that like subconsciously kind of like seeped into the way that I perceive the world and kind of like design. I think it's a fascinating exercise to think about where your subconscious aesthetic is coming from.
- [34:56]
B
Totally. And I think that's what's interesting you just said about where you're from is the Americana element to me of why I love living here so much. And like, when I look at Slim Erin's book, honestly, like, I just love the cheekiness of the elevated. And so I take. So I love. Like in la, if you go to Hancock park, you have these like Tudor esque buildings next to palm trees. Like, it's so none of it makes sense. Yeah. And I love that playfulness that America has, I think in design where it's a little more like, it's like when you take someone. Like, I almost feel like I'm American when I go to Europe now because I'm so enthusiastic about everything in a way that I never used to be.
- [35:41]
A
Because I feel like you have like a new set of eyes. You're like, oh, my God, this is where I grew up. And look how amazing it is.
- [35:48]
B
Like, this lamp on the street is insane. Like, I can't believe this trash can is like the most stunning trash can I've ever seen. I know. It's so true though, because you don't realize that, but when you take yourself out of it. And by the way, that I think is the best thing about Americans is their optimism and enthusiasm. Because I do think that I didn't grow up with that. Like, English people are not that way at all for the most part. So I do really love that element too. It's like there's got to be a chillness to everything. It can't be too serious. And yeah, just it's meant to be fun.
- [36:24]
A
I want to go into some rapid fire questions that we do at the end for everyone.
- [36:29]
B
Great.
- [36:30]
A
Because I feel like they're not design related, but I feel like they just. People know a little bit more about you as a human.
- [36:36]
B
Sure.
- [36:36]
A
So what is your favorite food?
- [36:39]
B
Okay. So very random. It's not like a full meal, but one thing that will make my deathbed is tamasalata with like hot pita bread is one of my favorite things of all time. But then I also love like a baked potato with. And this is so English.
- [36:59]
A
I love baked Potatoes.
- [37:02]
B
But they're my favorite thing ever.
- [37:03]
A
My friends make so much fun of me. They call me the potato Girl. Cause it's, like, my favorite food.
- [37:08]
B
It's so good.
- [37:09]
A
Favorite drink?
- [37:10]
B
Tequila.
- [37:11]
A
Me, too.
- [37:12]
B
I had someone made this drink the other night. It was so good. It was tequila with fresh ginger and soda. It was amazing.
- [37:17]
A
Mmm. I love tequila and pineapple, too.
- [37:20]
B
Any tequila?
- [37:21]
A
Favorite film?
- [37:23]
B
Oh, my God. Okay. Well, like, silly film, like the Holiday.
- [37:27]
A
Well, anything. Nancy is my gospel.
- [37:29]
B
My TV rule is it has to make me laugh or inspire me. I cannot do that. I wonder. I can't. Unless it's like. Unless it, like, has a really nice ending. And I know that makes me sound like I don't want to live in the real world, but. I'm sorry. Life is scary.
- [37:43]
A
No, but the real world is depressing enough.
- [37:45]
B
Yeah.
- [37:46]
A
Yeah. We don't need to be depressed any more than we already are from where we live, literally. Favorite hotel?
- [37:52]
B
Oh, my God. In the US it's the Greenwich in New York. I have to be honest, because that spa is beyond.
- [37:57]
A
The spa is my favorite place. It's so good.
- [38:00]
B
They just do that hotel where everything is perfect about it in London. Claridge. I love Claridge. Claridge's is actually my favorite hotel because it's so old, and they just have mastered hospitality. Yeah. It's crazy. It's amazing.
- [38:15]
A
Favorite city, L.A. obviously.
- [38:20]
B
Especially New Yorkers. Hate on LA. But. And don't get me wrong, there's many things that aren't right with it. But it's so great to live here because it's so easy.
- [38:32]
A
What about favorite bedding? I love to ask other designers because I feel like it's such a personal question.
- [38:37]
B
Well, I have to. I'm going to obviously, like, plug here because I love my parachute bedding.
- [38:41]
A
Oh, yeah, parachute. Of course.
- [38:43]
B
I love my parachute bedding. Or the other bedding I do love is the whole. The bedding that they have at. I stayed in that place in Paris, Chateau Voltaire. They had this random brand. I can't even remember it. And it was such a good bedding. I loved it.
- [38:59]
A
That's a beautiful hotel. Also, speaking of hotels, I love to ask an Englishman this question, tea or coffee? And how do you take it?
- [39:06]
B
Oh, my God. Coffee. Always.
- [39:09]
A
You and Louise Rowe both said coffee.
- [39:11]
B
Oh, really? Yeah. I do love tea, but not in America. Like, it's not. I wouldn't have. Like. I have tea if I go in London because it's so good. But I have. My drink is a hot Americano black with. I actually have just started doing decaf the last two days because I don't need it for the caffeine. I just love the taste. It's a new thing that I started and I don't know why I've never done it because now you get the best of both. You get to enjoy it without the anxiety.
- [39:39]
A
Yes. Favorite playlist.
- [39:41]
B
I actually love the Internet, the band, because I, I, that's like what I play at home all the time. Just like the playlist. Like when they do, you know, you can do like the radio thing on.
- [39:51]
A
Yes.
- [39:52]
B
So I love that Spotify. I'm also. Or I like, I like very current music or I like very. I love jazz at home. Honestly, I play a lot of jazz.
- [40:01]
A
Me too. I listen to a lot of jazz. I also find when I'm working, I can't listen to music that has words, which is weird.
- [40:07]
B
No, no, same. No, no. I can't either.
- [40:10]
A
Favorite weekend activity.
- [40:12]
B
Oh, my God. Lying on my sofa doing nothing. Honestly.
- [40:17]
A
You need time to recharge. You do too much.
- [40:19]
B
That is my favorite thing today.
- [40:20]
A
The last one is kind of difficult. Favorite design book?
- [40:25]
B
That's a really good question. Oh, it depends though. Current or like in life.
- [40:29]
A
In life.
- [40:30]
B
Oh, my God. It really depends on my mood. But I mean, obviously, Jacques Grange, Anything is like my number one. I also have this book that my mom gave to me when I was like 16 that's called elements of Style or something. And it basically goes. It's like the whole bible of just all the architectural history and details. And for some reason, I could get lost in that book for days. Nothing makes me more happy of putting the pieces together of where things originate from and why they were done a certain way. And then I just go in a deep rabbit hole online. So I love anything that's like, historical. I love.
- [41:10]
A
Okay, so final few words. Your book, your amazing book Redefining Comfort is out now, which everybody has to go get. It's a gorgeous, thick, very luxe, fabulous ode to Jake's amazingness. What else are you working on right now? Any new projects you can talk about?
- [41:29]
B
Thank you so much for the book. Shout out, by the way.
- [41:32]
A
It's true.
- [41:33]
B
Oh, I'm actually working on a chalet in Switzerland, which I'm very excited about.
- [41:38]
A
No. Oh, my God. That's amazing.
- [41:42]
B
We're going to do the in store in February, which is insane. I'm scared. So soon.
- [41:46]
A
Oh, my God. You have to take pictures. That's incredible.
- [41:49]
B
Yeah. So I'm very excited.
- [41:50]
A
Do you have advice for anyone looking to define their own interior style.
- [41:55]
B
You have to choose what you love, save it all, and then edit from there and try and see what makes sense together. Because you can't. Even if you love 10 things, they might not all work together, and that's okay. And like I always say, save that for another time. But you can't do everything you love in one space. And so you have to decide what do you really love out of all the things that you are drawn to. And if you're drawn to tons of prints, but then all of a sudden there's like an image of something that's insanely minimal. Like, there's got to be some variation of, like, how do you achieve both? Because you can't have everything.
- [42:33]
A
It's a conversation I feel like we have with clients all the time because they. People really can't articulate what it is that they like.
- [42:40]
B
It's so hot.
- [42:41]
A
Images are the best way to kind of relay what it is that you are gravitating towards.
- [42:46]
B
That's what I do at the beginning. I'm like, here's 20 images. Don't tell me just X the ones you don't like and take the ones you like and then let's go through them and like distill. And it might not be. It could just be the mood or the. Or the lighting or the furniture layout. And then you can kind of distill it. And that's the hardest part at the beginning is being on this. Once you're on the same page, it's easy. It's so much easier.
- [43:09]
A
Yeah. And the photos are the best way to do it because that's like the only common language between designer and client is imagery.
- [43:16]
B
Yeah, yeah, totally.
- [43:18]
A
Where can listeners find more about you and your brand?
- [43:22]
B
So you can go to ww.jake arnold.com and on there it has my portfolio. It has our projects and some of our collaborations. The book, everything. It's all. The whole world of J A is on in one place.
- [43:44]
A
Amazing. Well, you're the best. Thank you so, so, so much for being on the podcast and hanging out with my co host. I feel like I just sat down with a friend for an hour.
- [43:54]
B
Same. I literally just had the best time. It's what I needed. It's like the best type of work to do on a Monday. Well, thank you so much for having me. It was so fun.
- [44:02]
A
Thanks again to my guests today for joining me and to shop my. For sponsoring this season of Talkshop. Head to the show Notes to create your free Shopper account and explore the curated storefronts from this season's designers. We'll be back next week with more thoughtful discussions and amazing guests. Follow us us on Apple podcasts, Spotify and YouTube so you never miss an episode. And of course, follow me at Arielle Oken. See you next week.