How Evan Millárd used showhouses to launch his design career

Summary

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Trade Tales: How Evan Millard Used Showhouses to Launch His Design Career

Podcast: Trade Tales by Business of Home
Host: Kaitlin Petersen
Guest: Evan Millard
Episode Date: January 28, 2026

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Overview

In this episode, Kaitlin Petersen (Editor in Chief, Business of Home) sits down with interior designer Evan Millard to explore how he strategically leveraged showhouses to accelerate the launch of his independent design career. Millard discusses his journey from childhood passion to solo designer, shares insights into creative and business growth, and reflects on finding integrity, transparency, and personal fulfillment as an entrepreneur. Key themes include building a distinct brand, navigating the financial side of design, cultivating client relationships, and fueling creativity over the years.

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Key Discussion Points and Insights

1. Early Inspirations & Career Path

• From Legos to Landscapes:
  Millard traces his creative roots back to childhood:

  "I can remember becoming interested in design the first time that I actually picked up a set of Legos... Then I remember becoming obsessed with being a landscape architect. Every holiday, every birthday, I would ask for plants and topsoil and rocks..."
  (02:19)

• Pivot from Graphic Design:
  While Millard initially studied graphic design, he found it lacked interpersonal interaction, leading him to pivot to design school.

  "...I realized during that internship that it did not have enough interaction with individuals... lacking that interpersonal communication."
  (02:54)

• Forming and Leaving a Design Partnership:
  After gaining experience with Nashville and Chicago designers, Millard co-founded a firm with two classmates, each bringing diverse skills (graphic design, psychology, finance). Four years later, driven by a desire for autonomy and embracing new opportunities, he launched his solo practice.
  (04:49–05:38)

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2. Showhouses as a Launchpad

• Seizing Showhouse Opportunities:
  Millard credits his proactive approach in taking on showhouse projects—even when others hesitated—to his growth:

  "...if I think an opportunity is presented and if I don't know how it will... how I'll make it happen, I just say yes. And I hustle very hard on the back end. And so far, it's paid off." (06:22)

• Showhouse Results:
  Participating in multiple showhouses, often back-to-back, significantly raised Millard’s industry profile:

  "After my first show house... I was named... top 15 by House Beautiful for, like, the next wave class of designers... It's kind of skyrocketed." (09:23)

• Strategic Showhouse Participation:
  Millard emphasizes being present in his rooms, forging relationships, and leveraging these spaces as engines for creating business opportunities and brand awareness—though not always direct client leads.

  “...it's being there every day the door is open, because no one can tell your story and sell you as a brand like you can yourself.” (08:40)

• Beyond Clients: Extended Opportunities:
  Showhouses led to unexpected avenues, like a plumbing line for KBIS 2026 and designing retail vignettes for Paragould stores. (10:22–10:50)

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3. Navigating the Financials & Transparency

• Managing Showhouse Investment:
  Millard shares his learning curve on showhouse spending:

  "The first show house... we spent a very large amount of money. The second time... I spent about half... due to cultivating relationships and thinking strategically." (11:12)

• Building Partnerships:
  He recommends structuring sponsorship pitches to emphasize mutual benefits, such as producer exposure or photography usage rights. (11:44–12:04)

• Business Structure and Policy:
  Upon establishing his solo firm, Millard invested in consultants to systematize operations, creating templates for everything from service agreements to client communications:

  "Now, being... three, four years down the road, it has saved so much time and just made everything so... organized." (15:24)

• Flexibility & Client Variation:
  While Millard values structure and clear policies, experience taught him the need for flexibility with different project and client types. (16:23–16:49)

• Transparency as a Principle:
  A core goal for Millard is for every financial transaction to be client-accessible and in line with service agreements:

  "At any given time, if my client were to come to me and ask to see the books... every single transaction... would be according to the service agreement, down to the penny." (20:40)

• Charging Structure:
  Millard prefers flat fees with detailed scopes of work for transparency and efficiency, but tracks hours for unique project types as learning benchmarks.

  “For my personal business... it’s been beneficial... to bill at a flat fee with a very detailed scope of work.” (22:31)

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4. Creative Process and Client Relationships

• Portfolio & Room Selection:
  Millard chooses showhouse spaces based on what will enrich his own portfolio and honors the building’s existing architecture. (13:35–14:12)

• Collaborative vs. Hands-off:
  He tailors his design process’s level of collaboration to each client’s preference, always beginning with the question:

  “How involved would you like to be?” (29:51)

• Meaningful Personalization:
  A hallmark of Millard’s work is weaving clients' memories and smiles into their spaces:

  “What makes you smile? ...It’s more than just a beautiful room... I want my clients to be reminded of great times and great memories on a daily basis.” (30:57)

• A Memorable Example:
  He shared building a custom-lit purple china closet for a client’s cherished teacups, integrating a picture of her great-grandmother. (31:01–31:27)

• Defining Success:
  For Millard, business fulfillment comes from integrity, keeping promises, and exceeding expectations:

  "I define success knowing that I did everything that I could possibly do, went above and beyond keeping my word, and really led every facet of my business with integrity." (41:35)

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5. Business Structure & Growth

• Solo Practice & Outsourcing:
  Millard appreciates the flexibility and reduced pressure of solo entrepreneurship, outsourcing specialist tasks (CPA, bookkeeper, contract workers).

  “I am a one man show.” (17:38)
  “I really enjoy the flexibility... it lessens the pressure to always take on new projects... creative mind some space to breathe.” (17:43–18:15)

• Growth Mindset, But Not Empire-Building:
  While open to employing small team in the future, Millard isn’t chasing rapid-scale growth:

  “But I am not in a rush to build, to build an empire. If it happens and falls out of the sky, I would probably say yes.” (19:41)

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6. Pricing, Educational Exercises & Project Selection

• Setting Client Expectations:
  Clients often underestimate project costs. Millard has clients “shop” online and create wish lists to understand realistic budgets:

  "They thought it was going to be $10,000, but it’s actually close to 50..." (24:58)

• Willingness to Phase Projects:
  If a client wants a certain look beyond their immediate budget, Millard phases installations to accommodate. (26:25–26:47)

• Choosing Projects:
  For Millard, enthusiasm and narrative are as important as scope:

  "The projects that I know I will automatically take... are those that tell a story and those where the client is just as excited."
  (27:08)

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7. Keeping the Creative Spark Alive

• Industry Community & Peer Exposure:
  Millard finds rejuvenation in viewing other designers’ work firsthand and chatting with peers.

  "...seeing it through someone else’s eyes who’s also in the industry."
  (39:28–39:47)

• Showhouses as Ongoing Inspiration:
  Participating, attending, or even volunteering in showhouses continue to feed his creativity. (39:48–41:17)

• Valuing the Trades:
  He was moved by a recent showhouse builder publicly honoring all contributors:

  "It gave me a really great feeling that he recognized them and that fed my... creative soul..."
  (41:17)

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Notable Quotes & Memorable Moments

• On Financial Transparency:

  "At any given time, if my client were to come to me and ask to see the books... that every single transaction had to do with money... according to the service agreement, down to the penny."
  —Evan Millard (20:40)

• On Showhouses as Brand Catalysts:

  "No one can tell your story and sell you as a brand like you can yourself."
  —Evan Millard (08:40)

• On Defining Success:

  "I define success... knowing that I did everything that I could possibly do, went above and beyond keeping my word, and really led every facet of my business with integrity."
  —Evan Millard (41:35)

• On Project Selection:

  "...the projects that I know I will automatically take... are those that tell a story and those where the client is just as excited."
  —Evan Millard (27:08)

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Key Timestamps

• 02:19 – Evan’s first design inspirations
• 04:49 – Launching a firm with classmates
• 06:22 – Seizing showhouse opportunities
• 09:23 – Showhouse benefits and industry recognition
• 10:22 – New opportunities from showhouse networking
• 11:12 – Financial learning curve on showhouses
• 15:24 – Creating systems and policies as a new solo business
• 17:38 – The benefits of solo entrepreneurship
• 20:40 – Commitment to financial transparency
• 22:31 – Flat fee billing and client confidence
• 24:58 – Client budget reality check exercise
• 27:08 – Choosing projects based on story and client enthusiasm
• 30:57 – Personalization and what makes clients smile
• 39:28 – Peer inspiration and industry community
• 41:35 – Personal definition of success

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Tone and Language

Evan Millard is earnest, detail-oriented, passionate, and honest—sharing both the challenges and joys of building a design practice. He brings a deep sense of integrity, care for clients, and appreciation for industry peers and tradespeople. The conversation is supportive, transparent, and encouraging to fellow interior designers seeking both creative and business fulfillment.

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Summary

Evan Millard’s appearance on Trade Tales is a master class in entrepreneurship for creative professionals. He demonstrates how saying "yes" to big opportunities—especially showhouses—can rapidly accelerate brand development and open adjacent business avenues. Through a blend of creative audacity, thoughtful financial management, a client-first approach, and a commitment to transparency, Millard has overcome industry growing pains while remaining deeply fulfilled and true to his values. This episode is indispensable listening for emerging and seasoned designers alike.

Transcript

[Evan Millard]

One of my major goals with my business is that at any given time, if my client were to come to me and ask to see the books, that they could see it and that every single transaction that had to do with money, that it would be according to the service agreement, down to the penny.

[Caitlin Peterson]

Hi, I'm Caitlin Peterson, the editor in chief of Business of Home. Welcome to Trade Tales, where I'll be talking to interior designers about the challenges, pivots, and perspective shifts that come with growing a design firm. My hope is that you hear your own why echoed in these stories, or an idea that sparks your own breakthrough. I hope it helps you realize that even when entrepreneurship feels lonely, you're not alone. We're kicking off this season of the show with a designer whose strategic approach to show houses catapulted his firm to early success. In the years since, he has flourished as a solo designer, pursuing new business opportunities and entering what he calls the adult stage of his firm's aesthetic evolution. I can't wait to share it with you. But first, a quick word about becoming a BOH Insider. Hey, designers, it's a new year, which means it's the perfect time to start thinking about what you really want from your business and also beginning how you're going to get there. If you're ready to get some real momentum behind those goals, consider becoming a BoH insider. It's a membership program tailored to the needs of busy design professionals that gives you exclusive access to BOH reporting, as well as a weekly curriculum of online workshops led by some of the industry's most respected voices. Even better, you'll also get access to a rich archive of past courses so you can always find the guidance you need no matter what challenges you're navigating in your business. Explore the benefits of becoming a BoH Insider [e-mail] bohinsider.

[Evan Millard]

I can remember becoming interested in design the first time that I actually picked up a set of Legos. And then I remember becoming obsessed with being a landscape architect. Every holiday, every birthday, I would ask for plants and topsoil and rocks and concrete and, you know, things that I could use outside and kind of build and create these imaginary worlds with. When it got time to go to school, I chose graphic design. It was a combination of having a creative outlet and then the university where my parents wanted me to go to, which was Oral Roberts University in Tulsa, Oklahoma. So I studied graphic design for a few years, ended up doing my internship, and I realized during that internship that it did not have enough interaction with individuals. And I was just always behind a desk cranking through great projects, but lacking that interpersonal communication.

[Caitlin Peterson]

That's Evan Millard. He took a break from the graphic design program and began working at a bookstore as he considered his next steps. Before long, he decided to take a chance on those childhood dreams and enrolled in design school.

[Evan Millard]

Design school was a lot more challenging than my degree would have been in graphic design. I worked full time, I had a part time job. I went to school full time and then would spend like close to 20ish hours a week in the studio. And some of those memories and those times with, like, my classmates are really some of the best. I knew that when I was in design school that I really would probably come out and focus on either residential or spaces that have a residential feeling. I think back to childhood and I think back to what I was surrounded by. And with growing up. I remember my grandmother, she was born on Valentine's Day, and I can remember growing up and going to their home and seeing this really red, kind of kitschy, Valentine's Day themed powder room, but created this really beautiful sense really who she is.

[Caitlin Peterson]

After graduation, Evan got jobs with residential designers, where he learned the ropes, first with Roger Higgins in Nashville, and then under Alessandra Branca in Chicago. A few years later, he banded together with two design school classmates, and together the trio launched their own firm.

[Evan Millard]

Going out on your own can be very scary. So being able to start a business with friends and with former classmates, where we all studied and spent long nights in the studio together, together was really a blessing and really something that I don't know that a lot of individuals get to do and experience. And then thinking from the talent side, I had experience in graphic design. One of my former business partners, she had a degree in psychology. And then my other business partner, she had a background and a degree in finance. And on top of that, we brought our love for design and our creative brains together, which really shot us off very quickly in the Nashville area.

[Caitlin Peterson]

About four years later, Evan took yet another leap, launching his own firm in 2018.

[Caroline Burke]

I wanted to talk to him about.

[Caitlin Peterson]

Using show houses to amplify his business, how being a solo designer has offered him room to grow in new directions and the value in being transparent with clients about his firm's finances.

[Caroline Burke]

Can you talk to me a little bit about realizing you were ready to be solo?

[Evan Millard]

So my first show house that I participated in was with House Beautiful, and it was while I was part of my prior business. And I remember the second time a showhouse Opportunity came around. I actually went to the table and I said, this has been presented to us. Here are the vendors and sponsors that I think would be a great fit and would help us to kind of kick this off, kick it off the ground and get it started. And I remember one of my business partners, she. She kind of came back and said, you know, we just don't have the time. And I'm thinking to myself, I'm like, we don't have the time. We have three of us kind of as co principals, designers, and then we also have a team of four. You know, we. We do have the time. And I'm just the type where if I think an opportunity is presented and if I don't know how it will. How I'll make it happen, I just say yes. And I hustle very hard on the back end. And so far, it's paid off.

[Caroline Burke]

Did you do the show house then on your own?

[Evan Millard]

So I did not do it on my own.

[Caroline Burke]

Okay.

[Evan Millard]

I gave it. I gave their comments some thought and, you know, their feedback, which. Which was very important. And shortly after that, I decided that I just needed to take some chances.

[Caroline Burke]

What is that process of saying, okay, this is what I was doing? How do I create something that is truly just my voice?

[Evan Millard]

It really started with analyzing and kind of going inward and thinking about what we had done as a group and as a team. And if that's how I wanted to build my brand and build my voice, I think the number one that has been a strong component in building my brand and my voice is building relationships and really being a person of my word. I know that the design, you know, like our industry is so fast paced and it's always moving. And I really try just. I try very hard to always be a person of my word and to always deliver. And I. I try very hard to deliver, you know, to deliver ahead of schedule and to be the one that's proactive.

[Caroline Burke]

What did you say you've done seven show houses total in the last six.

[Evan Millard]

I've done in the last seven years.

[Caroline Burke]

Okay. But it sounds like three in one year.

[Evan Millard]

Three within six months.

[Caroline Burke]

Ooh, what have those. Strategically, what has the importance of those spaces been for you? And how do you think about the investment versus the exposure, the relationships, the output versus what you get back?

[Evan Millard]

Yeah. So I think that the reason why I do a show house is because I love a challenge. And, you know, they're. They're one of those things that if you can dream it and if you have the resources, you can make it happen, which is one of the most gratifying things that I've done, you know, to date in my career. And so one of the main things that's important, I believe, with the show house is being being there every day the door is open because no one can tell your story and sell you as a brand like you can yourself.

[Caroline Burke]

So you're there working the room all day, every day when you sign on for these.

[Evan Millard]

Every time there's a party, every time realtors are touring, you name it. I was in my room for the first few show houses every single time. And it really, in my opinion, it paid off greatly. Like, after my first show house, the following, I was named, you know, like, top 15 by House Beautiful for, like, the next wave class of designers. And then I did. I followed that with two additional show houses. That's that spring. And from there, it's. It's kind of skyrocketed.

[Caroline Burke]

So it has been a lead generator for you. There's been a real engine of awareness about your work through those show houses.

[Evan Millard]

It has. It definitely has. And I would say for me, you know, personally, I've not received a lot of clients from it.

[Caroline Burke]

Okay.

[Evan Millard]

Interior. Interior design clients. But I have taken advantage of those opportunities by being in my rooms and creating business opportunities out of that.

[Caroline Burke]

Can you give me an example of that?

[Evan Millard]

Yes. So let's see. I'm actually working with a plumbing company to develop a line that will launch at KBIS this coming spring. Yeah, 2026. And that was through connections in the interior design world, in the world of show houses. And then about a year and a half ago, I was asked to design interior vignettes for the new Paragould stores that are beginning to open nationwide.

[Caitlin Peterson]

Wow.

[Caroline Burke]

When you sign on for a show house, like, is there fear in it about the capital investment required?

[Evan Millard]

Oh, my gosh, definitely. For sure.

[Caroline Burke]

How, you know, for someone listening to this, how would you encourage them to think about that spend or mat or, you know, or knowing what the spend is and sort of maximizing the opportunity.

[Evan Millard]

I would say it's different depending on where you are in your show house career per se. Because I can remember the first show house that I did, we spent a very large amount of money. And then the second time a show house came around that I did, you know, I spent about half of that. But a lot of that was due to cultivating relationships and thinking strategically.

[Caroline Burke]

Is that, like, who you can ask to loan or donate product?

[Evan Millard]

Yeah, like all of. Like all of that. And really, I think a lot of Artists and companies, they want to know what can I do for them. So when I approach a company to sponsor a show house or maybe an artist, I really always try to lead with the benefits and the partnership. The positives.

[Caroline Burke]

Yeah.

[Evan Millard]

And that might be exposure, that might be a name mention. It might be unlimited usage of photography or rights around it or things of that nature.

[Caroline Burke]

That lowers the cost significantly that those items.

[Evan Millard]

Sort of. It does for sure.

[Caroline Burke]

That's great. How else would you encourage designers to. To think about kind of moving the needle for their business with the show house? And how did you pick and choose which show houses were the right opportunities for you?

[Evan Millard]

You know, honestly, I have said yes to everyone.

[Caroline Burke]

Okay, fair.

[Evan Millard]

So I have not necessarily been picky. And I probably would continue to say, to say yes.

[Caroline Burke]

Be careful how loud you say that.

[Evan Millard]

I know a lot of it's a gut check. Yeah. And it's like, does this feel right? Do I feel right with the people I. I would need to partner with? Do I feel right with maybe the publication it' tied to? Because at the end of the day, it is a reflection of my brand. It's a reflection of the people, you know, the artists and the people I work with are a reflection of my brand. The space is a reflection of my brand. And at the end of the day, I just want to be connected and tied with and two great people.

[Caroline Burke]

How are you thinking about the creative side? Is there a certain lens that you're looking at, sort of what you want your output to be, you know, Or. Or is there a specific goal aesthetically when you're tackling a new show house space?

[Evan Millard]

So when I'm thinking about a show house in the room, you know, a lot of times that space is. It's assigned.

[Caroline Burke]

Yeah.

[Evan Millard]

And so when I'm thinking through it, I try to think about what do I need to kind of round out my portfolio in a more fuller way? And then I think about, what is this space saying from an architectural standpoint? You know, some rooms might just literally be a blank wall with four walls of drywall.

[Caroline Burke]

Yeah.

[Evan Millard]

Other. Other rooms, like the last show house that I just did this past spring, it was a completely wood paneled room.

[Caroline Burke]

Okay.

[Evan Millard]

And so thinking about how do I add and not detract from the space that it's in? Because at the same time, I also want to honor the architect and the builder and everyone who's involved and kind of honor, you know, the given surroundings and whether that be the room or that be nature, which is. Could be right outside of the door. Or the window.

[Caroline Burke]

When you did those early. That early show house to launch your business, how did you. How did that. Your business start to take shape? What systems and structures did you put into place? What kind of team did you surround yourself with? What were your goals in sort of that first year?

[Evan Millard]

Yeah, right after the show House, I knew that I needed to set up policies and procedures and really standards by which my business would operate. So I worked with an individual. We came up and basically template it. Almost every type of response, whether that be for an outgoing service agreement, an incoming question.

[Caroline Burke]

Wait, who do you work with to do that? Like, is it a consultant?

[Evan Millard]

Yeah, it was. It was a consultant that I worked with.

[Caroline Burke]

Okay.

[Evan Millard]

And so it was great. It was a very long process, and it was very tedious, and I am not always a very patient person. But now, being four years, you know, three, four years down the road, it has saved so much time and just made everything so. Just organized. And then every client receives a very similar set standard, which is great, I think, when it comes to referrals, I.

[Caroline Burke]

Would imagine, to make that documentation, you have to make a lot of decisions at the outset. How do I want to work? How do I want to bill? What are my boundaries? You know, you're really setting in stone a lot of the parameters for your business. Have they changed that much in the past four years? Or, like, where have you wanted to make amendments from? Some of those decisions that you originally sort of made for yourself in the beginning, initially?

[Evan Millard]

Because I'm a very systematic, maybe somewhat. Somewhat rigid individual.

[Caroline Burke]

Okay.

[Evan Millard]

I think that I've learned that not every client is the same. Of course. Right. Not every client is the same, and not every project will be like the other.

[Caroline Burke]

Okay.

[Evan Millard]

And so I have learned that while I have this really great playbook to go by and which kind of takes everything off, that it's important at times to also be flexible and to be fluid.

[Caroline Burke]

Okay. Did you have to relax some of those policies, or is it more about just how you implement your policies?

[Evan Millard]

It's more about how. For me, it's more about how I implement and when I implement.

[Caroline Burke]

Okay.

[Evan Millard]

Projects that require being a little bit more flexible for me would be new construction.

[Caroline Burke]

Yeah.

[Evan Millard]

And really, I think that that is because I, as a designer, depend on so many other individuals to make my job happen.

[Caroline Burke]

What do you have a team right now? What does your team look like today?

[Evan Millard]

Yeah. So right now I have a CPA and I have a bookkeeper, and then I have a couple of individuals that will do contract work for me on the side.

[Caroline Burke]

But as like a full. In terms of full time employees, you are.

[Evan Millard]

I am a one man show.

[Caroline Burke]

One man show. I love that. Is that comfortable? Is that the way you like it?

[Evan Millard]

You know, after having a full time team and now having a couple of individuals who do contract work for me, you know, project by project, I really enjoy the flexibility of not having a full time team. I think it lessens the pressure to always take on new projects and it gives my mind and my creative, my creative mind really some space to breathe because, you know, because I'm not paying full four time salaries.

[Caroline Burke]

Yeah, well, say, and if like you don't have to agonize, I would imagine about like keeping a team busy.

[Evan Millard]

Right, exactly. And, and you know, at the same time, when I did have employees, I really wanted to be the very best employer that I could possibly be. Right. And I think a lot of times being the best, it always comes with a dollar assigned to it.

[Caroline Burke]

That's true. It was a very expensive thing to be the best.

[Evan Millard]

Very expensive thing to be the best.

[Caroline Burke]

Is there ever any pressure to grow? Do you feel that?

[Evan Millard]

I think so. I think that there is pressure to grow and to expand in, within our industry because I, every time I meet someone new, one of the first few questions is what? You know that it's always a question about my dream.

[Caroline Burke]

Yeah.

[Evan Millard]

Where are you? Are you in an office? Are you out of your home? You know, and I think we're all, I think for many of us it's just we're, we're curious and we want to know, well, how does that person do it with one or how do they do it with 10?

[Caroline Burke]

Right, right. You know, when you think about where you want to be in 10 years, is it like, you know, an office with a team of 10 or is this sort of creative space you've created for yourself the right fit for you?

[Evan Millard]

You know, I would love one day to have one or two full time employees. I think that I can really, that we can lean on each other and grow as a team and do great things.

[Caroline Burke]

But you're not, you're not out here to build an empire.

[Evan Millard]

But I am not in a rush to build, to build an empire. If it happens and falls out of the sky, I would probably say yes.

[Caroline Burke]

What part of running your firm to date has tested you the most as an entrepreneur?

[Evan Millard]

I think one thing that has tested that has been a test and something that I is not my strong, not a strong point would be like business from the finance side. I love to design and I Love to create, and I love to make set parameters and have structure and have a way that maybe I walk through a process with a client. But on the flip side, I don't know that I knew I would have to be so aware of bookkeeping and what went out versus coming in and, you know, all of those nuances.

[Caroline Burke]

Can you talk to me a little bit about talking to clients about money and how you navigate that piece of the equation?

[Evan Millard]

Yes. You know, so I think money is such a. It can be such a difficult question to broach with a client. And one of the first things I think is it's being open and honest and transparent and being able to be at any given time. So one of my major goals with my business is that at any given time, if my client were to come to me and ask to see the books, that they could see it and that every single transaction that had to do with money, that it would be according to the service agreement down to the penny. And I think that's so important. And that really starts with setting expectations on the front end, which I think instills confidence with the client and then gives them confidence throughout the entire process.

[Caroline Burke]

How did you navigate the way you wanted to charge for the design work?

[Evan Millard]

I knew from the start that when it comes to the cost of goods, I knew that specifically, I knew that I always wanted to be below retail. And so in my service agreement, it talks about what the markup is, you know, so it's net plus a certain particular percentage. And so I just want my clients to be able to see that at the end of the day and to be an open book. And then when it comes to billing for design work, I know it goes back and forth and you'll hear, do I charge hourly? Do I charge, you know, a design fee? Do I do X, Y and Z? And sometimes there's a combination of both. I think for my personal business and because I am a one man show and running the business solo, it's been beneficial to my business to bill at a flat fee with a very detailed scope of work.

[Caroline Burke]

Yeah.

[Evan Millard]

I actually think that it instills an additional layer of confidence with my clients. And I think that it allows me to move fast or to move slow. Like I could spend five hours sourcing a sofa, you know, if I wanted to, because of how I've structured the billing process when it comes to design.

[Caroline Burke]

Yeah.

[Evan Millard]

And I've done it both ways. With my first, you know, with my first business venture, we charged, we billed hourly and we billed on the 15.

[Caroline Burke]

Do you still track your hours. Is that still sort of a helpful benchmark for you?

[Evan Millard]

I do for some. For certain projects. If it's a project that I've not tackled before, I will kind of track it. Just so I know, like, how long comes up, you know, next time that, yeah, I thought it took 40, and it really took me 60, which, yeah, my, you know, my. My flat fee really needs to be, you know, at a different. At a different rate.

[Caitlin Peterson]

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[Caroline Burke]

You know, I love that you said that the flat fee really instills client confidence. Do you find that clients are comfortable with what it costs to achieve the level of design they expect? Or how are you having navigating conversations about quality, about completion, about, you know, really how expensive amazing design can be?

[Evan Millard]

So during the initial consultation, clients often have an idea of what they want their room to feel like or their project, how they want it to read. And just because of the experience that I have, I'm able to really narrow down where, you know, where this look originated from. And what I like to do is. And I actually think that my friends from Forbes and Masters do something really similar. And I believe that's where. Where I heard this idea. But I like to have my clients go through and to outline the pieces that they see per room, and then I'll send them to a website and let them shop and drop in pieces that they like. And it really gives them a great idea of, oh, my room. I thought it was going to be $10,000, but it's actually close to 50. And that does not include drapery or shipping or anything. Yeah.

[Caroline Burke]

And so every client does that exercise or just the ones who sort of need that foundational education.

[Evan Millard]

If it makes Sense for an interiors project. I try to have every single interiors project, every client walk through that step.

[Caroline Burke]

Where do you send them to shop?

[Evan Millard]

A good starting price point, I would say, would be Williams Sonoma Home. And whether our client can or cannot afford it, what it does is it opens up the lines of communication.

[Caroline Burke]

Yeah.

[Evan Millard]

And it gives us a starting point. So if it doesn't work for our client, we can. I can say, oh, well, let's look at this line, or let's look at this type of aesthetic. And if they're. If they're like, no, we want this specific look and we want this specific piece, well, then maybe we can't complete it all in one install. Maybe we need to phase it out.

[Caroline Burke]

Yeah.

[Evan Millard]

And it's like, you know, we do furnishings phase one, we do phase two. Accessories, we do phase three. Maybe it's art. You know, there's so many different ways to tackle it.

[Caroline Burke]

What does make you say yes to a project today? And I love that you're open to phases, but, like, how are you assessing this is a great fit for me, or this one can pass me by?

[Evan Millard]

Yeah. You know, I actually had a kickoff call with a Nashville, a former client in Nashville about two days ago, and she. She was telling me about this project that they're building in Maryland and how it's kind of nestled on a hill and it's located on acreage. And she said if it had a mission statement, she said, my. This home would be warm and it would be inviting and it would not be stiff. And at the end, she said, my goal is that I just really want it to be storybook, like. And I. I got off of that call, and I feel like I hadn't smiled quite that big in a while. I think the projects that I know I will automatically take right off the bat and be involved with are those that tell a story and those where the client is just as excited. And I could hear the excitement in her voice and I could see the smile on her face, which in turn made me excited.

[Caroline Burke]

That's amazing. You're looking for people more than the project.

[Evan Millard]

It is so important for. For me to be. To be about the people, and that often dictates what I become involved in. And I think, too, you know, I think at the end of the day, my goal as a designer is to work with clients and individuals who enjoy the process and enjoy going through it with me. Yeah, it's not always going to be easy. We're going to pull our hair out, we're going to cry and that's life. But at the end of the day, can we say that we had a great experience, that we would do it again, that we would refer each other to our friends and our families?

[Caroline Burke]

Yeah.

[Evan Millard]

And I think that that's what's key. And so, you know, I've had designers call me before and say, hey, so. And so said they've reached out, you know, that they've worked with you. And a lot of times I know enough about that other designer to say, I think they'd be a great fit, or, hey, here's some things that kind of came up during the process. Just sharing, you know, and it's not to. It's not too bad mouth, and it's not to put an individual down. It's just to be open and honest and to have those lines of communication open.

[Caroline Burke]

How are you relationship building with a new client through the process? And how are you building these, you know, incredibly personal spaces? You know, what does the selection process look like? What does the creative process look like? What does the presentation process look like? Like for you? How collaborative are those stages?

[Evan Millard]

Yeah, So I would say that in regard to collaboration, I really leave that up to my client.

[Caroline Burke]

Okay.

[Evan Millard]

And that's a. That's one of the question. The first questions during an initial consultation and the kickoff, you know, kickoff phase is, how involved would you like to be? Because I, you know, I can do it multiple. There are multiple ways to kind of to do it, and they can be as involved as they would like, or they could be completely hands off and say, no, I don't have the time, or whatever the reason may be, just take it and run with it. So there are different ways, and I think when it comes to building relationships with clients, I really love to find out from a client, and I ask them, what makes you smile? I think that with design, it's more than just a beautiful room and a great space. It really is about how it makes one feel. And I want my clients to be reminded of great times and great memories on a daily basis. And so I'll often, you know, one of the first questions is, what makes you smile? And I've had clients say different things. Some. Some, you know, it's. It's maybe a piece of art that they picked up on a trip. Others, I had a client who loved teacups, and we built this really beautiful purple china closet that was lit and had viola marble, and it was just stunning. And we actually were able to incorporate a picture of her great grandmother into it, which was really special. But it was that cabinet was in such a place within the home that she would have to pass by it daily.

[Caroline Burke]

Yeah.

[Evan Millard]

It's just so important to surround ourselves with the things that we love, and then taking things that my clients love and that makes them smile and kind of weaving it throughout the house, Whether that be a color or a pattern or a motif, it could be any type of different element.

[Caitlin Peterson]

What makes you smile?

[Evan Millard]

You know, I. When it comes to design, the thing that makes me smile the biggest is when I present a design or an idea or even, you know, when we come to installation and a client says, this is better than I imagined. That's when I know that I have done my job as a designer, that I've not only met their needs, but I've also exceeded expectations.

[Caitlin Peterson]

That's awesome.

[Caroline Burke]

I want to pivot a little bit. Can you tell me about moving to Atlanta and what that means for a somewhat young business?

[Evan Millard]

From the first moment that I did a show house in Atlanta, I felt like the design community here is so vibrant, and it's so inclusive, and it is so warm and very welcoming. And on the flip side, all of the resources that, for the most part, that I would need while being in Nashville really are located here in Atlanta. And so it just made the perfect sense to, you know, move to a place that a city that's. That for me, is bigger, a little bit more bustling and vibrant and just full of such a wonderful group of talented individuals. In a way, it almost felt like coming home. And I do think. I do think that Nashville and Atlanta have a lot in common. Yeah.

[Caroline Burke]

Yeah.

[Evan Millard]

Just one is a little bit smaller than the other, and one has a little bit less traffic than the other as well.

[Caroline Burke]

Has it changed? You know, do you still have a lot of clients in Nashville? Like, are you just kind of commuting back and forth, or has it changed the kind of work you're looking for moving forward?

[Evan Millard]

You know, I. When. When deciding to move to Atlanta, I knew that I would continue to cultivate a client basis in Nashville. So I actually currently have a project, like a handful of projects in Nashville, and I go back and forth at least twice a month, and then I'm starting, you know, the project in Maryland and just wrapped up the projects with. With Paragould in two different cities. And so we'll see. We will see what the future holds.

[Caroline Burke]

That's great. Tell me a little bit about those Paragould stores. I mean, we've been covering them, you know, in our newsroom. What has the experience been like for you on the design side.

[Evan Millard]

So I'll say that the process of working with Paragould to bring these interior vignettes to life has been such a wonderful process. From Nancy, who handles brand partnerships, to Amelia, who handles, like, store development and making sure that these designs are implemented to the individual who schedules, like, travel for us, like, it has been seamless across the board. It's literally been like a dream.

[Caroline Burke]

What was the brief, you know, what did they see in that show house project you did, where you met them that they wanted to bring into these retail outposts?

[Evan Millard]

You know, when they were selecting individual designers to kind of bring their designs to life, they were looking for different designers with different points of view. And so actually, with Paragould, it started out doing. Curating a holiday gift shop. Okay, online shop, and then it kind of went to another holiday shop, and then it went to another collaboration for, like, an online promotion, and then it turned into interior vignettes for their stores, and then it went to another holiday shop. And really, for me, my rooms are all very layered, and they're very eclectic and collected, and most of them feature some type of a vibrant color as well.

[Caroline Burke]

Okay, bigger picture, I guess. I mean, I ran into you at High Point Market, but how do you shop for your projects in general? You know, where are you going for inspiration but also for, you know, good pricing?

[Caitlin Peterson]

What.

[Caroline Burke]

How are you thinking about the resources, the resource library that you're building for yourself?

[Evan Millard]

I really just try to keep my eyes open every single day. And so I'm saving. Doing a lot of, like, saving a lot. Taking a lot of photographs specifically. You know, we. You mentioned meeting at High Point. Yeah, that particular, you know, that particular market. I was not there for a client project, but what I did do is I would walk showrooms and take photographs and measurements and do sit tests and see how things feel and how. What emotions they evoke and asking questions about. About lead times and where is it manufactured. And, you know, just like all of those questions that I think are very, very important to. To a project. And then I come home and I catalog it all. And so I have, you know, about 10 years worth of markets where I have all of these images and notes, and then I'll just kind of shop and pull from that. When. When projects, you know, when they come.

[Caroline Burke]

Up, where do you leave room for discovery? Or how do you, you know, between markets, between shopping trips, how do you want to discover or how do you find yourself discovering new things?

[Evan Millard]

A lot of my discovery, I would say, takes place with meeting artists and so whether that be small pop ups or art galleries or things of that nature, something that along the lines of art that's really important to me in my design process is I believe that every project deserves a piece of original art. And I think that art is for everyone and everyone can afford it. And so it doesn't have to be a Van Gogh in every project, but maybe, you know, maybe it's the gentleman who's holding a pop up shop at a local craft market. And it's something that adds so much soul and life to a project. And so really with every project that I, that I do, it typically always has at least one piece of original art. I think one of the greatest resources that I have found would be the artist collective. And so, you know, they're kind of in a few different places. So there is one in Nashville and one like in Palm beach and one in Charleston. And so it's just such a great network of places where you can find original pieces both by up and coming and then also by very established artists, all at different price points and all different aesthetics.

[Caroline Burke]

So much of running a design business is not creative. How do you keep your creative spark alive?

[Evan Millard]

You know, I think a few ways that I keep my design spark alive is meeting with and seeing other designers work in person. I think so often we are able to see something visually, whether it be in a book or on social media, but there's something different about seeing it in person. Like I love here in Atlanta, where I, where I recently moved, I. A few of my neighbors are actually in the. Are interior designers.

[Caroline Burke]

Oh, cool. Okay.

[Evan Millard]

And so like walking them, like completely unplanned.

[Caroline Burke]

Okay.

[Evan Millard]

And being able to see their homes and to be able to understand and to ask questions and to know their whys is very inspiring. There's something really refreshing about seeing it through someone else's eyes who's also in the industry.

[Caroline Burke]

Yeah.

[Evan Millard]

And then show houses again, I know I probably will live and then probably die in a show. Maybe I could, maybe that's not a bad goal. But I. But I think seeing show houses and experiencing other individuals visions and whether that be the vision of the interior designer who's been assigned a space or that be the vision of the builder or the architect, just because there are so many creatives involved. And this last show house that I went to for the opening about two weeks ago, three weeks ago, clarifying you.

[Caroline Burke]

Were not in this one. You just.

[Evan Millard]

I was not in this one. I was attending and actually last week was a docent and volunteered and that was so much fun.

[Caroline Burke]

Wait. Oh my gosh. That's amazing. Like helping guide people through from room to room.

[Evan Millard]

I loved it. I was in a certain area within the house and I was able to speak to certain rooms designed by, you know, like, actually knew some of the designers, which was a kick. But one of the most impactful things that really fed my design soul and was during the opening of this last show house and the builder got up and he thanked everyone who made it possible and then he also thanked the trades that truly made it possible. And he said because without the painter and the individual who did the tile work, like, this 10,000 square foot home would not have been made possible.

[Caroline Burke]

Yeah.

[Evan Millard]

And I'm like, you know, it really gave me. It gave me a really great feeling inside that he recognized them and that fed my so my design creative soul in a little bit of a different way.

[Caroline Burke]

What does success mean to you today? How do you define it for yourself Today?

[Evan Millard]

I define success for myself knowing that I did everything that I could possibly do, went above and beyond keeping my word, and really led every facet of my business with integrity. And for me, I could end design tomorrow being happy and content and knowing that I did everything possible within my control. And I did it to the best.

[Caitlin Peterson]

That's our show for today. Thank you so much for listening. If you'd like to keep up with.

[Caroline Burke]

The latest design industry news, check out.

[Caitlin Peterson]

New products or browse job openings, head on over to businessofhome.com and if you're enjoying Trade Tales, please leave a review on Apple Podcasts to help others discover the show. If you have a note for the show or a story of your own to share, I'd love to hear from you and you can email [e-mail] Trade Tales is produced by me, Kaitlyn Peterson and Caroline Burke. This episode was edited by Caroline Burke and Michael Castaneda. Our theme music is by Kyle Scott Wilson. Thanks again for listening and I'll see you back here next week.

[Evan Millard]

It.