To-The-Trade with Interior Design Community

Christie Leu spent fifteen years as a self-employed fine craft artist before a contractor called her a serial redecorator and asked her to help style his clients' homes. That request became Christie Leu Interiors, now in its 13th year serving Maryland, Northern Virginia, Washington D.C., and the Eastern Shore.
Leu traces her business instincts back to age fifteen, when she noticed she was earning about $100 an hour making pottery at night and $1 an hour babysitting during the day. That early awareness of her own value still drives how she prices today: $300 an hour for herself, $110 an hour for her assistant, $150 an hour for drafters. Her take on flat fee pricing is direct. Skipping hour tracking because you charge a flat fee is how designers lose money without realizing it.
Much of the conversation with Laurie Laizure and Nile Johnson traces how directly her art background feeds her design work, from color memory to composition to balancing an off-center fireplace, plus a formative tax seminar at 23 that taught her to read her own numbers from day one.
One of the episode's sharpest stories involves a lighting vendor whose polished pitch on lumens and product specs never answered the question Leu actually needed answered: what's the payoff for the designer, and how do I explain the value to my client? She pushed back hard, and the larger lesson holds: vendors chasing designer referrals need to speak to the designer's business reality, not just the product's features.
Leu also unpacks a client's comment questioning an email line item on her invoice. Her answer: about 80 percent of her time goes to email, coordinating contractors, tradespeople, vendors, and warehouses so that a twenty-component window treatment order stays on schedule. Actual designing is closer to 8 percent of the job.
She closes with a peer group she helped start, built on a business-of-design foundation and still meeting monthly with outside experts, plus a quick lightning round: kitchens and baths are her favorite rooms, gray is the trend she's ready to retire, and murals and window treatments are the splurges she always defends.

Karen Laos learned to negotiate at six, when her dad handed her a few dollars at a flea market and told her to have fun but never pay full price. Twenty-five years into a communication career, she joins Laurie Laizure to talk about the part designers struggle with most: what to say in the seconds after you name your price.
Karen has coached at NASA, Google, and other large brands. She left corporate in 2019 to help 10 million women overcome self-doubt and communicate with confidence in 10 years, and she is about halfway there. The turning point was a boardroom where she could not get the words out. Her boss shut down the meeting, then told her she could have simply tabled it. Karen's takeaway was not embarrassment. It was a question: why do I keep asking for permission?
The most quotable moment in the episode is a negotiation she ran from a loading dock. An HR contact asked her rate, she gave it, and the line went quiet. Karen let the silence sit, then asked How does that land with you. The answer was that she was significantly higher than other coaches under consideration. Karen said, I recognize that I'm higher than most. Is that a deal breaker? It was not.
She also walks through a recent decision to hold a new speaking minimum, turning down $3,500 and a paid trip rather than negotiate against her own word. Within days she met someone on a plane and opened a six-figure conversation. Her framing: your rate is a decision, not a feeling you wait to have. The scary part is the trapeze gap between letting go of one bar and catching the next.
Laurie brings it back to design economics. Reverse-engineer the number from salary, rent, overhead, insurance, and retirement, and unprofitable projects stop being emotional decisions. She also raises the scenario designers fight most: a client reverse-images a chair and finds it cheaper online. Karen's answer is to handle it proactively by deciding what you are available for and setting the parameters at the start of the engagement, rather than defending them mid-project.
The lightning round delivers the practical layer. The sentences to practice: that doesn't work for me, and I'm not available for that. The word to retire: sorry. The credibility leaks: I think, maybe, kind of, does that make sense. And the cheapest improvement available to anyone, which is recording yourself on a client call and listening back.

You get maybe twenty good photos of a finished install in a year. There are 365 days in the year. What fills the rest? Most designers cycle the same images or go quiet, while the thing clients actually want to see- the process and the reasoning and the real cost- never leaves the designer's head.
Shannon Ggem hit that wall for ten years. She posted three times a week and earned roughly one new follower every three months, most of them people she met face to face at trade shows. Then she agreed to be the private case study for a new content system from Laurie Laizure at Interior Design Community. This To-The-Trade conversation is the thirty-day debrief.
The first fix was not strategic. Laurie told Shannon to drop the filters, and the numbers moved immediately. In a feed increasingly full of AI-generated talking heads, looking like an actual person is now an advantage.
The second fix was scripting, which Shannon resisted hard. Being told to be authentic and then handed a script feels contradictory. The comparison changed her mind: scripted videos are cleaner, shorter, and free of her natural repetition. The workflow is practical. Build the script from your own talking points, edit it in Notes until it sounds like you, paste it into the teleprompter in Edits, record one paragraph at a time, delete bad takes as you go, and curate your photos before you open the app.
Shannon's most useful admission is about the times she reverted to her old habits. Those posts took longer and performed worse. Her top two videos in the whole feed were made with no makeup, in pajamas, in about ten minutes.
The back half widens out. Laurie tracks what featuring a brand does for that brand, which is fifty new followers at minimum and sometimes 250, and makes the case for naming makers out loud so handcrafted work becomes desirable instead of anonymous. Shannon talks about posting on drawings, a topic she assumed nobody wanted, and finding that clients rebuilding after the fires very much did. Both push toward publishing real timelines and cost ranges alongside the satisfying before and after reels.
There is also a good stretch on emotional resistance, which for Shannon disguised itself as a file management problem and nearly killed a post about her first career as a scream queen. That post was a hit.
The month ended at 158,800 views and 990 new followers, plus a licensing conversation, a referral, and two paid brand collaborations. IDC is opening the process up to the full community.

Susan Jamieson founded Bridget Berry Designs, a Richmond, Virginia-based design firm named after her rescue dogs rather than herself, a branding choice she made so the business could grow and change hands independent of her own name. Over 35 years, she's built the firm into a home store, a paint line, a wallpaper line, and most recently a self-published book.
Susan's move into design happened by chance. She started college aiming to become a stockbroker, then fell in love with the field while sitting in on her mother's renovation meetings with an architect and designer. She switched paths and never looked back.
The paint and wallpaper lines both grew out of the same problem: she could never find the exact color or pattern she needed, so she started making her own. She encourages designers to support smaller, designer-led product lines because they offer flexibility larger brands can't, including custom colors and scaling.
Her new book, Bridget Berry Color Rules, expanded from a blog into 70 rules on color theory, inspiration, and practical application, aimed at homeowners but also useful as a refresher for designers. She self-published to control pricing and margin, printing through a manufacturer in China.
Susan and Laurie talk through AI's limits in design work, agreeing that AI struggles with scale and can't replace the judgment and delivery work designers provide. Susan walks through her client process, including a New York condo project for repeat clients whose usual traditional style doesn't match their new space.
Asked about her biggest business mistake, Susan points to overstaffing early in her career and the payroll and tax burden that came with it. She's since scaled her design team down to three people. Her pricing has evolved from purely hourly to a mix of hourly site visit billing and flat project fees with built-in time limits, since client indecision, not design work, tends to drive delays.
The episode wraps with a quick round on Susan's personal preferences and a look at what's next, including a new fabric line and a booth at High Point featuring the book, wallpaper, and new lampshade designs.

Laurie Laizure and Nile Johnson talk with Tara Kelley, founder of TJK Bookkeeping and a longtime friend of Laurie's, about one of the biggest struggles in the design industry: financial clarity. Tara built her career in corporate finance before starting her own firm, where she now works with several interior design clients.
The conversation covers why most designers never feel like they have a firm handle on their numbers, especially without dedicated support. Tara explains the value of working with a bookkeeper who specializes in design, since industry-specific knowledge helps her spot red flags, benchmark margins, and guide better decisions around marketing and staffing.
The group discusses the monthly P&L as Tara's go-to report, and why so many designers don't know what a P&L even is, largely because design software doesn't present financials in a useful way. They talk through profitability by product category, using appliances (low margin) versus cabinetry, tile, and upholstery (higher margin) as examples, and make the case for breaking revenue into visual, granular buckets so designers can see where their profit really comes from.
Tara shares that nearly all of her recurring clients came to her with messy books, and most engagements start with a cleanup project. Nile highlights how important that honesty is, since fear of judgment keeps many designers from getting help in the first place. Tara reassures listeners that she never judges, she just gets things cleaned up.
The episode also touches on bigger financial decisions, like investing in show houses, marketing events, and trade shows like High Point Market, and how these decisions often carry an emotional weight that can cloud good business judgment.
Tara closes with two pieces of advice for designers at any stage: keep personal and business finances completely separate, and reconcile accounts every month to catch errors before they compound. The conversation ends with a discussion of pricing models (hourly, flat fee, and project-based) and how each affects a designer's ability to track and protect their profit.