Want a New Look for your Home by Summer? Now is the Time to Plan.

I always enjoy welcoming a new year. It’s an opportunity to start fresh, and to enjoy the excitement and anticipation of what the coming year holds.

For many people, the New Year is a time to finally decide to do something about their old décor. Investing in your home is always a sound decision and an exciting prospect. The first thing you should ask yourself, though, is whether you’re planning far enough ahead.

Yes, the year has just begun, and summer seems like it’s a long way away. But renovations – even small-scale ones – can take longer and be much more involved than you might imagine. If you want to be sure that you won’t spend summer break wandering through a house in disarray with children, pets and construction professionals, now is the time to get the ball rolling.

People often ask me why they ought to take such a long view of a renovation project. There are many reasons, and most of them are related to the time it takes to get things just right and avoid costly missteps and mistakes.

Of course, there’s the construction side, which has its own timetable. We have to be aware of that timetable and work within it. We also have to make decisions based on the construction process – for example, you can’t install your countertops and finish your kitchen until you’ve decided what you want to do with your cabinets.

Even if you aren’t planning on taking down walls or installing new cabinetry, you shouldn’t expect everything to be quick and easy. People who haven’t worked with a designer before don’t always realize how many items are custom ordered to meet their needs and desires. It really isn’t a matter of picking something out of a catalog. An experienced and thorough designer has to take scale, proportion, color and function into account, and make sure each decision fits into the design as a whole.

Once you decide on items, there’s the question of availability. If we do choose the perfect chair, or rug, or a lamp, there’s no guarantee it will be available– it may be on backorder, or it may take time to custom make. If it’s the perfect piece, it may be well worth waiting for. Or, it may be wiser to invest time in finding something that’s more readily available.

Sometimes, clients want to go slowly, and take on their home a little bit at a time. It’s up to them – they set the deadlines, and they’re in charge of what they want done and when. With that in mind, though, I advise clients to expect renovation projects to take between 3 to 4 months, depending on the availability of selections, and how much time they want to invest in making decisions.

Overall, a renovation is not a speedy process. Good design is an investment of time and money, and you want to make sure that neither is wasted. If you’re patient, you take your time, and you take full advantage of your designer’s expertise, you’ll find that it’s a small sacrifice to make for years of enjoyment of your home. 

Good Design, and Technology, Endures

I have been in this business for over 25 years, and I have seen many styles, trends and “must-haves” come and go during that time. But lately, a new momentum seems to have emerged. Everything seems to be picking up speed. New technologies become obsolete in the blink of an eye, and, thanks to the internet and social media, new trends travel across the country – and even around the world - like lightning.  

There are some things that will never change – at least not for me. To me, good design is, and always will be about having a having an innate artistic sense and following solid, classic design principles. And to me, the best way to earn success will always be to listen carefully and thoughtfully to a client’s wants and needs.

I believe that good design endures. It has a timeless quality to it, because the focus is not on what’s popular now, but on achieving the right scale, the right balance, the right lighting and the right lines for the space. These are components that stay the same across the board, regardless of what style a homeowner prefers, or what the current trends are.   

But while some fundamental aspects of design are unchanging, others are always changing. No two clients ever want or exactly the same things, so every project is completely different. Style preferences change from client to client and from year to year. New ideas, techniques, trends and technologies emerge all the time. These changes are what makes this job exciting and dynamic.

To me, having both roots and wings is important in this industry. That’s why this is such an exciting time to be a designer!

Style preferences have shifted solidly toward the transitional, which blends traditional and contemporary design elements. The incorporation of contemporary elements really opens up a whole world of new possibilities and new directions. There are just so many ways you can go with it.

Technology, too, has changed everything. Nowadays, when I visit a client’s home, I can instantly snap photos for reference, and I can instantly save and catalog them. I sometimes think back to the days when all I did was look around, and I wonder how I managed to remember everything well enough to create a design!

Clients also have so many new tools at their disposal. They used to come in with a few clippings from magazines. Now they literally have the whole world at their fingertips. They can look at hundreds of options on sites like Houzz and Pinterest.

Pinterest truly is a wonderful tool. My goal is always to create a home that deeply reflects my clients’ individuality. Since clients can create a whole board of different options, I can get a real sense of who they are and what their style is, which allows me to add so much nuance, detail and personality to each design.  

We know our clients love Pinterest, too, so we have made things easier for them. In the spirit of embracing the new, we have made all of our designs pinnable! Collect them, share them, enjoy them – use them as a jumping-off point for creating your own dream home.

We look forward to seeing what you come up with!


Believe it or not, 'Tis the Season

Now is the time to be thinking about any interior design projects that you want to have completed before the holidays. The interior design industry is at full throttle with the current state of the economy after experiencing a lull post recession. Back orders for many products continue to be a problem, which is a surprise, given the economic revival we have witnessed. Perhaps the manufacturers are still skeptical about the rebound, but nonetheless, there is no better way to avoid dealing with deadlines than starting the design process now. There are occasions where I can find a substitute for an item, but generally the first choice remains the best choice and I advise the client to be patient and wait it out.

A common scenario - a family comes to me at the beginning of the school year with grand ambitions to redo certain things in their house before Thanksgiving and Christmas. Unfortunately, on most of those occasions I have to inform the client that their project can't be completed before the holidays. If you want to have your home looking a certain way before then, now is the time to start thinking about it.

Charlotte Interior Designer Enlivened By Traditional Styling And Classic Detail

As an interior designer, Anita Holland has a genuine passion for her work. Enlivened by the challenges that each project brings and buoyed by the excitement of every client, her work reflects a strong commitment to traditional styling and classic detail. Anita was recently interviewed by Liz Hughes, the Publisher of North Carolina Design. In this interview, Anita shares her thoughts on her career and how interior design continues to evolve.


You have been a designer for more than thirty years. What is it that keeps you excited about your job?

I like the trends and I like how design continues to change and evolve. Throughout my career, I have always loved working with my clients. We form great relationships. I very much enjoy the fact that no two days are the same and no two projects are the same.

I find that today, there are so many more resources available to me as a designer, and that these resources continue to get better and better. I source these patterns, textures and colors, creating an authentic reflection of my clients’ personal style. With these new product introductions and the ease of access through the Internet, it’s very exciting – I am able to give my clients an up to date look of the very best of what the design industry has to offer.

Have you seen a change in how people use interior designers during this time?

The media has really put the spotlight on interior designers in recent years and because of this, I think we have more value than we used to have. I also think that with couples today who are both working, they don’t have the time to make their home look the way they want it to, and they really need to depend on a professional interior designer. Other people may have the time, but they struggle with the vision of how it should all come together. 

People used to say,, “Oh I can’t work with an interior designer. I can’t afford that.” Now they recognize the value that comes with it. They used to think it was an instant thing and you had to do everything all at once. Some of my clients still do it that way today, but very often we create a plan where we phase things in over time. They enjoy the process, and they understand that they do not have to do everything at once. We might do one room or one floor at a time.

These are exciting times in the realm of interior design. What are you seeing right now in color, pattern and texture?

As a designer, I have always liked neutrals. This past furniture market, we did see a lot of neutrals. Shades of grays and beautiful blues abounded. I think that grays are somewhat hard to work with because they are so cool, but I am seeing a lot of it. If I am in a gray color palette because my client prefers that, then one of my goals is to warm it up some – either with a punch of color or with texture or perhaps a fabulous rug that shows texture and color.

As designers, we really are presented a bit of everything. I’m seeing a lot of pretty neutrals with splashes of color. I’m also seeing bold color as well as all shades of blue. Many of these fabrics have an organic look right now – nubby textures. What it comes down to is this – based on the client, the resources are there to really make what you want to make of it.

You are a designer who has always been known for classic detail. When it comes to furniture and fabric, have we seen a return to classic patterns over the past few years?

We probably have seen a return to it. There’s a lot of frette work patterns and a lot of geometric prints that are coming back in. I am not seeing so many florals, but I am seeing a lot of geometrics. The color range for these is all over the place from neutrals to classic colors like greens, blues, reds and corals.

Are there any aspects of design that are currently peaking your interest?

I spoke earlier about the abundance of outstanding products that are available today, and that includes lighting. There is a lot of very pretty crystal available that’s not overdone which really enhances the design of a space. The crystal carries over into lamps that are sleek with simple lines. I am seeing lots of lanterns. I just put two in a very large dining room, in bronze. I did a white one in a master bedroom that had a shade with it. You’ll see beautiful lighting products today that can work equally well in various rooms and in contemporary, transitional or formal settings.

You’re known for your classic and traditional style of design. We have seen traditional design change over the past 15 years. How would you describe the transformation?

I think classic design has changed drastically. What many people may still call traditional design really is transitional, where it mixes traditional and contemporary furniture, fabric and architectural details to create today’s classic timeless design. It is understated.

I like blending old with new and transitional design allows for me to do that. I like how I can work in one gorgeous antique with a contemporary painting. I can work the design around the client’s personal preferences because there are so many options out there. Seldom do I see anything that is the old traditional. Clients I have with homes full of antiques are now pairing down and editing out selections so that their favorite items show well in a space. 

Whether I call this transitional or today’s new traditional – these interiors are warm, inviting, and comfortable. Fifteen years ago, traditional interiors were beautiful and elegant, but they weren’t necessarily meant to be comfortable or enjoyed. An absence in heaviness in detail is apparent. Cleaned up across the board are chests, tables, chairs, sofas, carpet and lighting. The lines are beautiful but they are simpler.

In creating this desired timeless look, neutral tones are an integral part of the design. I will say that when I am sometimes showing a client a light colored fabric, they may be hesitant because of the color.  I’ll say to them it’s a lot about attitude – if you will demonstrate that you are not afraid to sit on the light colored sofa, people will follow you. They will take your lead that everything does not have to be brown.

People have a more relaxed attitude today. We want to enjoy our day. We want to enjoy our homes. Life is short. This relaxed attitude about life is across the board. It is reflected in design. It’s in fashion. We want to embrace comfort. We want to use our things, and we want the design to be beautiful, but when we walk into a room, we want for it to convey the feeling that everything is right in our world – and everything in the room should speak to that.

Website Redesign

Anita Holland Interiors just launched a redesigned website, our fourth website launch over the course of 14 years. The original website for Anita Holland Interiors was launched in 2000 as a co-project between my son and one of his college buddies. In conjunction with the original website launch, as an avenue to communicate with clients, friends, and fellow professionals, I created “From Anita’s Desk” and sent newsletters by email to clients, friends and associates as well as to a growing list of readers who requested to receive the newsletter. Back then the concept of a BLOG barely existed, Facebook was four years away from being founded, Google was two years old, and the concept of Social Media was non-existent as we know it today. If you wanted to communicate with clients, friends, and colleagues you did it through a website, phone calls, and emails.

Just as trends have changed in the world of interior design the Internet has drastically changed the way we communicate. Today, “From Anita’s Desk” is in the form of a blog post on our website and the times for only sending out information through a newsletter are long gone. If someone wants to keep up with you or your business they do it by following you, searching for you, liking you, and sharing with you. The earlier “From Anita’s Desk” received comments in emails, phone calls, or a casual conversation at the grocery store. Instead of liking or sharing something people would let me know directly. “I really like the Interview by Liz Hughes with you and Meriwether.” “Could you outline a typical design process for a project – I have never used an Interior Designer before?”

I’m really proud of our redesigned website and the numerous ways that Anita Holland Interiors has leveraged and adapted to the ever-changing digital landscape. It takes a small army to manage and stay on top of an undertaking like this. I’m grateful for the clients that I have and the projects that I’ve had the fortune of working on and I think that both the work that we’ve done on the redesigned website and the portfolio of our firm speaks for themselves. I hope you enjoy them as much as I do.

Having said that and with the launch of our new website, I would like to share one of our most popular newsletters from a 2011 ‘From Anita’s Desk’ entitled “Can You Buy Good Taste?

Can You Buy Good Taste?

I am often asked if I think “good taste” is inherited or learned. I have thought about this off and on for years. I still do not have the answer, but I think the concept is interesting.  I recently ran across an article by Frank Lloyd Wright entitled “The Ideal of Beauty”. (Courtesy of The House Beautiful, 1896-1897.  (The Auvergine  Press, River Forest, Illinois.)

“The Ideal of Beauty”

Frank Lloyd Wright with William C. Gannett

Can you buy taste?  Taste cannot be manufactured.  Like Solomon’s wisdom it cannot be gotten for gold nor silver, be paid for the price thereof; but in house-furnishings, it is more precious than fine rubies.  It is the one thing that no store in New York sells. Nor can rich relatives leave you any of it in their wills.  And yet it comes largely by request.  Nearly all one can tell about its origins is that it gathers slowly in the family’s blood, and refines month by month…Taste shows itself in pictures, in flowers, in music, in the choice of colors for the walls and the floors, in the amenities of the mantle-piece and table, in the grouping of furniture, in the droop of the curtains at the windows, in the way dishes glorify the table…


Perhaps “good taste” is kin to having the talent of a gifted musician, poet or artist. I can surround myself with those who have special talents that I do not have.  I can appreciate and take pleasure in the results of their endeavors.

Wright goes on to address the interior design profession which was considered a “new profession” in the early 1900’s.

The emerging profession of interior design in the United States was initially driven by the strong personalities and singular talents of women who introduced fresh ideas with panache and publicity.  In New York, Elsie de Wolfe became a leading doyenne of the decorating world when she introduced light, air, white walls, and French-style accessories into interiors by stripping away the jumble of oriental carpets, dark window coverings, and heavy framed paintings that were holdovers from the late Victorian and Edwardian eras


I think many professionals, including interior designers, have an obligation to bring what they perceive is “in good taste” and appropriate for their clients regardless of where and how they have received or learned this gift. “Buying good taste” is what I do when I am browsing through a decorating or fashion magazine, working on a design project in a showroom at ADAC or canvassing my favorite stores for the next season’s “must-haves”. I call it smart shopping.


Interview with Liz Hughes

An award-winning designer, Anita Holland has been creating elegant and timeless interiors throughout the Southeast for thirty-one years. In 2008, Meriwether Maddux joined Anita Holland Interiors, assisting Anita in successfully infusing classic beauty into the homes of her clients. From the very start, there was an uncommon level of energy and of compatibility in the design process that both realized would serve their clients very well. Both enjoy similar styles of interiors, yet at the same time each brings something uniquely different from their personal and professional experiences to the design table. On a recent Tuesday morning, we sat down and talked about how they came to work together, their collaboration process, and their thoughts on design in general. 

This marks the end of the first year that Meriwether Maddux has worked with you, Anita. It might be true to say that it has been everything that you hoped it would be, and it has also exceeded your expectations. Would that be a fair statement? 

AH: I think that’s true. While it’s been wonderful for me, it’s our clients that have truly benefited. I don’t think there are another two people in Charlotte – rather another design team – that possesses our design resources or project management abilities. Our backgrounds and our experiences are wonderfully diverse but incredibly complementary. From the design process to the installation, because there are two of us and because we work together so well, the project is managed beautifully. We both respect what I call the design principles – scale, proportion and balance. We are then able to add different things to that because of our age and experience. I think about Meriwether’s travels and her exposure to art galleries and how that has even influenced our work. She has seen some wonderful compositions and color and been able to think, “Gee, this is something that could be translated into an amazing color scheme in a room we are doing.” 

Meriwether, you worked for two of the most notable showrooms in the country – Ainsworth Noah in Atlanta and Nancy Corzine in New York. How has the transition to Charlotte been? 

MM: I’m from Greensboro and it’s nice to be so close to home. From a work perspective it’s been great. At Nancy Corzine, I headed up fabric sales for five years in the showroom. A lot of times I would have clients that had an interest in a certain fabric and I would try to pull a whole scheme together around that one fabric. By making good selections, I wanted it to be easy for them to incorporate all of my product into their specific jobs. Anita and I do this today for each of our clients – pulling fabrics that work well together, and then looking at them up on our boards. 

AH: We have two 8 X 12 cork walls and six portable corkboards in the office. At a lot of firms, you look at it, play with it, and take it down. Ours stay up. We are always kind of scheming – adding to or subtracting – or making a suggestion. The number of boards allows us to keep each project up from start to finish. Interestingly, we could be working on one project and literally bump into something on a different board that would be perfect for another project. It is a unique idea to keep everything up and on display. 

MM: The corkboards are an example of our ongoing collaboration. We are both popping things up. I was out of town for the weekend, and when I came back Anita had picked out a really great pillow fabric that I never would have thought to use. It was on the board with a sofa fabric that I had selected. We are always looking at the projects and putting things together. 

Meriwether, did you know Anita or were you familiar with her work before you began working here? 

MM: I had heard Anita’s name a lot during the two years I was at Ainsworth Noah, and was familiar with her reputation. I had sent fabrics to her from down there and had always loved what I was sending. I already had in my mind that we would be a good fit. I could read her style and knew that we were generally on the same wavelength design wise. 

AH: Meriwether came well recommended from people I knew here in Charlotte as well as at Ainsworth Noah, which is my favorite designer showroom. She has a great sense of style and her background in art history gives her a tremendous understanding of color schemes and architectural elements, which is invaluable in design. Essentially, we both heard positive things about each other, but I don’t think either of us could envision how well we were going to mesh. 

Anita, you talk about this collaboration in design and how it has benefited your clients. Can you give an example of what you mean? 

Recently, we were working on a project, and I knew form the very beginning that I wanted to add in a piece of Lucite. We both thought it was a very good design choice. It would add a bit of surprise to the room. I would not have gone to the same resources that Meriwether did for the Lucite table that we put in. We were both on the same page regarding what it would bring to the project, but she quickly suggested a resource that was better than the one that I was considering.

As designers, it seems that you would have access to the same resources. 

MM: We do, but for five years I worked at Nancy Corzine in the D&D Building – The New York Design Center, which is the leading design center in the country. There are 17 floors and 120 showrooms filled with the top fabric, furniture and lighting lines. My experience in New York allowed me to become familiar with so many of the resources that are out there. 

For interior design to be authentic, it must embrace who your client is and how they live. Does exposure to the design showrooms both north and south allow for that to happen – to really capture their identity? 

AH: Meriwether heads to New York twice a month and I head to Atlanta monthly, so we are pulling from two of the best design centers in the world. Because of this, our clients can really express themselves throughout their homes. Collectively, we are able to draw on everything that is available which is an uncommon offering for design firms. 

MM: This is a definitely part of the process that nourishes our creativity. The more you see, the better design you are able to give your client. 

Is there a difference between what’s presented in the showrooms of New York and Atlanta? 

MM: Essentially not – it’s just presented differently. You can go into the same showroom in Atlanta and New York and look at the same line. The difference is that it is presented in a more traditional manner in Atlanta and is more contemporary and transitional in New York. The benefit for us is that we are able to see it from all sides. 

AH: It’s true that the New York showrooms appeal to a different market. The fact that Meriwether worked in the New York Design Center for five years and continues to go up there twice a month is a real asset when we are working with some of our younger clients whose design style is more transitional or contemporary. This is one of the examples of how we complement each other so well. It enables us to offer all of our clients the very best in design. 

It seems like the two of you can almost complete each other’s design sentences, so to speak. Even though you have different backgrounds, you are so well matched. You have seen different things but you bring a great balance to your client. 

MM: It’s really true. We can walk out of a consultation with a client and know how we want to take it. A fabric or a piece of furniture will pop into my head and Anita will say, “Exactly!” Or vice versa. We are pretty much in sync on that. We end up making better by adding elements that relate to our personal experiences. For example, I was recently at the Getty Museum in Los Angeles. All of a sudden, these timeless combinations of colors on 200 year old paintings started clicking. I thought, “Wow, you could start a whole scheme off of the colors that had been popular at that time.” 

AH: It’s a dynamic process. We work hard, but we definitely have fun. Both of us have strong project management skills. All the batting around of creative ideas would be fruitless if there was no follow through, no execution. The devil is in the details, yet that is exactly what makes our clients happy. 

Your work takes you across The Carolinas and also throughout the Southeast. When you meet with your clients, what design advice do you give them? 

AH: We advise them that this is a process that takes time. Good design can’t happen overnight. From our initial meetings with the client, we get an understanding of how they live, their style, the functional needs of their home, and assess what it is they want to achieve. We present different schemes and different options so we know the direction in which they want to move. 

MM: Interior design is an investment in your home and your lifestyle. For the most part, our clients recognize that. Invest in quality fabrics and furnishings and you will always have better results. Spend the money on the pieces that you are going to keep for a really long time. 

What are your preferences for colors and fabrics? 

AH: We are drawn to greens, rich creams and warm buttery tones. Our palette definitely leans more toward natural colors as opposed to jeweled tones, which have their place in European design. While our work might reflect a European or English influence through antiques or styles of furniture, we don’t express it through fabrics or color selection. 

MM: A few other colors that I like are soft blue or pale aqua, which in a bedroom can be wonderfully soothing. When we look at the fabrics that we incorporate into our designs, silks and linens are among our favorites. We both prefer to use patterned prints as accents rather than as the dominant fabric. There are a lot of wonderful textures on the market – linens, striés, and herringbones, to name a few. 

I have stayed away from the question about what’s new and what’s hot because what can be “in” today can be out so quickly. How do you avoid succumbing to fads? 

AH: Generally, they don’t appeal to me so it’s not hard to avoid them. I think that they are short lived and expensive. You have this great canvas, so why would you relent and fill it with items that won’t last? Why not be original and bring great things to the canvas that serve as a lasting portrait of the client? 

MM: This goes back to what I was saying that you should consider the interior design of your home to be an investment. Fads don’t provide you any lasting return. 

How do you want your clients to feel once the job is complete? 

MM: We want for them to feel like it was tailor made for them – which it was. They can feel comfortable and wonderfully at home. We have drawn upon our experience, our time spent with them and our resources. As they look around, their home reflects who they are, rather than who their designer was. In a sense, it’s the absence of having a signature look. 

AH: I’ve been asked that many times – “Do you have a signature look?” And I can honestly say that I don’t. Every project is different. No two clients are the same and no two schemes that we design are the same. We are given the opportunity to be creative and to design a home that is meaningful to our clients. I have often said that once a project is complete, it should be beautiful and bring them joy, speaking well of them but never of me. 

You have been designing interiors for thirty-one years, Anita. What guides you to create successful rooms? 

AH: What guides me is the client. It’s not enough to satisfy the clients; you have to take it back to listening to them. I try to reinterpret what they’re telling me in a way that is tasteful and timeless and that speaks well them. I respect my clients’ preferences in style, refine them, and then reflect them in the best manner throughout their home. 

Is that why you have so many continuing relationships with clients? 

AH: That speaks to how easy we are to work with and how creative we are, as well as how extensive our resources are. From design to project management, and implementation, we take it to another level. It’s not just our creativity that sets us apart. 

I guess it’s not just about pulling fabrics and picking paint colors. 

AH: I think you are trying to let me know that this is great time for us to end. Thank you so much. 

MM: It’s been so enjoyable talking with you today. 

LH: Likewise. 

About the writer: A resident of Charlotte, Liz Hughes has been the Editor of North Carolina Classic Design Elements for the past 10 years. Her company also handles creative development and execution of websites, copy writing, and E-mail marketing campaigns.

Design Process

The August edition of this newsletter took an in-depth look at two living rooms. The September edition focused on a study originally designed for a large home and later re-designed for the client's townhouse as well as another handsome study in a residence. This month I will generalize about the design process and how it would apply to you when working with a professional designer.

"How do you design a room so it is about the client and not about the designer?"

The philosophy that guides the process in our firm is summed up nicely in an article in NC Classic Design Elements. "If every house has a story, the story they tell should never be mine. I believe that good design means that the interior does not speak of me. Yet once completed, it is a self portrait of the people who live there."

Accomplishing this for the client involves "a lot" of listening and open communication in the preliminary stages of the project. The initial consultation, as well as the follow-up consultation, outlines the scope of the project, how each room will function, appropriate styles, overall "feel" of the area. Communication is a key element throughout the project. Many clients know what they like and what they do not like, but they need a professional designer for resources, creativity and project management.

Designers who design for the client are able to remove their egos from the project and focus on applying proven design principles such as balance, scale and proportion when selecting furnishings, fabrics, floor options and accessories.

"Just where do you start when designing one room or an entire house?"

The "where do you start" phase follows the initial consultations which outline the project, the client's goals for the design and use of the room(s) and a general idea of the preferred style, color palette and priorities.

One of the first questions that I ask a client is "Do you have a set of floor plans or blueprints of your house?" If a set is available, I request a duplicate copy or we have Duncan Parnell make a copy of the client's set for our use.

If a set of blueprints is not available, we take field measurements of the rooms involved in the design project and draft our own. This allows me to design several options for furniture arrangement and traffic flow which addresses the client's initial requests for the room(s). The client may like part of one option and part of another option so the next step is to finalize a plan.

The next stage is equally important - that is finding something that the client loves. This can be an item that the client owns such as a piece of art, a wonderful area rug or a piece of furniture. This "starter" piece can also be as simple a new rug, a fabric or a favorite wall color. This enables the design team to begin the process by selecting furniture, flooring, lighting and fabric options.

Please email me at anitaholland@anitahollandinteriors.com with your own questions, comments or suggestions.