Neal Beckstedt on why great taste takes time

0:03This is Business of Home. I'm your host, Dennis Scully. Every week, I'll be speaking with leaders and innovators from all corners of the home industry. My guest this week is interior designer Neal Beckstedt. Neil was an accomplished designer before he went out on his own, working for Architectonica and serving as studio director for S. Russell Groves before finally putting up his own shingle in 2010. Since then, his tastefully warm take on modernism has won him high-profile projects and accolades in the press, including inclusion on the L. Decor A-List and the AD100. I spoke with Neil about why so many interior designers are Virgos, scaling his firm up and then back down again, and why great taste doesn't happen overnight.

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1:46At Ernesta, great design starts from the ground up. Created to make finding the right custom-size rug easier, their thoughtfully curated materials and styles reach your door in as little as two weeks. From their new coastal collections to rugs made with families in mind, Ernesta has everything you need. And through Ernesta's trade program, you'll also gain the necessary tools and support to move your projects forward with confidence. Become a member today at ernesta.com slash boh. That's ernesta.com slash boh. And now, on with the show. before we jump into the conversation neil congratulations on baby chloe's arrival in the world had you and paulo talked for a long time about wanting to have a baby did that come up early on in your relationship oh yeah it was the first i think the first thing we said to each other on our day first day so we were aligned in that way i think that was a very important alignment to be on board with.

2:56So that was great. Well, and good for you both for talking about it on the first date. Hi, listen, before we order, can we just check in on how you feel about - Time is of an essence, right? I mean, tick tock. I mean, I realized, especially even with Chloe being born, it's like she's growing every week and every week there's something. It's like, oh my God, this week she puts her neck up and it's like, it makes you very aware of time. Like, you know, like for me, I guess equating that to my business. I started my business 16 years ago. But if I had a child 16 years ago, I think I would feel timed differently.

3:31Yes. Right? Yes. I even see my father. So my parents came last week, and that was so amazing. Yeah, how was that? It was incredible. Oh, my God. But it just goes back to the element of time. It's crazy. Even my dad said it. I was like, oh, my God, Neil, you're like an older man. like you do dad well exactly and you're both seeing each other in such a different role than you right and and a different stage in your in your in your life did it take you back to your childhood and and tell me a little bit about your childhood growing up in in rural ohio definitely um i love my childhood i i um grew up on a farm it was actually my father's farm so uh two generations grew up there.

4:20My father grew up there with livestock and that's how they made a living. My parents took over that farm when my grandparents retired. And, you know, it's a good, also a great story of kind of America history because my grandparents grew up on a farm. My father and my mother both had part-time jobs and then maintained the farm pretty much on weekends. So it's kind of a part-time thing. I grew up very middle class and my father was a butcher. My mother was a part-time babysitter and librarian. I loved my childhood. I also learned at a very young age, like I was different in terms of my sexuality.

5:04So I kind of hid myself in the basement. And that actually made me very creative. I kind of dove into this world of crafting and woodworking and painting. I kind of withdrew from, I guess, my classmates. I knew I was different. I was kind of getting made fun of. Were you? Oh, definitely. It wasn't aggressive, but I think every child has that, of course. Sure. But I just knew I was different. I was not good in most of the, quote, boy activities. And my resolution for that was, I'm just going to kind of stay away and do my own thing. I was also very much of a loner. Like, I'm very shy. I still am.

5:53I think shy, this maybe shocks a lot of people, but I'm much more of an introvert. Work has made me quite different, but it still affects me quite a bit. I feel like I'm, quote, on a lot, but then I need those elements to charge, which is is kind of definitely an element of our industry. You have to be on and selling and being that quote personality. And clients are looking to you, even your energy level, like, is this the right thing? So I've definitely learned to embrace that, but that was hard for me at the beginning, 100%. So you were hiding out in the basement, sort of exploring creativity.

6:34And my father actually bought me a band. So the age of six or seven, I forget. Wow. Yeah. So I was like - That's a pretty dangerous tool to be giving a child. But okay. Especially to be my dad now. I'm like, I would never, never. But I loved it. And I started making all these things, woodworking and crafts and painting. And that's how I became a creative. And that's how, when I knew I was even in elementary school and junior high, I was like, oh, I definitely want to be an architect because it mixes creativity with logical thinking. I just knew I was always a creative. And in addition to the bandsaw, there's another very important factor during my childhood where my parents renovated the farmhouse, which was a very critical element that was like, aha, this is exactly what I want to do.

7:31And were you weighing in on decisions about the renovation? To be honest, I was very young. I was like seven or so, probably. I mean, I don't think I had much of a... You weren't called in to consult at age seven, right? No, I wasn't a designer at that point. Even now, I don't think my parents would take my ideas. I wondered. I wondered. So often, it takes so long to us to prove ourselves, right? They keep me very humble. Yeah, exactly. They're like, what do you do again now? Exactly. But definitely it was that moment where it was a click for me. We're like, okay, this is a creative feel that I could get into that intrigued me immensely.

8:19So that's great. And I'm so glad that they were supportive and it sounds like they really encouraged. And so when you thought about how do I get to the big city, how did you ultimately leave the farm? I looked at several schools around Ohio and Indiana. I decided to go to Ball State University for architecture. Their program was very fascinating to me in that it had a great mix of professors that were very creative and also very technical. And looking back at it, I think that was very wise and very rare, to be honest. I remember going to some schools and And some schools were very either one way or the other.

9:02I feel you didn't have that mix. They also knew they were in the middle of America, and they had great programs around the US and the world that I took full advantage of to see other cultures and situations and get outside my bubble. Went to Italy for a semester, went to Miami, Florida, actually for two and a half semesters. So we had a Cuban professor that developed a program down here and we were working with the city of Miami Beach. And I joined that with my friends and I loved it. And it was an incredible opportunity. And it's actually one of my big connections to the city to this day. We have a place down here and I am very fond of it.

9:56the history of the Art Deco and the whole, I mean, this is back in the late 90s, I was going to college. So it was hopping and Miami South Beach was just happening. And we were working with the city of South Beach to document Art Deco buildings and obviously doing other works. It was incredible time. And so having those pieces of like, of that college and especially getting to Miami Beach was really that nice stepping stone to then get to New York. I eventually worked for Architectonica, which was the first step to my career. And tell me about that. I mean, and for those who aren't familiar. It was fantastic.

10:39They were working on huge scale projects. I mean, it was like, it also was very creative and it was a huge office. It was a great way to really dive in to the world of architecture instead of just drawing wall sections. I mean, we were researching, this was back in the late 90s, they were doing a lot of work for Disney. I'm sure they still do, but they were doing the decade themed resorts. So each wing of this hotel complex was dedicated to the 80s and the 90s and the 70s and the 60s. So I was working on researching all these decades. Like, what was the most iconic element that could be put out of foam onto the building?

11:24What would convey that it was right? So I'm like, this is what we're going to do? Amazing. I chose right. This is going to be a great career. This is incredible. I love this job. And here I thought architecture was going to be so dull. I know. Fast forward to the next job where I'm drawing a wall section. Where your soul is dying. Yeah. Well, it's funny because often when I talk to architects who make some kind of a pivot at some point in their career and move more into interiors, they find that the grind of architecture. First of all, I mean, a lot of people find the math so challenging and a lot of the other components of it.

12:13Was that challenging for you? No, it's not challenging. I love, you know, I went to school for architecture. I still practice interior architecture. I'm not a licensed architect. I know there's a lot of like difference between that. So I'm not saying I'm anywhere near being a licensed architect. that we do a lot of quote architecture and interior design interior architecture and all of that it's all kind of gray uh obviously we work with a licensed architect to do all our work do i enjoy that aspect definitely i i definitely have a split left and right brain i i also am a virgo which i think a lot of designers are virgos so like you need to have that organizational element because you're dealing with a lot of things right so with you know being a virgo i think it helps a lot.

13:04So like, you know, studying plans and making sure plans all coordinate. I love that. It gives me goosebumps. So I'm weird that way. But I also love on the flip side, I've learned over the years, I, you know, interior design was something that was new to me at one of my first jobs. And it took me out of that kind of rut of, oh, no, I'm actually doing a wall section to this is fascinating. So diving into the world of carpets and fabrics was incredible. And I also geek out about that. And I love, you know, just debating a welt size and a should it have a welt after deciding the half inch welt. So that's the fun of what we do.

13:46And I love the decisions. And I love those details. Details are where the magic happens, in my opinion. I think a beautiful, incredible project has a lot of details. And that doesn't mean it's overdone. I think even the most minimal space has amazing details. Or, you know, there's that fine line of being minimal, which is boring. You know, I think, you know, those details make it rich and gorgeous, whether it's the patina on the wood or the wood species or all above. It's that layers that we add that's so important. And how did you learn to think about what you what you just articulated. We've been having a lot of conversations recently about this notion of how does one come by their taste?

14:38For me, I really am a strong believer it's repetition. No offense to my parents and my genetics, but I was not born with taste. Let's just start there. Mom and dad, you're the best, but also - Love you, but I don't think they have exceptions. Okay. It was trained. After the renovation, when you were seven, did you look around going, not the choices I would have made here. It's been trained. It's repetition. It's repetition and exposure to that. And it's not just repetition, though. It's also, and that's why I say exposure, because if it's just, you have to comprehend And see, try, do, fail, win.

15:28And so it's that you have to do things and fail and see things and succeed and then improve on that. And that constant repetition, and that's why I'm a big believer that, because I've been doing this since I was very young and painting and drawing. And so it's a continuation of all of that. Even to this day, the work is continually growing for me. I'm constantly learning, constantly thinking of new ways and evolving based on that skill set. And when you go to learn, I mean, I want to come back to your career path and the people that you worked for and with before you went out on your own. You worked for S.

16:10Russell Groves for, I want to say, 10 years or so. 10 years, yeah. Right? And had your hands in a lot of different parts of of that operation. And what was the zeitgeist at that firm? What were you telling people was the kind of work that you all were doing at that time? I mean, it was much different than what I do right now. We're doing a lot of high-end retail and corporate work, which I loved. It's a different type of work, though, to be really honest. Yes. we were also still doing some high-end residential but they were I would say a small percentage compared to the overall project flow there and having my exposure to those small residential but not small the small projects I guess in that office at residential I loved it that also was a a key moment for me where I like oh this is what I need to do like I enjoyed the discussion of where socks and underwear go and talking about the linear footage and just how they let how people live and helping people how they live and showing people how to live you know i think it takes a certain type of mindset and i don't know what that is apparently but i must like it um i think it's about creating you know definitely in any design whether it's a retail or hospitality you're definitely creating a mood.

17:37I think in your private home, you're doing it at a greater scale in terms of you can, it's a much more intimate experience, of course. It's much more personalized, of course, for a couple or a single person. So I think that's what really was fascinating to me to kind of not only get into their lives and see what they are drawn to, but then filter all that through your lens. Well, I also think, and you just used the term showing people how to live. I think that that is one of the gifts of what designers give to their clients. Let me open up a world of how you could live, and let me invite you to begin to live this way.

18:18And then suddenly they realize, oh, wow, he didn't just buy me this beautiful sofa with a tasteful welt added, but also he showed me a whole way to live that has changed how I come at the world. Definitely. Most definitely. I think that's... Do you have to be a Virgo to be able to do that? Or can you... I'm a Scorpio. Is there any hope for me? I mean, I don't know. I don't know. Maybe we should do a full polling of voluntary scientists. I feel a strong sense that there's a lot of Virgos. I get that sense as well. I get that. Yeah. Like everything in life, you don't have to be one thing or another to succeed.

18:57So I don't believe that. I think it does help you. But I do think that element of helping people to see how to live better and is often an undersold or under articulated aspect of what designers make. Yes, thousand percent. I think you hit the nail on the head in terms of this profession. It's more than obviously buying things and even just curating things. It's this lifestyle that we are creating to our brand, our home especially, that really resonates with people that hire us, our clients. They want that lifestyle as well in terms of how we live and how we approach our home in terms of what does that feel like, you know what I mean?

19:47So I think that's super important about creating that and expressing that to your clients.

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20:38To learn more, visit ernesta.com slash boh. That's ernesta.com slash boh. And now, back to the show.

20:55so coming back to coming back to the career arc here neil so uh so you see you were doing a bunch of retail with s russell groves you discovered i i love the residential even even more you you finally leave that that firm and and go out on your own what what finally got you out the door and starting your own firm and tell me about that um it was just time it was just the right time it It was during the economic downturn, which is historically when people start businesses. The great time to start a business during the great, exactly. And it was 2010, which for the interiors, I mean, I remember 2008, the financial crash, but it didn't really hit the design because we're so delayed in projects until much later.

21:48So during that point is when I started off, which actually was the best thing I've ever done. And very happy I've done it. And I was hopping. I left and a few people found out and they reached out and started asking for help. And I quickly thought, okay, is this going to be something in the first week? and by the end of the month, I'm like, I can't work from home. I need an office because this is crazy. And I think it was like by the second or third month, we had five employees. It was hopping. I mean, but also, remember this, when you're young and you start an office, you don't have like the Hamptons estate.

22:40You have small projects. You take what you can and you should. And you use those to become a better designer and create your office. And that's what I did. And it was an incredible period. I loved it. It was very overwhelming at times, of course. But at the same time, when you own your own business, I feel like you always feel like you have to pivot at a certain point. I feel like we're pivoting now again with the times changing with AI and just overall how things are done. And so you constantly have to pivot in your career. But that first time launching your business, it's a scary time. It's a whole other mindset.

23:22Even being a studio director at other offices, doing it for yourself, it's a whole other level of pressure. And it's your full name on the door. And just having that element and level to it was incredible, but also very exciting. and something I still have amazing fond memories of to this day. The early day scrambles and all of that. Yes, yes. And getting a business off the ground. And I'm wondering what helped you to, so as you say, you had been running or helping to run a very well-known firm and a big team and then going out on your own. How did you get yourself out there? I know that Mitch Owens wrote about you back in 2012 saying, one to watch, you know.

24:11Yes. It was a lot of networking. You know, I also did Kips Bay early on. Oh, yeah. And that was incredible. My first Kips Bay, when was that? Many, many years ago. I think it was like 2012. I think it was at the same time. You're right. Thank you. Good research. Yes. Yeah, and so then that's where Peggy, my Russell, saw my room. And then I think the year after, she put me on the ones to watch in AD back in the day. That was, and that was, so Kip's Bay has been incredibly helpful for my career in many, the whole, all of it. So that happened the first time I did Kip's Bay. Go ahead and make Jim Drucklin so happy now.

24:57Go, go, go, oh my God, I wouldn't be here today without Kip's Bay. And then the next room I did, I met Amy. And that's when she and I literally met her in my room. So it's been incredible. It really has helped, but not only the industry, it helped me build a portfolio. It helped me build a brand. You also have to figure out who you are aesthetically, which is a huge thing when you first start. Of course, I had no idea who I was aesthetically. And my projects were all over the board. Well, that's what I'm so curious about. Like, how were you articulating who you were and what your aesthetic was?

25:40And yes, this whole notion of having a brand. I mean, who's got a brand in their pocket? They just whip out and go, here I am. You don't. You figure it out. And it comes together like a good stew. It stirs and sits there for a long time. Hopefully at a low heat, but a high enough heat that it gets going. So it's not made overnight, and it comes together over trial and error. And that's what Kips Bay Showhouse gives you the opportunity to do. It frees you from a client to even work out all your ideas more succinctly in a room, which doesn't happen anywhere else besides your own home. And when you're first starting out, you are not making that much money.

26:29So you're not going to be able to do like if one got renovation. So Kiss Bay provides that opportunity to help build your brand, help build your career and your style and everything. It was a great opportunity. And it also taught you how to actually beg, borrow, and plead with the design industry. Right. Right? I remember that first kiss I'm like oh my god I have to do this this is what I'm doing so I called up showrooms and then followed up with an email and I'm like oh my god these showrooms are going to lend to me oh my god so that was incredible but you have to put yourself in situations to grow and it paid off and now we buy from these vendors and now we have a great, even better relationship with them, which is fantastic.

27:24And you insert yourself into the design community. Well, and it's why I always try and encourage vendors to, yes, go ahead, be generous, lend your stuff to this upcoming designer who's doing Kip's Bay. Because one day he's going to be a big client of yours and be grateful that you helped him in the early days, right? I'm always shocked when I hear stories of, oh, they wouldn't lend me this or they wouldn't give me 12 yards of that. And I'm thinking. Yes. And the exposure, too. Exposure is everything. Huge lesson in all of that. So great that the show houses helped. And then the firm grew and grew.

28:08So fast forward, COVID comes and your firm gets bigger and bigger and you get wildly busy. And I take it from our earlier conversations that maybe you didn't love the firm getting that big. Tell me in your words how you felt about that. I would say that's safe to say. You go to school for being a creative and all of a sudden you find yourself with a large office. And it was also during COVID. So it was a lot, I must say. And you're also obviously, you know, you can look back at it and be like, oh, that sounds obvious. And it is obvious. But when you're in it, you're kind of just obviously dealing with it all.

28:51When you first start your office, you're obviously taking, not obviously, but you're trying to take as much as possible. And you also feel honored to get a job. Sure. And, you know, the pendulum just shifts where you can't take everything. or you get to the point of you realize when you try to take everything, it's too much. Or, you know, everyone has their limit and there's definitely people that, and designers and creatives that have huge companies and my hats go off to them. And I appreciate that and love that. But for me personally, I think everyone has their own ideal. I realized during all of that, this was too much.

29:29I did not want to deal with more back of office things. I wanted to be in it. I wanted to talk about the wealth size. Back to the wealth size. I'm really fascinated by this. But I wanted those details and I wanted to ponder them and I wanted to have time to ponder them and not have to look at this spreadsheet and that spreadsheet instead. So that's how I wanted my life to go. So we purposely scaled back. So since COVID, we've taken on less work, which has been great. And it really allows me to get more into the projects. And what did you have to do when you say you scaled back? Well, luckily that worked well with the economy.

30:18So during COVID, for one week, I thought, oh no, this is going to be awful. but literally by Friday of that week, it was like, oh no, it's the opposite. We are so busy. You're wild to busy. Every client literally called. And it was the wildest week of my life. My clients were even calling me that week being like, and every time I saw my voice or my cell phone, I would ring. I'm like, oh my God, we're going to lose a project. And they would call. I'm like, we just bought a townhouse. I'm like, oh my God. So it was just like, it was the opposite. like our phone was ringing off the hook uh everyone was moving or renting or doing something and they were great projects it was hard to say no to all of it and we took it on and we got through it and we did it and and since then we just um you know i think there's been less work coming in but i also been more picky and more selective i should say say i guess uh we've just been more selective of what projects that are right for us and what projects are perhaps just too small.