Interior Designer Tiffany Howell on Using Playlists as Mood Boards, Vintage Britney Music Videos, and Collaborating With Celebrity Clients

[Music] Hello there, I'm Julie Vadmal, deputy editor of Domino, and this is Design Time, the Rebellious ones. If you've listened to this podcast before, you already know that we've interviewed some of the biggest names in interior design. But this season, I'm doing things a little differently. I'm going to be talking to Rebels, the Out-of-the-Box thinkers who put their creative stamps on our world, whether they work in design, fashion, or even food. After all, you don't have to paint a room all black to be a rebel. So I think that'd be super cool. Some of us engage in tiny acts of resistance every day, and that counts too. Each week, I'll talk to a new guest, a rebellious one, if you will, about how they turn off the doubting voices in their head and how you can find your only use style. Let's do this. Today's guest is an interior designer to the stars and so much more. She actually got her start in the music industry where she produced music videos for Justin Timberlake, Ever heard of him, Britney Spears, and Jennifer Lopez. In 2016, she launched her designs to do Night Palm. And since then, she's worked with the biggest names, actress Laura Herrie, basketball player Clay Thompson, screenwriter, producer Mara Brocka-Keele, and some names that I unfortunately cannot mention because it's confidential. A few weeks ago, we met for the first time over lunch, and maybe it was just me, but it was kind of love at first sight. We really hit it off, and I kind of wish we could have recorded that conversation, but we'd probably need to bleep out a lot of it. So it's good that we're talking now. I'm really excited that we have Tiffany Howell here on design time. The Rebellious ones. Welcome, Tiffany. Thank you so much. I agree with you, Julie. We definitely love it for sight. I can't wait to see where this romance leads us. Yeah, this is our second date. Yeah, exactly. Let's, I'm ready. Let's talk since fun. Take it to the next level. Okay, to start off, I'm just going to have you repeat after me, but finish the sentence, obviously. Hi, I'm Tiffany Howell, and I'm a rebel link. Hi, I'm Tiffany Howell, and I'm a rebel dreamer. I thought long and hard about this rebel dreamer because I follow what moves me and the romance of what I love. I love that. No one said that. That's such a great answer. Oh, thank you so much. I, uh, it's just the truth, you know, it's how it's it's my constitution. So I love it. So I know I just introduced you, but if someone's not familiar with what you do, what do you tell them that you do for a living? Typically, I say I'm an artist. I say I'm an interior designer. My studio is an interior design studio. And it's it's what I'm most passionate about for sure. Well, I know you consider yourself an artist, but do you consider yourself a rebel? Yes, I mean, I've been a rebel. My mom loves to stay since the minute I came out, but yeah, you know, I have a tendency to not want to go and conform. I trust my gut and my eye and I tend to follow what I believe in. Wait, how did this manifest itself when you were a kid? Oh, in so many different ways. I mean, from what I wore my fashion, the music that I listened to, even the design of my bedroom, everyone else I think was doing this whole wicker vibe. And I was like, no, it has to be black, and red silk sheets. And, you know, I made my own wallpaper and I remember my mom saying like, no, no, you're going to probably go into design. I don't know if it's going to be good, but you're definitely going to go into design into some aspect. I just am trying to imagine a teenager or child with red silk sheets. I don't think I realized at the time, here I am, you know, at like 10 years old with red silk sheets, but when I get something in my head, I have to bring it to life in some way. And that was just for me, it was like, that's the way it had to be. And that's what I do. I listen to myself and hopefully people go along with it. And if they don't, I move on and find something else. I want to talk about that for sure, but I want to know a little bit about your background, because we didn't really dig deep into this when we met. And I was surprised to learn that you were a model and a dancer and your work in music videos before you even touched design. So how did design even come to be when you had this seemingly 180 background? Or maybe it is related? I really believe that. I mean, you know, I always say it's like we try and impose the path we're supposed to be on, but I look back at everything that I did that led me here. And it actually didn't reveal itself until later in my life. But I think all those things were my creative schooling. And let me kind of hone in and like learn what I'm good at, what I'm bad at. Yeah, I feel like I had a whole other lifetime, a whole other kind of creative lifetime before I ended up here. When I was young, I was a dancer, my whole entire life. Yes, I ended up modeling embarrassing, but I did. And it was, you know, I learned a lot from it. It got me to LA into production and really learning that I loved to be actually behind the camera. And then I moved to production and just fell in love with the idea of cinema and bringing, you know, these these concepts that I've had in my head for so long to life. And I'm just grateful that I was able to do all these things. And then it ended up leading me to starting my own kind of think tank production company where we did, oh gosh, we did so many things. We did everything from interiors, set design. We wrote target commercials. We, you know, directed music videos. And I think it was kind of before people deemed it the multi-hyphenate. And I think that, you know, I truly was. But at some point, I realized, you know, you can't you can't do it all. You got it. Choose a lane. You can still do other things outside of that. But let's kind of where does your true passion lie? And it landed me in tears. Yeah, someone once told me this phrase, it's kind of stuck with me and it was too much sun is the desert. Because I always want to be a multi-hyphenate. I want to do it all. But you kind of can't do it all because that means you're not doing one thing well. You're just doing a little bit of things. Well, which sometimes has its value. But that's my inspirational phrase. No, I love that. And it's so true. I think, I think I was finding that of myself. It was like, I was giving a lot of energy to projects that weren't really serving me as I knew I needed to be fulfilled. And so I just pulled back on those. And now I dabble in them a little bit, you know, but my heart is in the interiors. I want to talk about interiors. But also, I grew up in the early 2000s. So I would love to know a music video that you worked on that I'm sure I'm familiar with. Oh my gosh. Like Brittany, come on. Or like, Johnston. So Brittany, it was her first video where she kind of came of age. And it was, it was called Don't Let Me Be The Last To Know. We shot it in Miami. Herb was directing it. I was producing it. And it was her introduction. It was her way of saying, you know, I'm not baby hit me one more time anymore. I'm a woman now. And Herb shot it so beautifully. It was just romantic golden light on the beaches of Miami. And that lifetime was such a such a fun, fun time. And Herb was Herb was a rebel at the time too. So I got to soak up everything from him at that time. Oh, is there something he would say or do that stuck with you? This is Herb Ritz, by the way. Yeah, Herb Ritz. I'll tell you what, the thing with Herb is like, you were just mesmerized by watching him. He had a way of pulling things out of people without saying a word. And I always realized how special that was. And I completely took note about, you know, it was his presence. It was the way that he made people feel and they were able to open up around him and kind of expose themselves in ways that other people could not. And he would capture that. And so the emotional aspect was what I gravitated towards. And I just, it was more about body language than, you know, verbalizing anything. Well, you must use that a lot now with clients because I would imagine it's kind of hard to get people to describe what they want exactly creatively or in a design, you know, if they're not in the design world, a lot of people like to say, I want like a clean, pretty house. And you're like, what does that mean? So how do you kind of draw out this creative language or how do you figure out what people are actually saying when they say, I want it clean and modern? I have all about the feels. That's always where I start. That's my foundational thing in design. I always help my clients figure out how they want to feel in a space before we lean into the aesthetic of a space. And so typically, I create a soundtrack for each project because I know everyone in some regards, you know, relates to a song in the way it makes them feel. And so, I'll I'll give them a soundtrack and say, "This is the way I want you to feel in your home." We do what I call a sensory study where I dig really deep into what people like to, the favorite place to eat or travel or their favorite smells. And I lean into, this is how I want you to really feel in this space. And then let's make it look rad. (laughs) So you're not putting wallpaper samples up on a cork board, or are you? - That's the second round. The first round to me is, let me get to know who you are and how you operate internally and how you utilize the space, what you expect of this space, what you want to impose upon this space. And then we do the wallpaper and the literal mood boards. I always say we kind of start with the metaphors and then we go to the literal stuff. - Amazing. - How rebellious I must say of a way to work. - Yeah, it's very different. We're told that quite often and I love it. And I actually typically when I meet with a client first, I always say this is not going to be a typical way of operating. I mean, just from the soundtrack alone, it's what brings me to life and then we collaborate. - What if you have a client with a really bad music taste? - I don't discriminate, you know what I mean? It's more like the psychology of getting to know the person. And so if they like a band that I'm not necessarily drawn to, I might ask a few questions behind it and then maybe introduce them to some really good music. (laughing) 'Cause I typically actually, so they'll give me a soundtrack and then I'll do a soundtrack for them. So I kind of take in their love of things and then I say, okay, well, what about this and I tweak it and give it back to them. And then we land upon something together. - I wanted to ask you, I don't think I've asked you this. How the name Knight Palm came about? - Well, so I also write poetry. I love love, love writing. And so when I lived on a house on Benton Way in Silver Lake, I used to sit outside every night under the palms. The street has palms the whole way down up to sunset Boulevard. And I'd sit out there at night, you know, with Bommie, Eastside Knights, sit under there writing poetry and I wrote a poem called Knight Palm about that experience. And so when we were coming up with a name, at the time, I was also doing like a skateboard collaboration and a perfume collaboration. And so I loved the name, but I also thought it would be beautiful on a perfume bottle and a skateboard. So I was thinking of Knight Palm again as a multi-hyphenate and already knowing that, you know, I really wanted to collaborate with interesting brands and it felt very me, which is Eastside LA. I've lived there most of my life. And so we just went with it. I love the name. I also just love kind of taking away from my personal name as a lot of people do, and taking the focus off of me and putting it more on my art. - Yeah. Well, I guess other than your process, which is very different, why do you think people hire you? Like what style are people gonna get when they work with you? - I think I'm definitely romantic, cinematic, moody. I hope that my work comes across as poetic. 'Cause an expression of who I am, but also a love poem to my client. - For your client, Laura Harry's home, which I wrote about, and I remember her telling me and you telling me that Paris, Texas was a huge inspiration, the movie, right? - Yes. - And so cinematic makes perfect sense when you describe your style because you truly are like taking from these cultural references. - For sure. I mean, most of my clients, you know, they're in the industry too and they're creative themselves. So this front-end process is always fun for them. Laura in particular, we just wanted that pink sweater in Paris, Texas to be the muse for the whole entire house. And she was. And so we went with that. We ended up, you know, tidying up Paris, Texas. I have a tendency to do that with a lot of things. Like I typically don't start my design with other design. I started with, you know, a vintage fashion ad that I bring to life. Like right now, we're finishing up a house where the whole entire house was based on a 1970s Misoni ad that I loved and my client, you know, loves fashion. So we decided to bring that to life. And now the house is almost done. I'm really excited to share it. But I mean, our stone looked like, you know, a vintage Misoni print with like these lavender's and camels. And sometimes we'll bring a song to life. Sometimes we'll bring, you know, a movie to life. I have a very cinematic project we're doing now. We call it Hemingway's "Mistress." We created a story about this is definitely the place where Hemingway would have had his mistress. And we talked about all the rendezvouss. And I'm not the type of designer that's sitting there kind of like painting other designers' works. I love it. I mean, I love all of that. And that may happen later, but initially it's always kind of, you know, I'm chasing the things that speak to me in typically its fashion and music and movies. I love that you don't have the typical design school background. And I feel like that really does make you different. And so I'm curious to know if you've picked up a design rule along the way and been like, nope, that one is totally meant to be broken. Yes. I think that inevitably trends kind of come into design. They work their self-interfashion and interiors. And, you know, while there's a few of them I love, I typically am not wanting to kind of incorporate. What's happening now? I tend to draw off a nostalgia. And so that is a rule that I try and adhere to is, is let's not follow what's happening now. Because we might get sick of it. You know, maybe it's an object or something. That's where I try and pivot to. I say, let's not make your home. We can have a few objects that we can switch out, but like, let's dig deeper. Yeah. I am curious to know because you work with clients in bold. Costs in New York City and Los Angeles all over. What do the New York City people want as opposed to the LA? Like, what are the differences in like, what your clients are asking for on the coasts? I'd say the big difference would be more just the indoor outdoor living aspect. You know, here in LA, people really want it to feel their outdoor spaces and extension of their living room or kitchen or whatever. They spend endless hours outside for cookouts or whatever parties. And then in New York, you know, it's typically everything with the kind of within the four walls. Yeah. It's funny. I look sometimes at outdoor spaces in LA and I'm like, this is nicer than my apartment. Just the outdoor space has a nicer kitchen than my apartment. Yeah. No, I know. It's interesting. Yes, there's a lot of that for sure. But I tend to love small spaces. So I get excited about New York spaces. I always tell people, trust me, your smaller spaces are going to be the best. And we go into a house and someone's like, I don't know what to do with this small space. I said, oh, let me have it. We are going to bring this to life in the most wild, imaginative way. And it always ends up being the best. So I feel that way with New York. It's like, we have to incorporate a little bit of outside in the inside versus LAs. Let's bring the inside outside. Is it just because there's constraints? And that's really appealing to you. Like, it's more fun to play with something that's a puzzle. Yes, I love a challenge, actually. I mean, I think that that fuels me. It ignites me when someone's like, you can't do anything. I just don't even know what you're going to do with this. And I was like, that's going to be a library, speakeasy glam room. Give me two weeks. That's why they hire you. Yeah. Yeah, no, I love it. Well, I think of everything back to the whole cinematic thing. I think my head pivots that way for everything. I look at it more than a set design, because I definitely want it to be livable and cozy and perfect for my clients. But I tend to see everything as a movie or as-- what music is going to be playing. I mean, I do have a tendency to create lifestyles on top of the design for my clients. I'm curating their record collection. I'm curating their bar. We're making all the art on their walls, like a fabulous dinner party. I very much look at things whole picture. I can't not look at it that way. Oh, I love that. Like you're choosing the books on the shelf. 100%. I'm already seeing the books on the shelf. I'm seeing-- yeah. I'm seeing what they're wearing. I mean, half the times, even when looking ready to shoot, I work with them on the look of the outfit for the shoot. And there's a client right now. We're designing the house, and I'm already like, I see the moment over there to the right. This maybe is the director in me. But it's like, I already see what she's wearing next to that couch with that beautiful fan palm kind of like drooping over. It's just-- that's what I say. It's the poem that I bring to life are just what infatuates me. Well, now I'm just imagining you walk into any space and thinking, how can I design this? So is there a public? look space that you go to that you would like to give a glow up. Oh my goodness. I mean, this is a no brainer. I, I mean, the shatomer mom, you know, tell me more. I just, I love it. You know, it was, I've had such a story with this place. You know, I, we used to go there all the time. We, I used to rent a room and hold meetings out of there before we had our design studio just because I love again, I love the story of things. And to me, it was like this rich kind of old Hollywood history, you know, the rock and roll history of it. I picture people throwing TVs out of the windows and all the wild parties there. And then there's that kind of old European aesthetic to it that I'm very drawn to. So I love the bones of and the soul of that place, you know, but I'd love to work on the interior part of that and just kind of bring it back. Yeah, what would you change? Well, you know, a lot of the interiors now in the rooms haven't been updated in a long time. And so I feel like they're they're kind of a mix of many different time periods. I think I'd want to really bring back kind of the the rock and roll romance that I that I picture there and impose that in the space. And I want the rooms to feel just as magical as kind of the exterior. Amazing. That's such a good answer. I love it. It would be so fun. Yeah, you would kill it. For sure. When we had lunch, I was asking you and you kind of were talking about this a second ago, you were saying how you can picture where the photograph is going to happen in a room or what someone would be wearing. And you were talking about some of your clients nowadays, you know, designing quote unquote for the gram or for the beautiful image. So can you talk about how now nowadays, you know, what's reflected in a mirror also needs to be as pretty as everything surrounding the mirror or you know, these vignettes you have to create for social media or for a potential photo shoot in a place like Domino. Well, you know, we do commercial and residential. So I think on the commercial aspect of it, a lot of people are wanting those moments throughout spaces because that's, you know, what people are doing. And obviously it's a good branding moment for them. But the residential stuff is, you know, I work with a lot of young actors. And it's actually, it's very important now because people are still doing stuff from home. Some of my clients or models are doing photo shoots on their own from their house for magazines. And then a lot of my clients will hold interviews at their house. So we have to, you know, that that's your, that's your interview moment. Totally get it, you know, it's their career. It's part of their career. So we do have to incorporate that and make these kind of, you know, a few magical moments in there where they can let the public into their lives in a safe way, but a beautiful way, you know, totally. What makes a good zoom background? Good lighting, beautiful wall colors, tones that are pleasing of the eye, you know, things that they love. So, you know, we have a client right now, we're calling this, this project, the Brazilian tree house for very in love with like greenery and, you know, earthy colors. And so we have to make sure, you know, we see it as a photograph. And every time that she's on, she can have this kind of beautiful glamorous moment. And, and it's reflective of who she is as, you know, an entertainer. I love that because it is real. Like I'm not a model, but I still take photos of my outfits and my mirror and I care about what the background looks like. So I feel like even for someone like me, I care what the world sees because that's just part of life now, you know, taking selfies and knowing people your face. Yeah, I think people are just way more invested in the story of everything. People weren't before, you know, you're, you're taking pride in the story of your home and who you are as a person. And it's also very vulnerable and you're sharing it. And I know a lot of people out there are very appreciative to see that they're very interested in seeing, you know, what people are wearing and this collective collaboration. It's just, I don't know, I think it's cool. Yeah, another thing you said that you have to navigate with some of your social media, friendly clients is sometimes they have partnerships with brands and that you have to incorporate some of those items in. And I just found this hysterical because I hadn't thought about it, but it's a real thing. Like that's a real thing. It's when it's someone's job to work with a brand and promote the brand. And then try to show that product in a natural way. Like how do you make it look natural and not like an ad? Well, I would say, you know, for for me personally, I always try and use vintage first. I mean, I use probably 90% vintage and all my projects, I like to find special one of a kind things that no one can find. And so the juxtaposition, I guess of what we need to shoot, I'll make sure that I dress the area with something that's very authentic. And then we will let the thing that we have to show for the brand have its own moment. And actually they like that because typically brands don't want to be seen with other brands. So they like the fact that I do a lot of vintage. So there stuff can be the one kind of contemporary thing in the picture. Tell me where you shop for vintage nowadays. It's a particular state in the South and this kind of blew my mind when you told me this. Are we going to share these secrets? I don't know. Should we? Well, I don't. Okay, we can do some things ahead of us. I'll be right. Well, no, I can say it's big. Okay, let's be honest. Ready guys? Ready Florida. Florida. It's where it's at. We have a bunch of people that shop for us there. There's a lot of great stuff. We're just finding so much stuff out of Florida. I mean, we shop everywhere. We do flea markets. We ship from Europe. We do cherish for stibs. But I've just been finding these kind of outrageous sculptural interesting things out of Florida. Amazing. What is your secret when you're doing it online to know if it's like really going to fit or spatially be okay in a space? Like I always freak out, even if I've measured something, then I see it in person when it comes. I'm like, this is so much bigger than I thought, even though I measured it. Oh my goodness. This is, this is so true. I think for everyone, even as a designer, we will space planet. It doesn't matter how many times we drop in a cad, how we organize it. We measure, we measure. It's always in person. So, you know, you, you make sure that obviously it's going to fit within the four walls or whatever it is. But I have to have some flexibility for once it's there. So we account for that every time. We always account for discrepancy because you may have this kind of beautiful equation. But once you're there, you're like, ah, I feel claustrophobic, even though it looks beautiful. Right. So yeah, there's, we know that that's going to happen. So we always make sure that we account for that. Can you return vintage? Typically no. I mean, you know, places like cherish and first dibs, you know, they, they help us out when they can for sure. And they'll take stuff back if, if it, if it falls within their guidelines. But that's the thing, you know, and so we have a tendency. We, we double check and triple check and, you know, is it wired right? Is it broken? What's the patina? What's the finish? Can you shoot me video? Shoot me pictures? It's more work. What I do. It really is. There's nothing about what I do that's traditional. And it makes it harder on myself and my team. But I wouldn't have it any other way. I really wouldn't. I tell people that when they hire me, I say, it's not going to be quick. I'm not going to go to big box stores and show you this is how this fits in your room. I'm just not that designer. I'm so impressed when people can do that. I need to, it has to be wildly special in my mind. Yeah. And because you're such a rebel and because you do things differently, one thing I think about people who are rebels like you and who are always turning out new ideas constantly changing, not just sticking to one shade for their whole career is that you need time to recharge and reset in order to constantly be doing that. So what do you do to chill out or, you know, when you're not being a rebel, how do you recharge? It's hard for me to pass on cool projects. And so I, you know, I really try to take breaks traveling is my number one thing I love to travel. But then you come back from that and you're a bit exhausted, right? So I'd say right now, recharging for me is kind of just shutting everything off and going a bit deep and my spiritual practice, you know, making time for meditation. I love to mood board. And it has nothing to even do with design. It's like a therapy for me. So I, you know, I'll play with colors, you know, colors are so emotional. I go to Palm Springs for the weekend. I'll be honest, I'm just I'm not recharging as much as I should. But I value it very much. I hear you. I'm right there with you, sister. I'm all about the healthy hustle. But you know, sometimes it's it's hard to do because I have such a passion for taking on things that I'm excited about. It's hard to say no to those things. But I, I guess that the say no is a big recharge to for me. I've learned to, to say no to a lot of things this year. And that's, that's opened up some time for me. Yeah. Sure. Did we go to Palm Springs together? - Oh my gosh. Well, we're looking right now. We're looking for, and I say this on Instagram and everyone's, like, why don't you go do it? But we're looking for a vacation house in Palm Springs. But I want something really different, not that obviously traditional mid-century. Palm Springs House, we're looking for some weird architectural thing that I can put my spin on. So, I mean, let's go house hunting and all my secret vintage shopping places. - What is a piece of design advice that you give fellow rebels, or maybe someone can't afford your services? How can they be a rebel like you in the design world? - By blocking everything else out and getting to know who they are. And I say this all the time to people and they're like, I know who I am, don't, you know? But I mean, like, really get to know who you are and kind of do the study that I do on people where see what fabrics, like feel luscious to you, you know? See what lighting makes you feel happy or brings you joy. My biggest design advice is yet to know yourself and what moves you. And that is a very rebellious act, honestly, because it's much easier to put something from a magazine or whatever and say, I want this. And if you can kind of not start in that direction but start internally, you'll be surprised at where you land. - Oh, I love that. I have another film, The Blank. People to be not too blank, but I did it anyway. - Goodness, I mean, people tell me not to do things every day. - Honestly, for being such a rebel, I'm very safety first. That must be my Gemini nature. - Yeah, I mean, you got the two sides. - Exactly. I think people told me not to. People have a tendency to tell me not to maybe be as open or truthful about how I feel, about situations or, and I'm pretty open and I'm pretty honest. And I hope that at the end of the day, that people appreciate that because I've worked hard to get where I'm at. And I have a lot of things to say. And finally, what will your next act of rebellion be? - You know, every day is an actor rebellion to me. - Yeah. - And that feels really good. It's what comes naturally. I'll probably walk out there and my team will tell me, I need to do something a certain way. And I will most likely say, that doesn't feel good for me. I'm sorry, I'm going to go the other way. I guess my actor of rebellion is in standing in my truth. - Amazing. Okay, we only have a few minutes left. And we have to play, never have I ever, I am going to read the prompt and you will just have to tell me whether you have or haven't done this thing. So the first one is, never have I ever bought a neon bar sign. - I have never. - Wow. - I'm good for you. - Never have I ever shopped for furniture at Target. - This is something I love, actually. Take me to Home Depot and I will make you a piece of furniture. Like I love, again, back to the challenge. So yeah, in fact, I found a very cool Ottoman at Target years ago, just switched out the feet and put interesting. Yeah, I kind of, you know, I did what I could. I would take it and make it my own. - I love that. - Yeah, you have to. - Okay, never have I ever looked up a friend's home price on Zillow. Be honest. - Oh. - Like I'm literally on the side doing that right now. (laughing) - Of course, I'm obsessed with stuff like that. I'm a, you know, and I've been looking for a house of my own. So I'm, yes, guilty 100%. - Awesome. - Never have I ever framed a concert or movie poster? - Oh, always. There's one outside right now. It has to be authentic though. I mean, when I was younger, I was obviously, you know, doing things on a shoestring budget. So I might go to a flea market and find an old, I don't know, the Stroke's poster or whatever it was. But now I'm still very enamored. In fact, we have a dealer here in Hollywood that I buy vintage movie poster, like one of a kind of posters from. I love it. - Oh, amazing. My parents just moved out of my childhood home and we found a ton of posters, Britney, that era, which like, I feel like it's still too soon, but maybe my children will find them to be like very vintage and cool. - Oh, I'm so happy. - I'm holding it. - Yeah. - Are you kidding? See, that's the fun. That's an amazing way to express yourself and what you like. Design doesn't have to be so precious. To me, I'd rather see personality despite the high low price point, is it authentic? Is it not as far as a poster? It's like, have fun. I mean, I still romanticize like Sophia Coppola and like, her portrayal of teenage girls like movie posters on the walls and it's so cool. It's a way to, you know, be a rebellious teenager to your parents too, you know? - Yeah. - It's a very easy way to express yourself. You put someone on the wall and they're just like, "No, no, no, no." (laughing) All right, final one. Never have I ever fought with a significant other over a decor item. Of course. I'm fortunate enough, my partner, he very much lets me take the lead in that regard. He is an opinion, but of course, I mean, especially when you're newly married, you know? You're just getting to know each other and you're different likes and dislikes. But then you just agree to disagree. - Right, actually mine was over a framed poster now that I think about it. So it's like, what was that? - It was a print that he got from, I guess it's a poster, but it was a print that he got from a restaurant that he worked at that had this like red checker, born pattern. It was just like red and white and very. - Primered jar. - And yeah. - Yeah, and everything else was like kind of softer in that room and you know what, he won in the end and it makes me happy because it makes him happy. Like he likes that one thing there. So in the end it was fine, but in the moment it was a thing. - You just have to give them a room. That's the one thing, you're not even in design. That you know, so my husband I used to say, you can put your lava lamp out and you know, go create a room in the garage or something. But it's like even with design I will make a room, you know, maybe for one partner that they get very excited about. And then I make sure to accommodate the other partner and give them a room. And so everyone's kind of got their personal moment. - Well, thank you so much Tiffany. I could talk to you for hours. - Honestly. - Say, and have, I know, I know. So let me know when you're in New York next or I'll let you know when I'm in LA because I would love to go house shopping with you in Palm Springs. - Oh, we're for sure going shopping. I've already, we're doing it. (upbeat music) - When I found out that I was doing this podcast, my one and really only request in the whole process was that Shadi Alhindi, the head of IT at our parent company recurrent, read the closing credits. And I know that might sound funny, but Shadi has a voice that I swear could sue the 100 crying babies. And I know this because sometimes when my computer's not working, I am that crying baby. And just hearing him talk instantly lowers my blood pressure, you will hear what I mean in just a second. I am so excited to share Shadi and his beautiful voice with the world. Take it away, Shadi. - Hello, I'm Shadi Alhindi. And contrary to popular belief, I'm not a voice over actor yet at least. But I am the vice president of technology at recurrent, Domino's parent company. Julie asked me to read the credits to the podcast you've just heard. I blindly said yes, so I think that makes me rebel too. And here we are. Designed time, the rebellious ones as hosted by Julie Fadwell and produced by Ali Alquisa with special thanks to Lindsay Mather, Britt Ashcraft, Claire Oshashon, Michaela Klein, Kim Gray, Lindsay Desimone, and Maria Luna. Our chief content officer is Kate Berry. Our theme music is by the talented Alex Weinstein. And I'm Shadi Alhindi, vice president of technology at recurrent ventures. If you like this episode, please subscribe and leave us a review on Spotify, Apple podcasts, or wherever you listen. See you all next week, right here on Design Time, the rebellious ones.