Leann - Design Assistant & Hilla - Senior Designer

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• 02 office details
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• 06 Leann - Design Assistant & Hilla - Senior Designer
• 07 powder rooms
• 08 kitchen
• 09 kim lr
• 10 backyard1
• 11 front yard
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KIM ALEXANDRIUK

Interview & photographs above by Coleen Rider

CR:        Hi Kim, so how long have you been an interior designer?

KA:        I've had my own company for 10 years, and I've been doing it for about 19 years.

CR:        You previously worked for Michael Smith?

KA:        I worked for Michael for seven years.

CR:        When did you leave his firm?

KA:         I left about 11, 12 years ago. I can't believe  how long it's been.  I'm still in touch with him but, yeah, that was a long time ago.  When I started with him, we were working on Burton Way and La Peer, in this little house that is now a hair studio, or something.  There were three of us.    He was hilarious.  I mean, I have pictures of him, like, taking fabric samples and making a turban.  Just like kids fooling around.  Or he'd get bored and say, "You know, we should go to the desert this weekend.  Let's just all go."  Then we'd all go and stay in Palm Springs and shop.  It was really fun.  It was before it became more serious.  In the beginning, it was really like a grassroots, loose thing, you know.  And it was a lot of laughs.

CR:        Do you think it just became more serious because of the success level?

KA:        Absolutely.  It had to be.  And it wasn't that he wasn't a serious decorator in the beginning, because he was.  When I started working with Michael, he already had big clients.  And he did beautiful, big homes.  So it wasn't like he wasn't doing serious work.   Then we went to Broadway and Fifth, which is where he had Jasper (the retail shop). It was a nice space.  It was like an art gallery space with concrete floors.  And it was very close to Fred Segal.  The offices behind.  We were there for a long time.  So that's kind of where I grew up. Before I worked for him, I worked for the Getty.   I did preservation and conversation of architecture, archeological architect.  And so I came from that background in kind of a fine arts background.  And then I went to work for Michael.  And that's all I've really ever done. It's funny because in college I studied economics. That's really my degree, and fine arts minor.  So it wasn't like interior design, per se.

CR:        So what made you realize that you wanted to be on your own?

KA:        I think it was time to grow and to move on, and I was limited at a certain point to what I could do on my own.  Even though I was managing very nice sized projects for him, beautiful projects.  I mean one thing about working for Michael is that they're gorgeous, immense projects that not a lot of designers get.  So you're exposed to a ton of things, you know, the resources and the research you do.  There's just a lot because you have wonderful budget and people are willing to let you do that kind of thing. Much like my last client was willing to let me do, the shots you saw that are going to House Beautiful.  Where he really respected the craft and the field, and was almost like a collector, very interested in all of these things.  I have to say, people that are like that and are passionate about and are educated or want to learn, God they make great clients!   Because, I think that through that, they have the patience to allow you to research things or do things that you wouldn't be able to do otherwise.  Michael Savoia did tons of hand-embroidered appliqué, just all this intense work.  We bought old textiles from the Lotus Collection in San Francisco, for example.  And Michael Savoia embroidered over the textiles.   We did borders or  just details that it takes forever to do and you really have to spend a lot to do it.  That was what it was with Michael, it was a tremendous experience.   But at a certain point you want to make your own decisions.   I think seven years was sufficient to gain that experience.

CR:        Did you always have that entrepreneurial yearning?

KA:        I think, yes. I think that I was always meant to have my own business.  An old friend said to me, "You march to your own drum. You're not a follower, you're not a leader, maybe you're your own person."  I have a strong way that I see  things.  And I'm very determined.  I just think in the end, it ends up getting me into trouble.  Especially when I was younger, I was a little more fiery.   So I think I was destined to do it myself.  I think if I had to turn around now and work for someone now, it would be very  difficult.  It's been too many years. It's hard, you know from having your own business. There are plusses and minuses to working for someone or having your own business.

CR:        It can be very scary.

KA:        Very scary.  And very tough.  And that's the reality.  And you live it.   When you work for someone, at least you can go home and you don't have to worry.

CR:        Yeah, but you still do.

KA:        But you still do --

CR:        If you're good at what you do, you still worry anyway.

KA:        I think you do -- But I think you worry a little more, obviously, when you're in control.  So that's probably the downside.  But the upside is that you have a lot of freedom.

CR:        Don't you feel, though, that in times like these you can be so proud that you can pull through?

KA:        Yes.

CR:        Like I never have been-even though I've struggled this last year more than I've ever struggled in my life - I've  never been so proud that I can  pull through.

KA:        That you're still standing.

CR:        Yes.

KA:        Absolutely.   Absolutely.  And that's really something to be proud of in a time when so many people are-if they're not careful and they're not smart about their spending, they will go under.

CR:        Or, if you think, "All right, I'm not making my money like? this anymore, I'm going to make money like that."

KA:        Yes.  You have to think beyond.

CR:        You're using your brain in ways that you never would have if you didn't have to struggle.   I don't want to spend this whole interview on Michael, but, how do you think he's influenced your work, or when you moved on, what do you think stuck with you from your time with him?

KA:        Well first of all, I think Michael is very talented and I absolutely love and adore his style.  Okay, which is probably what drew me to him.  And that is just how I've always felt and I feel that way today.  I respond to what he does with my personal taste.  I love the way he puts things together.  It has a sophistication, a worldliness, it's really relaxed and it's natural.  And he's the master of inventive and unique pieces.  Especially with antiques, which now his reproduction line that I think is one of the best-just really unusual, interesting finishes and carving. I think he has an ability to take things and really make them look natural and make them look like they've been lived in for a long time.   I think that's what's important about interiors.  I don't like it when it looks staged or it looks like you can't sit down on it.  Or it's uncomfortable. So, with that said, that's one of the things I think I learned from him, and I really respected.

CR:      How would you describe your style.  Do you think you have a look or it just varies?  Would someone be able to recognize your work?

KA:        That's a good question.   I mean, I think it varies and developes organically in my relationship with my clients.  There are certain things that are consistent.  But I think it varies a lot with the architecture of the house, the taste and lifestyle of the client.  We definitely span the very modern, which hasn't been published.  Because recently we've done a few modern projects that we haven't photographed.  But it's never hard modern.  It's still organic and warm.

Hilla (Senior Designer) -  I think there's always something in the character of the designer that comes through.  Even though it's a completely different project, you know, like it's the same woman, but it's a different dress.

KA:        I think there's something that's kind of approachable and comfortable.  You know, there's that kind of undertone.  I don't bring in a lot of metals and stone.  If it is already in the architecture, I bring in wood and velvet.  I think that's what people have approached us for when they have a modern house and they don't want the modern interior to go with that.  They want something that maybe has cleaner lines, but they want something that gives them warmth.  They feel it's very cold.  Like a house we just recently did where all the floors were terrazzo downstairs and everything was glass and metal.  He said "I need you to warm this up.  I need to live in this house."  He loved the architecture and certainly the views were incredible.  What we did was we brought in some great carpets and lush velvet sofas that he could really snuggle into.  And we brought some really awesome wood that gave it some rich depth.

CR:        Warm colors?

KA:        Yes, not cold color, deep richer colors.

CR:        It sounds like you really listen to what your clients want.

KA:       We try to really jump through hoops and pull off whatever we can.  Because, you know what, we're in a service industry.  I have to say, I think part of me is definitely a people pleaser.  I think I really am.  I think I really like to just feel good about the work I did and that I pleased the client.  I try so hard to make sure everyone is happy.

CR:        I think you have to have some of that in you to be in this business.

KA:        You must, right?  Because I always want everybody to be happy.  And I want them to really love what we did.  And it's so exciting to me when they give us feedback.  And a big part of it is we don't just shop off the floor.  We do the custom things ourselves.  We draw it, we select the materials.  Everything is, you know, you choose a bed, we order the reclaimed wood from Utah-we  make everything. That's what it's about. What I take pride in is that I understand, or we understand, what that client is looking for.  That maybe they couldn't achieve.  They have the idea, they have the thought, they kind of wanted the house to look like this, but they maybe just couldn't get there.  They weren't sure exactly how to get there.  Maybe we pushed them a little further.  And we just pushed that envelope and we kind of did something that was even a little more unexpected.  That's what I love about what we do.  That's when I get the most joy, is when we really have interpreted something.  We have long term relationships with really great artisans that will go away some day.  And I don't think there will be another generation of that.  You know what I mean?  Like Michael Savoia. There won't be another Michael Savoia.  There will not be another person that does that kind of work that is just intricately embroidered and detailed and appliquéd.  Because people won't pay for that kind of stuff, you know.  Or another furniture maker that we have, John, he makes these beautiful hand carved and handmade beds that end up being extremely expensive.

CR:       One thing I've noticed is that you're really good with scale.  I mean that's a small living room.  And I think you're so right on with your scale.

KA:        There's a lot of things that I see and love that would work in a client's house.  And if you put them in here, it would be very  obvious that you have a very small house, you know.  You have to be so careful about everything that comes in because it can eat up the room.  I think we're pretty good with scale.   I think it's one of our strong points.  Scale is something that you can use to make an interior very interesting.  The play on scale, the whole idea of sometimes doing an oversized light fixture in a very small room.  Or the whole idea of big in small works very well sometimes.  It actually detracts from the room feeling small.  It's a tricky thing.  There's a play on it that works and a balance that works.  There's a language between pieces, there's a balance between the pieces.  It's much better than if you came in and everything kind of looked at the sameproportion.  Again, it would feel very, kind of boring, kind of predictable.

CR:        Let's talk about your kitchen. Most people will be a little intimidated by a red kitchen.

KA:      Actually, red is neutral to me.   It's not a color, and we've done three red kitchens now. One, the one client that was in House and Garden, her kitchen is red. Then we have another client that has an Americana kitchen with bead board and everything.  It's a bright red, with white Carrera countertops, and dark ebonized floors.  It's really beautiful, with beautiful nickel plated fixtures.  I do love color.  Color is very happy to me.  It makes me very happy, there's a lot of fun in color and a lot of life in color.  If it's all neutral, I can do that and I like that, too.  Or subdued colors I like too.  But there's gotta be some kind of interest in the whole combination that's going on.  Even if it's subtle.

CR:        You seem to go for unique fabrics, too.

KA:        I like textiles a lot.  I really do.  I've always loved fabric. And I have two clients that really love fabric.  So it's fun because we can kind of play with that.  But I do like textiles. And I like to look for different things. I lived in France before.  When I worked for Michael, I did a lot of work for him in France because I speak French.  I usually go to Paris once a year at least, sometimes twice.  I like to go to find new sources, new fabric mills, companies early on.  And Le Manach, Le Manach, like these fabric houses early on, years ago, I was already kind of going to them in the left bank and finding their patterns and their really beautiful combinations. The Europeans have a different color sensibility.  That's what I'm drawn to.  I don't know if it's because my family is European, my mom is German and my dad's Romanian.  We lived in Germany, I went to school there and lived in France. Maybe because of that I'm more drawn to it.  But I'm more drawn to those unusual-to-me color combinations.  So I like a lot of European fabric houses.  Michael's got a great line too; I gotta say Jasper's fantastic. Katie Leede's line is fantastic.  In the way of European, George Le Manach is a really good company.  And I think that Madelaine Castaing is great.

CR:        Do you like mixing patterns?

KA:        Absolutely.  Love to mix patterns.  Love the layers of patterns.  Love! I think it comes in a lot with the toss cushions. We do, do a lot of combinations with pillows.  I don't overdo the pillows, but I think they really add accent to the room.  And that's how you can bring a bunch of different fabrics in too.  We do like to do different scale patterns, different colors, different feeling, vibe, texture, small intricate pattern with a bigger kind of Indian pattern.  I like to play with it.  I like to mix it up a lot.  I like to layer.  I think that's what it is.  I like to layer with everything.  I like a mix of things, but I also like to have a little bit of clarity and a little bit of, you know, space.  That's what makes everything so interesting.  Like what carpet did you choose to use with that fabric and then what paint did you use.  And what kind of hardware did you use.  And the whole thing, the whole puzzle, with all those pieces together, how they all kind of relate together, but not in a predictable way.  Not in a way that you would expect.  No, I don't want it to go together.  I want it to maybe not go together.  But then it looks so damn cool!  You're like, wow, that really doesn't go together but the color looks great, you know what I mean?   I love that. Sometimes I have a hard time with clients with that.  There's one client that she wants everything to match.  I'm like, no, no, match is not a good word.  We don't want this to match.  I'll bring something and she'll say, "That's very nice, but I don't see that purple anywhere in here."  And I say, "That's right, that's why we're bringing that purple in."  But, I don't dictate.  I don't have those kind of relationships.  I have more collaborative relationships and I respect the person and know that I'm not living there at night.  They have to feel comfortable in that.

Kim Alexandriuk Interior Design

Alexandriuk.com

310.399.7000

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2264 22nd Street

Santa Monica, CA  90405

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