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Beata Heuman may just have a Midas touch. The AD100 designer, who trained under British style-setter Nicky Haslam for nearly a decade before setting off on her own in 2013, has attracted an international client waitlist with her high-charm, cheeky, and meticulously detailed eye for design. A few years later, her inaugural product launch, a peacock-feathered Marbleized velvet, took the internet by storm, catapulting Shoppa, her in-house line of furniture, lighting, home decor, and more. (The pattern, now available in wallpaper too, remains the top seller.) And in 2021, her debut book, Every Room Should Sing, quickly reached best-seller status. As of last week, Heuman’s hoping her luck continues with the launch of her Maestro series, four hours of design instruction presented by the BBC.
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Despite making it look easy, the Sweden-born, London-based designer’s success is tirelessly earned. I recently dialed her new HQ, the 188 studio and showroom, to catch up ahead of the series release. She offered a lens into her design process, from how she approaches the research phase to client consult best practices, as well as the project management process that has helped her firm grow to a team of 15. Take note: Her advice is good as gold.
Mel Studach: What interested you in participating in BBC’s Maestro series?
Beata Heuman: At this point, I’ve been designing for 20 years, and people often ask me for advice. It’s fun to break it down and analyze it, specifically in a way that’s useful to a broader audience. It was really flattering when Maestro reached out because they don't have any other interior designers or even architects featured, so I was honored to be considered.
In the series, we get to see a taste of what your design presentations entail, from scheme boards to watercolor renderings. Do you have any best practices when it comes to client consultations?
I always start off with getting to know them, figuring out what is right for them and what will make them feel comfortable. It’s not one-approach-fits-all; you have to be quite sensitive to the dynamic: One person may take the lead and say their partner isn’t going to be involved, but that person is still going to live in the house, so you still have to figure out what is best for them. I have strong opinions and a clear vision, but I try to build trust before I show that side of myself too much. If, in the beginning, they want to change something and I don’t agree, I try to be sensitive and discuss it. That doesn’t mean that it has to change to what they asked for, but to hear them out is hugely important. From there, we present plans, watercolor elevations, digital mood boards, and also have trays of samples.
You mention in the course that the research stage of a project is your favorite. Can you share what that process looks like for you?
To really get a sense of a project, you have to start by seeing it and absorbing the location and the client and the regional customs—I’m all for breaking rules to an extent, but you need to understand what you’re dealing with to do it consciously. Particularly when you’re working in a place you haven’t been to before. It’s also reading books and educating yourself on the local vernacular and traditions and, if it’s a historical property, the materials that were available at that time. I think it’s good to look back 200 years at what would have been used in houses—even if the project is a new build.
In a recent AD-featured project, you brought in a “heritage consultant”—an expert in historical conservation and restoration. Is that common?
Definitely, but it depends on what it is. Because that London project is a [landmark] listed property, we were required to have a historical consultant. But I’ve also brought people on for other projects, like our 188 office, because there’s so much to learn. My main frustration in life is that I don’t know everything, and I don’t have time to learn it. Though sometimes, the more you know, the more inadequate you feel.
How has that lessons-learned mentality shaped your business operations?
Design can feel extremely overwhelming—there are thousands of decisions that need to be made, and it helps to follow a clear process. We are very structured about how we save documents. We have a drive, where all projects are saved in exactly the same folder organization so that anyone can go in and find exactly what they’re looking for. It may seem simple for a small firm, but having a clear path to finding things is especially helpful as you grow. I’m quite tidy when it comes to stuff like that. We also use digital lists on Trello—it’s the best way to feel like we have control of the endless things that come to mind.
Your previous boss, legendary designer Nicky Haslam, makes a surprise appearance in the series as well. What significance did he have on who you are as a designer?
He is a well of knowledge. He taught me to be open-minded and to never be too serious about things or rules. He mixed high and low in such an interesting way. He’s so irreverent. I think the best thing he taught me was to care about the details. They can be a real bore, it takes a lot longer, and you're not going to get a return on your money, but caring about it enough to push through and do the little details—whether it’s in interiors or even a caption on Instagram—takes it to the next level.
This interview has been condensed and edited for brevity and clarity.
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