Interiors · Creative direction · Styling
I create spaces and visual worlds that feel considered, lived-in, and a little unexpected. My background spans interiors, photography, styling, merchandising, and brand building... disciplines I've never experienced as particularly separate from one another.
Featured project
| Location | Winter Park / Tabernash, Colorado |
|---|---|
| Type | New Build · Short-Term Rental |
| Size | Approx. 7,000 sq. ft. |
| Furnishing budget | Approx. $50,000 |
| Timeline | Two years |
| My role | Interior Design · FF&E · Sourcing · Design Coordination · Styling |
| Team | Owner · Architect · General Contractor, Mountain Division Construction · Interior Designer |
It started like most wild stories do, with someone asking me, “Can you help with this?” and me saying, “Absolutely!” before fully realizing what this really was.
I was invited to join the architect and GC on a 7,000-square-foot new build in Winter Park, Colorado. A short-term rental with mountain views that make you melty.
It was the kind of project people spend decades preparing for. I, however, cannonballed straight in. I do have a master's degree in winging it, so I went all in.
The client didn't want a “Colorado mountain home” in the typical sense.
She wanted the opposite: clean, light, Scandinavian, with natural materials and enough negative space to let the house, and those views, breathe.
And that's why she sought me out. She had known me for years and trusted that I could bring that feeling to life.
Over the next two years, I became deeply involved in the build.
I sat in on builder calls, debated window placements, tracked elevations, created finish schedules, and managed what felt like 400 tabs open in my brain at once.
I made design decks, FF&E spreadsheets, sourcing plans, and spec lists that looked suspiciously like what I'd later study in design school.
Only this time, the classroom was a construction site.
It was exhilarating and terrifying all at once.
Some days I felt unstoppable. Other days I was convinced I'd completely blown it.
But through every high and low, something deeper was happening: I was remembering who I've always been.
For more than two decades, I'd been saying I wanted to go to design school.
This project made me stop waiting to become an interior designer and start living like one.
v. The budget
And if you know interiors, you'll understand why I still think I deserve a trophy, or at least a really big cookie, for what came next:
Furnishing a 7,000-square-foot home, with an elevator, on a $50,000 budget.
That's not a typo.
That's design Tetris.
Every sofa, bed, curtain panel, lamp, dish, mug, and tiny thing in between had to earn its place in the budget.
I sourced across price points, figured out where we could save and where we couldn't, and became a master of both sourcing and sorcery.
The finished home
By the end of two years, I had created something I was deeply proud of: a home that felt considered, inviting, useful, and whole.
I didn't fully realize it at the time, but this project was a turning point.
The moment I stopped saying, I want to be a designer.
And started saying:
I am one.
Clove & Twine
Where I learned to build a world.
Before I was formally working in interiors, I spent nearly ten years building a visual world.
I joined Clove & Twine as its first employee and eventually became Chief Creative Officer, helping shape the company from its earliest days.
There wasn't a blueprint for what I was building. Corporate gifting at the time largely looked and felt corporate. I wanted ours to feel like a lifestyle brand.
So I built one.
My work moved across creative direction, photography, styling, product curation, merchandising, campaigns, lookbooks, e-commerce, and the physical spaces the brand eventually lived inside.
I taught myself photography because I wanted control over how that world was seen. I personally photographed and styled much of the imagery that came to define the brand and went on to creative-direct eight lookbooks and more than 40 campaign shoots.
Looking back, this is where I developed my eye.
| Role | First employee → Chief Creative Officer |
|---|---|
| Growth | From inception to a $22M business |
| Tenure | Nearly ten years |
| Products | ~800 merchandised · 1,000+ SKU catalog |
| Lookbooks | Eight, creative-directed |
| Campaigns | 40+ shoots |
| Disciplines | Creative direction · Photography · Styling · Product curation · Merchandising · Marketing · E-commerce · Physical space |
Browse the lookbooks
The office and showroom
Eventually, the world we'd been building through photography, packaging, products, and campaigns needed to exist physically.
Working alongside the architect, I helped shape our converted warehouse into a working office, gathering space, and product showroom.
I selected furnishings, lighting, materials, styling elements, and merchandising throughout the space.
The goal was simple: walking into Clove & Twine should feel like stepping inside the brand.
The portal
Two sides of the office needed to be connected, but a regular doorway felt like a missed opportunity.
So we made a portal.
A passage wrapped in oak slats, lined with light, with the Clove & Twine mark built into the wall.
Functional, yes.
But also a little weird and wonderful, which is usually where I like things best.
The building already gave us exposed timber, brick, and plenty of character. My job was to build on it rather than fight it, adding warmth, creating places people actually wanted to gather, and figuring out how our products could live naturally within the architecture.
Photography
Photography changed the way I see physical space.
I notice what the eye lands on first. Where a room needs tension. When something feels too perfect. How texture behaves in different light. What disappears through a camera even though it works beautifully in person.
I still design with that second set of eyes.
Design school
After Winter Park, I finally did the thing I'd been talking about for years: I went to design school.
At Heritage School of Interior Design in Denver, I put technical language and structure around instincts I'd been developing for years, studying residential design, space planning, AutoCAD, SketchUp, materials, and the process behind taking an interior from idea to documentation.
There was something incredibly satisfying about sitting in class learning how to formally do things I'd already found myself figuring out in the field.
| School | Heritage School of Interior Design |
|---|---|
| Program | Interior Design · Denver, Colorado |
| Tools | AutoCAD · SketchUp · Adobe Creative Suite |
Select any board to see it larger.
About
For me, creativity has never been just about making something beautiful. It's about making someone feel something. Stirring something up. Creating those little moments that remind us what it feels like to be alive.
For a long time, I thought I worked in branding. I built visual identities, photographed campaigns, curated products, styled spaces, and eventually built an entire brand from the ground up. Somewhere along the way, I realized I wasn't just interested in the things I was creating. I was fascinated by the worlds they lived in.
That curiosity has taken me from visual merchandising at West Elm to nearly a decade of building Clove & Twine, and eventually into interior design, design school, and a 7,000-square-foot mountain retreat. I've worn a lot of creative hats, but the thread connecting them has always been the same: creating things that make people feel something.
I'm a daydreamer with a habit of making things happen.
I feel things deeply, laugh until I cry, and find meaning in just about everything. I'll dance anywhere: kitchens, parking lots, the cereal aisle. Music is my love language, and if I discover we have even one song in common, there's a very good chance you'll end up with a playlist made just for you.
I've always had a soft spot for magic disguised as ordinary life.
And I suppose that's what I'm here to do. Find it, make a little more of it, and invite other people into it.
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