Pro bono wedding planning services are deeds driven by passion and compassion. Aware of the fact that a wedding is a luxury not everyone can afford, a wedding planning business organise charitable weddings to extend their services to those in need. This could include planning, coordination, or consulting services.

Unlike regular, paid weddings, however, a pro bono wedding will cost you not just time and effort but also money out of your pocket. Most charity weddings are completely free. So you need to compromise to keep your financial health steady while working for good causes on the side. But don't worry, it only gets easier and the rewards are remarkable!

In this article, you'll learn:

• the definition of pro bono wedding planning
• the factors to consider when offering pro bono services
• the challenges and rewards of working pro bono

Ready to take your first charity wedding gig? Let's get the ball rolling...

What is pro bono wedding planning?

Pro bono is derived from the Latin phrase pro bono publico, which translates to "for the public good". If a wedding business offers a pro bono wedding service, they will be planning a wedding for free for chosen beneficiaries. A planner may choose to offer pro bono wedding planning services for a variety of reasons, usually pro bono wedding services are offered to couples who have undergone hardship or are struggling financially.

When wedding planners work pro bono, they have the opportunity to change a couple's lives for the better. To successfully manage pro bono weddings, a wedding planner must be...

• Compassionate. Wedding planners must recognise the unique circumstances faced by their couples. You can't demand more than what the couple can reasonably provide. For instance, if a couple expresses concerns about their circumstances, you should listen attentively, validate their concerns, and offer support without making them feel inadequate.
• Flexible. Wedding planners need to understand that plans may sometimes need to be modified to meet the needs and priorities of clients. You don't have free reign just because there is no payment. Instead, be ready to offer alternative solutions and compromises on your ideas. It is important to set clear boundaries with a couple to ensure that both parties' needs are met while staying within the constraints of the pro bono arrangement.
• Organised. If you decide to offer pro bono services then you have to make sure that you can pay them as much attention as your other paid weddings. Create separate schedules and timelines for pro bono projects, and communicate constantly with clients to keep things on the right track. This way, you can deliver exceptional service while giving back to the community.

Should my wedding business offer pro bono services?

Pro bono work is extremely rewarding, even without the financial compensation. Working pro bono, or for charitable causes, is a way for wedding planners to give back and make a difference in the lives of others.

Sarah Klingman, CEO of Gather,  intermittently donates her time to pro bono weddings and also donates a portion of her company's proceeds to Best Buddies—a non-profit organisation for people with intellectual and developmental disabilities. For Sarah, the decision to do so was simple. "Pro bono work has been integral to our model from the very beginning. These are not just causes; they are commitments to making a meaningful impact. The decision to offer services pro bono was driven by a desire to contribute positively to these areas."

Wedding planners are natural givers and always want to go above and beyond for clients. But, at what personal cost? It is important to ensure that working pro bono is a viable move for your wedding planning business. Before you start taking on pro bono wedding work, assess your business' capacity and clarify boundaries for yourself to avoid putting your finances at high risk.

Three questions to ask yourself before offering your wedding services for free...

1. Does offering pro bono services align with my business goals and values?

Whilst pro bono work can be fulfilling, it should not come at the expense of your personal goals for growth. The work you do for free should enrich your portfolio and be an enjoyable experience for you both professionally and personally. Planning a wedding pro bono should be an opportunity to connect with a new roster of wedding suppliers, a new photographer, and even a new venue. The content captured can be posted across your social media channels and your website in order to attract new couples and opportunities.

2. Have I set clear boundaries and can I communicate these to my pro bono clients?

Without a clear agreement in place, pro bono projects may be susceptible to scope creep—where clients expect more services than initially agreed upon. Setting boundaries protects your time, energy, and resources when you work for free. You have to communicate the scope of work, establish limitations, and make agreements in writing. Most importantly, you need to know when to say, "No".

3. Does my wedding business have enough resources (time, finances, network)?

Offering pro bono services puts strain on valuable resources, such as time, finances, and manpower. Sarah explains, "Balancing pro bono work while ensuring financial stability is simply said, challenging. Success requires stringent financial planning and prioritising projects that ensure financial health."

The charitable weddings you take on must not compromise the profitability and financial health of your wedding business. It is also important that you don't spread yourself too thin and risk creative burnout.

To avoid financial losses, Sarah plans strategically ahead and looks for support from fellow wedding professionals. "We actively seek partnerships and grants that align with our cause-driven work. These collaborations not only provide financial support but also amplify the impact of our work."

The rewards of working for free as a wedding planner

You may not earn money from charity weddings, but there are plenty of unexpected rewards to reap from doing a good deed.

Expand your professional network

Sourcing wedding suppliers to work for free might seem like a daunting task, but it is only difficult at the beginning. After a few charity weddings, you'll find yourself attracting vendors and professionals who share your values and views. This opens up opportunities for building your ideal vendor network and working on larger-scale projects.

Collect high-quality press and marketing material

Pro bono weddings are a gold mine for stunning photos and stories that you can use for digital marketing. Additionally, charity events like this always garner attention from publications since they're always hungry for heartwarming stories. If you're lucky, you might just get featured on bridal magazines or wedding blogs!

Build your portfolio, beautifully

Pro bono weddings add a meaningful touch to your portfolio. Other wedding planners could have a long list of grand weddings, however a pro bono wedding done out of pure generosity is rare. This speaks volumes of who you are as a person and how passionate you are about not just your career, but the community as well.

Expand your clientele

Having an advocacy attracts a new wave of clients who value good deeds above everything else. When clients learn about your commitment to giving underprivileged couples a chance to get wed, clients will flock to you for their wedding planning needs in silent allegiance to your goal. It's a similar idea to how committing to sustainable practices as a wedding planner attracts eco-conscious clients.

Pro bono wedding planning at a glance

Pro bono wedding planning is a compassionate gesture where you offer your expertise and services for free to underprivileged couples. Working pro bono comes with its set of challenges, from managing finances to setting boundaries. However, the rewards are just as remarkable, as they allow you to expand your professional network and clientele and explore exciting PR opportunities.

When you start working for charitable causes, you're working to redefine success. Pro bono projects offer something that paid weddings cannot, and that is the sense of achievement and pride in giving back to the community. As Sarah says, "Success is not just measured in profit, but in the difference we make in people’s lives and in the causes we believe in."

The key to success in not-for-profit wedding planning, according to Sarah is, "creating a sustainable model where passion and pragmatism coexist."

Wedding planning is a whirlwind of deadlines, last-minute changes, and administrative tasks all at once. While you may thrive in the industry, there comes a point when you start wondering: is it time to hire a wedding planning assistant?

Assistant wedding planners are in charge of repetitive, time-consuming tasks that you just don't have time for anymore. It differs from one planner to the other. It could jump from replying to emails to keeping the bridezilla meltdowns at bay. Managing an assistant wedding planner can have its challenges, but with the right approach, they can easily be one of the best investments for your wedding planning business.

In this article, you will learn:

• The roles and responsibilities of a wedding planning assistant
• The benefits of having a wedding planning assistant
• How to make the most out of an assistant planner

Should you hire an assistant wedding planner? Let's find out.

What is a wedding planning assistant?

A wedding planning assistant can play a crucial role in helping you deliver a high-class service for your wedding couples.

You, the planner, can delegate small, but time consuming, tasks to your assistants to free up your time to focus on high-level tasks such as conceptualising the design and co-ordinating with your vendors. You can hire two types of wedding assistants: day-of assistants and lead assistants.

The day-of wedding assistant works on the day of the wedding only. They swoop in to set up decorations, troubleshoot hiccups, and guarantee everything runs like clockwork. A day-of assistant is suitable for wedding planners who prefer to work on the preparations by themselves and just need someone to help them execute the plan flawlessly on the day.

Day-of assistant wedding planner responsibilities:

• Ceremony and reception set-up and decoration
• Tracking and coordination of on-the-day vendor arrivals/deliveries
• Assisting with guest management

On the other hand, a lead assistant works with you throughout the wedding planning process. They're by your side from concept to completion: researching vendors, managing budgets, attending venue tours, and so on. Lead assistants are best if you're working on several weddings at once and struggle with keeping up with each.

Lead assistant wedding planner responsibilities:

• Helping to connect with and co-ordinate your vendor network
• Replying to inquiries and management of client relationships
• Input on wedding concept and design ideation and execution

How to find your wedding planning assistant

Hiring the right wedding planning assistant can take your wedding business from good to great. Your planning assistant should be someone who understands your vision and your style to ensure you are providing a consistent service to your couples.

Not sure where to start looking? Explore the following avenues when looking for a wedding planning assistant:

• Personal network and referrals. Reach out to colleagues, mentors, and social media for recommendations. Your network of industry vendors may also know of talented individuals seeking opportunities.
• Wedding industry associations. Join professional organisations such as, The American Association of Certified Wedding Planners (AACWP) to access job boards and member directories. You can also connect with local chapters for regional networking opportunities and industry events.
• Creative recruiting agencies. Consider working with agencies specialising in event professionals, particularly those focused on the wedding industry. These agencies can understand your specific needs and help source qualified candidates tailored to your requirements.

The benefits of having a wedding planning assistant

Your time is precious. Hiring a wedding planning assistant allows you to share your workload

and claim back your time.

There are many benefits to hiring an assistant, here are a few:

• Free up time for your high-priority tasks. You didn't go into the wedding industry to do more admin. A wedding planner assistant can help you with administrative, or repetitive tasks that eat in to your time. The fewer low-priority tasks you have to manage, the more time and energy you can devote to creative design and fostering great client relationships.
• Scale your business. With more hands on the job, more work can be done! There's only so many projects you can handle alone. But with an assistant, you can tackle client consultations, contract signing, and social media management all in one day—leaving room to take on more clients and grow your business.
• Gain peace of mind. Hiring a competent and reliable assistant can alleviate stress, reduce burnout, and improve work-life balance. Knowing that tasks will be handled efficiently, you can confidently delegate tasks and approach your top responsibilities with better focus. To top it all off, you also get to actually enjoy the weekends!

How to make the most of your wedding planning assistant

If you're used to working independently, it can be difficult to integrate an assistant into your wedding planning process.

You may be unsure of what responsibilities to delegate, or worry that your assistant will not be able to execute in the way you hope for, ultimately adding to your workload. But here's the thing: you never know unless you try. Most successful wedding planners rely on a trusted team of assistants to help them offer their exceptional service.

At the end of the day, it all boils down to good communication, trust, and oversight. Ready to delegate? Here's some ideas of what a wedding planning assistant can do:

• Planning: Manage vendor communication, create timelines, handle RSVPs, update budgets.
• Admin: Respond to emails, schedule meetings, update social media.
• Logistics: Research venues, coordinate deliveries, oversee guest seating charts.
• On-the-day: Set up decor, manage rentals, receive gifts, troubleshoot on-site.

While assistants are there to alleviate your workload, you cannot simply dump your responsibilities on to them. A successful planner-assistant relationship requires an investment of your time, and consistent careful planing.

The five golden rules of managing a wedding planning assistant:

1. Plan in advance. If you’re prepared, your team will be prepared. Know what you need to happen on the day and exactly how your assistant slots into that plan. Then, set a quick call a day or two before the event to make sure you and your assistant are on the same page. As long as they're aware of the event flow, timeline, and floor plan, minor changes won't drive them to a corner.
2. Give the right resources. Your wedding assistant should be an extension of you! Create a binder full of all the information you have available and pass this on to your assistant. You can even set up cloud storage on Google Drive or DropBox if you want to keep it paper-free.
3. Lead by example. Provide clear instructions and demonstrate the task thoroughly before handing it off to your assistant. Demonstrations will help your assistant understand your expectations and gives them the confidence to proceed. Furthermore, it prevents any conflict later on.
4. Efficient communication. Stay in touch with your wedding assistant leading up to the wedding day, whether through Zoom calls, in-person meetings, or text messages. Keep communication channels open on the day of the event to address any last-minute changes or issues that may arise.
5. Be kind to them. Wedding planning assistants need time to settle into their roles. During this time, you need to be patient and understand that they might make beginner mistakes at first. Show appreciation for your assistant's hard work and dedication and address issues appropriately. A little kindness goes a long way!

Is it time to hire an assistant wedding planner?

If you're overwhelmed with tasks, want to grow your business, or seek a better work-life balance, then now is the time to hire an assistant planner.

Hiring an assistant is an investment in your business's future. So once you decide to hire, you need to clearly define the assistant's role, communicate openly, and provide proper training. Don't forget the five golden rules when managing a wedding planning assistant—plan ahead, give ample resources, lead by example, communicate well, and be kind.

On the seventh floor of Bergdorf Goodman, Cherie, Visualist's founder, listens intently to Deborah Kugler, founder and lead designer of intimate luxury destination wedding service OFFICIALÉ. Cherie sips a mocktail. Deborah, hungry after a full day of meetings, orders the afternoon tea.

OFFICIALÉ is both new and novel, having launched at just the end of 2023 with a refreshing perspective on what a wedding can and should be. In fact, speaking with Cherie is one of the first times Deborah has verbalised the "scribbled notes" and "simmering thoughts" on her new venture.

The pair talk of their experiences as female founders, recent adventures in Vegas, distilling art into data, and the future of the wedding industry.  Before the teapot is empty, Cherie has already arranged for me to call Deborah from across the Atlantic.

A month later, via video call, Deborah, or Deb as she introduces herself, greets me like an old friend and we launch into an exploration of her journey into design, the origins of her systematic creativity, and the thought process that led to her debut into the luxury wedding industry.

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√A radical root

Deb might be new to the wedding industry, but she is certainly not new to life as an entrepreneur. We start our chat with the memory of Deb's earliest creative hustle... in fourth grade! Deb created her earliest compositions on an IBM PC, brought home by her father. The PC was pre-plugged with Print Shop Deluxe and Deb soon realised that creating compositions was simply a matter of selecting and arranging compatible elements: font, image, border. Deb's artwork found a fanbase in her fellow classmates and soon enough she was trading her art for their lunch money. Deb's masterpieces could be produced, and reproduced, following a simple sum: font + image + format = work of art.  This is a theory which she still applies to her work as a designer: "I love analysing the data behind something artistic and making sure that something scientific is imaginative."

Deb has always possessed an affinity for maths and sciences but selected her college studies based on what she wanted to do, not what she was told she should, and subsequently studied communication art. Her parents would have preferred something more traditional—namely medicine, law, or business. But Deb talked them round, quelling their anxiety with the idea that she could go into broadcast media. But Deb instead chose the path less-explored—I am beginning to spot a pattern here—and pursued visual communication.

Before graduation, Deb's college professor advised her that she would befit New York. So, in the year 2000, she packed her bags and made the 8,000 mile move to NYC to study her masters at Pratt Institute. Before graduation, Deb had landed a job with a manufacturing company as a product designer and was soon promoted to head of design. From there, she took a graphic design job in a marketing firm but made no secret of her intent to progress into a directorial role within the company. Three months in, Deb won the company an eight-million-dollar contract. The role was hers. Today, Deb works as the regional design director for PepsiCo in North America. Deb refers to her journey as an "atypical trajectory." She explains, "You often hear luminaries in the design industry that have a stellar projection from start to finish, as though the carpet had been rolled out for them. But for me the road was clunky and jagged, sometimes it had missing parts, and I had to really throw myself into the next leg of things in order to make it here."

Deb's job, in essence, is to make things beautiful. Though she did not become a lawyer or a doctor,  her parents came to understand that her work takes much more than an eye for the aesthetic—that it is in fact founded in "a robust systemic thought process" that Deb has spent years shaping and refining.

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An emotional science

Deb appreciates beauty, but she is not satisfied with the superficial. She wants to dissect and inspect, to figure out the mechanics, and apply that learning elsewhere. Complexity does not intimidate Deb—it excites her.

To an untrained eye, the wedding industry may appear uncomplicated. A wedding is the simple sum of all its parts: wedding = guest list + venue + music + decor + florals + dress... But Deb is, of course, not satisfied by this simple equation. "I feel like the wedding industry is ripe for redesigning itself", she explains. Deb is throwing caution to the wind with her own complex equation—and it takes both experience and an eye for the nuance to redefine the variables and constants, and along with them the operators and functions.

And yet, in her mathematical approach, Deb always accounts for a necessary constant: emotion. After conducting extensive research on the wedding industry, Deb concluded that "emotion" was underutilised in the brand positioning of wedding planners. The duty of a designer, Deb explains, is to translate emotion into something tangible. To make a complex emotion comprehensible. Conveyance of emotion is so central to her offering as a wedding planner that Deb named her brand after the thinking, "Casa Officialé delle Emozioné"—translated in English to "The Official House of Emotion".

In mathematics, a convolution is an operation on two functions that produces a third function. A wedding is the transformation of two individuals into a couple ready to begin a future together. In such a convolution, Deb is aware of the array of emotions that need to be brought to the forefront. "Each couple has a very unique love story to tell. My challenge is to be able to make that come forward—not to bring about some other fantasy that has nothing to do with what they love." A beautiful sentiment, but a difficult one to execute. I ask Deb how exactly she digests this information and translates it into a design, a mood, an experience. Deb's eyes light up at this question. It hits the spot—that rare intersection between her analytical mindset and her creative spirit. For Deb, the process is perhaps even more captivating than the finished product.

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Data translation

Each couple, Deb explains, contains a huge sum of data. Her job is to:

1. Extract the information.

2. Analyse the findings.

3. Transform the raw data into something beautiful.

Deb begins by ascertaining the primary information: when, where, how many guests are invited. She then layers on secondary information: taste, style, personality. Deb wants to get to know her clients as individuals, and as a couple. Her questions are extensive: "Where do you shop for homeware? What is your favourite way to spend time together? What do you like doing when you're alone? What kind of music do you listen to? Do you prefer to travel locally or globally?" Deb's background in UX design trained her to never design by assumption and so, her wedding planning process always goes back to its roots—the client. It's important that her client remains informed and in control. Deborah leans in, "My process, in essence, is to bring my clients in as collaborators."

Deb encourages her clients to pick an anomalous reference point for their wedding. This becomes a motif that can be explored and abstracted to produce the unique look and feel for their big day—the "wedding personality" as Deb calls it. If a couple were choose the House of Chanel as their inspiration, Deb would begin her research at last season's runway—not the bridal collection but the ready-to-wear, she distinguishes—inspecting the concept, the materials, the repeated design devices. Deb deduces that Chanel corresponds to a lot of tweed, sparkles—"but only in the right places, carefully curated"—and pearls. Deb's innovative mind would then set about applying these familiar trademarks in an unfamiliar setting—wedding design.

For her own destination wedding on the banks of Lake Como, Deb was inspired by the concept of a Baroque artwork. The inspiration manifested first in the materials she chose for her decor: the colour palette, the mixing of metals, and the use of worn things versus the new. Her invitation was finished in an antique gold and opened up like a gate, echoing the entrance to the villa in which guests would be staying. Invitees had to peel through different layers of the invitation and hidden inside was a miniature colour palette, a subtle hint to what guests could expect from the day—the smallest details always hold the highest impact. As for the table setting, Deb leaned into the Baroque ideology with Roman busts and fresh fruit. She used nuts as an alternative way to add texture to the table because, Deb asserts, "you should bring in natural wonders. I don't think that table decor starts and ends just with florals."

Why does an invitation have to just be a card? Why do centrepieces have to be florals? Deb's willingness to experiment with the unconventional—tweed for example—is precisely what sets her apart. The wedding industry is ready for an injection of the irregular and the innovative, and Deb is seeing that it gets it.

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Re-defining luxury

Deb promises to provide her clients with an inimitable celebration of their one-of-a-kind love. It is this promise of the bespoke that makes OFFICIALÉ deserving of its luxury label—a label that has become liberally applied. Deb agrees, "The term 'luxury' has been heavily overused, especially in my industry." At a recent convention for wedding planners, Deb sought out the agreed definition of luxury amongst the wedding industry. The answers she found varied: "Luxury is abundance, volume, excess." Deb could see sense in the definition, but worried this thinking was irresponsible. "Luxury is creating a fantasy." This did not sit right with Deborah either—should luxury not feel undoubtedly real? Unsatisfied with her findings, Deb analysed her own perception of luxury and landed on two definitions...

1. Luxury is the effortlessness that comes from mastering a craft.

"A luxury brands creates a product or a collection that is so refined one cannot see the amount of work that went into it. You would love to own it simply because it's a work of art. You don't see a stitch of imperfection because of the abundance of time and love devoted to it. I love the idea of effortlessness derived from mastery. I would love for my couples to experience this level of service. An effortless look is actually an effort full look, right?"

2. Luxury is the priceless quality of giving and receiving the world's most intentional work.

"Luxury and value are almost synonymous. You always think that to have a luxurious experience, you have to spend so much money. But there is a difference between money and value. Something that is valuable to one person might not be valuable to another. Instead of placing a value on my work which might not resonate with somebody else, I want to be priceless. There is the luxury of giving in my role. I want to give the luxury of my most intentional work."

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More than the sum of its parts

Deb's definitions of luxury speak to her unwavering devotion to her craft and to her clients. Her weddings are not fleeting dates in the diary but are instead opportunities to share in a memorable, meaningful celebration. Deb relishes the time spent with her clients in the planning process but worries that too often precious time in the lead-up to the big day is shunned because the planner, and as a result the couple, are too focused on the singular moment at the top of the aisle. "I noticed that planners seem to focus on just that one day—not even a full 24 hours. The fact that, in a year of planning, you're only focused on 24 hours feels wasteful."

Deb rejects the narrative of the wedding day as the apogee. Her role is not to co-ordinate a singular day of celebration but rather escort her clients on a journey throughout their wedding year that benefits their physical and emotional wellness. This journey is designed to strengthen their bond as a couple and their circle of treasured friends and family. "A wedding is a celebration of a couple's love. But it's also a love story between them and the family and friends that have supported them." As such, Deb dedicates time within the planning process to gather loved ones together to simply talk about what is to come. "Preparing for a wedding is a chapter where people are bringing a couple from one point into the next and I would love to be there as the guide, the mentor, the coach, and the best friend." Deb concludes, "A wedding is an opportunity to strengthen relationships between each other, with your own self, and with those closest to you. I hope that my couples will come away from the celebration transformed not just by the 24 hours in which they get to be the bride and groom, but by a full year of appreciating the value of taking care of themselves and connecting with their people. The wedding is not a final destination, but a journey of preparation for a new life together."

It is this understanding of all that a wedding is, and all that it can be, that has become the defining piece of Deb's equation. In an industry rooted in tradition, Deborah has entered as a new variable.

Let's get one thing straight: weddings can be grand, stylish, and exceptionally fun, whilst also being kind to the Earth.

Sustainable weddings are not a fleeting trend, they are a movement towards a greener future. Wedding planners have a responsibility to support the movement by encouraging clients to make sustainable choices and by evaluating the eco-friendly updates they can make to their own planning process.

A sustainable wedding business equals happy clients and a healthier planet—so what are you waiting for? We have gathered leading sustainability advocates in the wedding industry to give us an insight as to the environmental impact of the wedding industry and how planners can contribute to a more sustainable future for the wedding sector.

What you'll learn:

• The environmental impact of the wedding industry
• The definition of a sustainable wedding planning business
• How to tackle the difficulties of running a sustainable wedding planning
• How to make your wedding business more eco-friendly

A greener future for your wedding business awaits...

The environmental impact of the wedding industry

According to the Green Bride Guide, each wedding produces approximately 400-600 pounds of trash and emits around 60 tons of CO2. This is equivalent to the weight of a grand piano and the annual emissions of approximately ten regular cars—in other words, its a lot. And all for just one event. Now, take into consideration the millions of weddings that happen annually and you'll understand that if every wedding planner were to turn a blind eye to their environmental responsibility, the results would be devastating.

Sarah Klingman is the CEO of Gather—an award-winning wedding planning concierge team based in the US. According to Sarah, "The prevalence of waste in the events industry is massive." Sarah estimates that each wedding guest generates up to one pound of waste, with some of the biggest contributors to waste being single-use plastics used in decorations and catering. Sarah also duly notes the large carbon footprint being produced by transport to and from wedding venues, along with the huge amount of energy needed to power the big day. Sarah points out that in order to tackle these deep-rooted issues in the industry, the onus must be placed on the industry at large not the individual, "Addressing these issues is not just a matter of corporate responsibility but also of industry-wide sustainability."

These statistics might paint a pretty grim picture, but the continually growing awareness amongst wedding professionals of the need for more sustainable practices is something to celebrate. And so too is the attitude of the consumers. Sarah notes, "In recent years, there has certainly been a noticeable shift in client preferences towards more sustainable ceremonies and practices. Clients are increasingly aware of the environmental impact of their events and are seeking options that align with their values." Weddings are no longer solely for show, couples want celebrations that reflect their beliefs. This growing demand is a clarion call for wedding planners to adapt their services to reinforce their commitment to sustainability and cater to the evolving demands of their clientele.

What is a sustainable wedding business?

The wedding industry needs to be more sustainable, on that we can all agree. But what exactly is a sustainable wedding business? The buzzword of the moment might change (green, sustainable, eco-friendly, etc.) but for JoAnn Moore, certified green wedding planner and founder of JoAnn Moore Weddings & Events, the definition of a green wedding remains the same: "When a couple and their wedding team make choices that decrease the negative impact on the environment, that is a Green wedding."

True sustainable planners are actively engaged in minimising their environmental impact at every step of their operations, which includes those they choose to collaborate with. Sustainable planner should seek out vendors and venues whose environmental values align with their own, JoAnn gives the example of photographers who work with digitals, or caterers who source their ingredients locally. When building a network of trusted wedding vendors and venues, JoAnn advises planners undertake thorough research in order to avoid falling victim to green washing.

Of course, planners must also take responsibility for their own practices. "Where and who a planner works with is essential, but there will be no credibility with such businesses if they don’t also make efforts to reduce the environmental impact of their own work." explains Gwenda Jeffs, editor and owner of The Green Union—a community and resource bank for eco-friendly wedding professionals.

Gwenda started her career in the wedding industry as a florist and recalls feeling like somewhat of a minority when it came to her concern for the negative environmental impact of floristry and the wedding industry at large. She spent the next few years refining her practice to be as eco-friendly as possible, and watching out for others who were doing the same. Thankfully, the commitment of Gwenda and other early-adopter sustainable wedding pros paid off. Gwenda recalls, "Slowly, a small but noticeable shift began to happen. What was seen once considered to be predominantly of interest to ‘unwashed hippies’, as I once heard it described, was being increasingly embraced in the mainstream and even luxury end of the industry."

The shifting attitude towards sustainability in the wedding industry mirrors the growing awareness of the general public. Gwenda notes, "Strides forward have been directly linked to events that have caused financial insecurity (namely Brexit and the dreaded Covid), as well as the more obvious media attention paid to the realities of the climate crisis." Gwenda explains that before the pandemic, couples would often only choose to dial down their guest list or extravagant decor due to budgetary constraints however in recent years, scaled-down sustainable weddings have become "a genuine choice for wedding professionals and couples alike."

Ever increasing awareness of the climate crisis has left wedding professionals keen to understand their role in making the industry more green. "The industry is thirsty for information and ways to improve how they do things", assures JoAnn. In fact, JoAnn has taken an active role in providing such education to her fellow wedding pros across the U.S. and Mexico—she even has the backing of the Mexican government who are keen to sustainably scale their destination wedding industry whilst decreasing the impact on the local environment.

JoAnn is currently working on compiling her eco-philosophy into a book alongside Kate Harrison, author of  The Green Bride Guide, and Helena Ricon, a certified green wedding planner and educator. The guide will focus on the responsibility of wedding professionals and venues in building a more sustainable future for the industry and is due for publication later this year (2024). Testament to her growing presence as an advocate for eco-conscious weddings, JoAnn was invited to speak at the latest Association of Bridal Consultants conference in Puerto Rico and the positive response to her talk was overwhelming. JoAnn beams, "I'm still receiving text messages, emails, and calls with questions." It is clear that wedding planners are keen to assume responsibility for their carbon footprints and take the first step in building more sustainable businesses.

Barriers to sustainability in the wedding industry

The response to JoAnn's work serves as evidence that the wedding industry is ready for a green revolution. And yet, progress remains slow. Whilst wedding industry professionals have good intentions, building sustainable practices does not happen overnight and going green poses significant challenges to planners and vendors alike.

A primary concern, as is always the case for wedding pros, is appeasing the client. "We are people pleasers, after all" explains JoAnn, "Professionals need guidance with making a stand between doing what is right for the environment and pleasing their clients." Sarah Klingman echoes these sentiments, "The most challenging aspect of our transition [to greener practices] was balancing sustainability with client expectations." Thankfully, wedding planners aren't often forced to choose between the two—"I have not encountered many couples who are anti-eco-friendly", JoAnn clarifies—but sometimes clients don't even realise the devastating environmental consequences of their dream wedding. JoAnn recalls a client who was besotted with the idea of launching Chinese Lanterns. The problem? The wedding was scheduled in the midst of a severe drought and federal fire restrictions had to be strictly observed. When it became clear the bride was not going to change her mind, JoAnn politely turned down the wedding. But she wonders how may professionals would be willing to do the same. If wedding planners are serious about improving their environmental impact, they must be prepared to turn down work that no longer aligns with their sustainable principles.

Additionally, the mounting pressure to run a sustainable wedding business can leave wedding planners fearful to take the first step. Many industry professionals grapple with the desire to be more eco-friendly but falling short of executing sustainable business practices perfectly. As a "recovering perfectionist" herself, Gwenda relates, "I totally get it! But to repurpose the tagline of a well-known supermarket chain, every little helps." Gwenda is quick to reassure fellow wedding pros that moving forward imperfectly, is preferable to not making progress at all. Gwenda references Anne-Marie Bonneau to drive home her point, "We don't need a handful of people doing zero waste perfectly. We need millions of people doing it imperfectly. This rings just as true to me if you replace ‘zero waste’ with ‘sustainable weddings’. " The quest for a more sustainable wedding industry starts with a shift in mindset towards progress over perfection. Sustainability is not a competition. It doesn't matter if all you can do right now is minimise your single-use plastic consumption, what's important is that you are doing what you can. The only rule: be transparent. Gwenda advises, "Just stay clear of greenwashing. Simply communicate what you are doing right now, and what you strive to be doing in the future. You’ll find this will resonate with heaps of prospective clients who are doing their own imperfect best, too."

How to build a sustainable wedding business

When it comes to sustainability, there is no shame in starting small. JoAnn shares some quick-fix examples of where to start:

• Eliminating single-use plastics like straws and disposable cutlery
• Using recycled materials for decorations
• Cutting down guest lists to cut down carbon emissions
• Choosing green vendors and venues

Embracing digitalisation is another powerful step towards reducing the environmental footprint (and boosting the efficiency) of your wedding planning business. Gwenda explains, "The majority of a planner’s work is administrative so going fully paperless is an ideal place to start. Eco-friendly mobile phone plans, renewable energy tariffs for the home/office, green website hosting, and repairing over replacing fixable tech are other easy wins. If you are able, consideration should be given to restricting the area in which you will travel for work (and to carbon offsetting with one of the plethora of schemes out there for anything you are unable to avoid.)"

These little changes add up. However wedding planners should also be aware that building sustainable practices might take an initial investment of both time and money. Sarah recounts the transitional period at Gather, "It required a significant investment in training our staff to prioritise green practices—such as biodegradable materials, sourcing locally to reduce transportation emissions, and ensuring efficient energy use at our venues—without compromising on the quality of our services."

A financial commitment might not always be possible, and that is okay. Gwenda assures, "I am all too aware of the fine balance that needs to be drawn between one’s budget and one’s conscience." But she can also speak from experience when she says that a lot of the sustainable swaps mentioned should have minimal cost implications. In fact, some will likely save you money in the long run—bonus!

Building a truly sustainable wedding business requires long-term commitment and continual revisions, but every wedding planner can implement small changes to their process that together will make a huge difference to the environmental impact of the wedding industry. Take this as your sign to work towards a more sustainable future for your wedding business, You can start small, the most important thing is just to start. Because, as JoAnn encouragingly rallies, "We can do better."

Let's get one thing clear: you don't need a wedding planner certification to become a wedding planner. However, a formal wedding planning education and a wedding planning certificate can help you start a wedding planning business.

Although not mandatory, becoming a certified wedding planner can make your wedding planning business stand out. A wedding planner qualification validates your expertise. It reassures clients that you're more than capable of managing their special day.

Success in the wedding industry depends on many factors. Practical experience, a strong professional network, and general business skills are key. These topics are all covered in professional wedding planning courses. In this article, we'll discuss the fundamentals of becoming a qualified wedding planner and starting a career in the wedding industry, including:

• The qualifications you need to become a wedding planner
• What to expect from your wedding planner certification course
• The best courses available to wedding planners to earn your wedding planning certification
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What qualifications do you need to become a wedding planner?

Technically, you don't need formal qualifications to become a wedding planner. However, completing a formal educational course to become a certified wedding planner will boost your chances of success in the competitive wedding planning industry.

What to Expect from Your Wedding Planner Certification Course

Wedding planning courses will teach you essential wedding planner skills. You'll learn about budgeting, timeline creation, and client communication. Advanced Certification Wedding Planning programs offer in-depth knowledge and real-world scenarios to test your skills.

Best Courses for Wedding Planning Certification

To earn your wedding planning certification, choose a course that fits your needs. Many professional wedding planners recommend online courses for flexibility. Consider programs that offer a wedding business CRM component. This tool helps manage client details and vendor contracts efficiently.

Skills Needed for a Successful Wedding Planner

Some things can't be taught. To be a successful wedding planner, you need strong organizational skills, creativity, and the ability to multitask. Here are a few must-have wedding planner skills:

• Empathy. Wedding planners with strong empathy forge deeper connections with their clients. If you can understand your couple's vision and emotions, you'll deliver a meaningful celebration.
• Organisation. Wedding planners juggle many moving parts. Solid organizational skills are essential to coordinate all aspects of the big day and maintain client wellbeing.
• Communication. Wedding planners spend a lot of time communicating ideas, setbacks, and solutions to clients, vendors, and venues. Both written and verbal communication skills are crucial.
• Adaptability. Things don't always go according to plan on a wedding day. A good wedding planner can think on their feet, come up with creative solutions, and keep the day running smoothly even when things go awry.

If you tick all the above boxes, you have what it takes to start a successful career as a wedding planner. Pursuing a wedding planning certificate will help you consolidate your skills and learn how to apply them as a professional wedding planner. Your journey to becoming a certified wedding planner starts here.

What is a wedding planner certification?

A wedding planner certification is a formal credential acknowledging your completion of an industry training program and your proficiency in executing successful weddings. Wedding planning certification programs provide a structured learning curriculum covering key areas like event management, budgeting, etiquette, and cultural sensitivities. This knowledge enables you to handle diverse wedding scenarios professionally and confidently.

How Long Does it Take to Get a Wedding Planning Certificate?

A wedding planning certification program can take between two weeks and six months to complete, depending on the complexity and format. Online courses for wedding planners tend to be shorter since they can be accessed anytime and anywhere. In-person courses follow a specific timeline.

Benefits of Becoming a Certified Wedding Planner

Becoming a certified wedding planner will make you better and more confident in your work—a bonus in itself. But you can also use your wedding planning certificate to symbolize to new clients that you are the real deal. Here are three ways to use your wedding planner certification to promote your wedding planning business:

• Display it on your website. Create a dedicated section showcasing your wedding planner certification. Include details such as the issuing organization, the year obtained, and notable achievements.
• Post on social media. Share certification achievements on your business's social media profiles. This makes great content for platforms like Instagram, Facebook, and LinkedIn.
• List your services in professional directories. Newly engaged couples often search reputable industry directories like Hitched and Bridebook to find their planner. As a certified wedding planner, you'll be eligible for listing as an approved planner.

By enhancing your wedding planner qualifications, you can become a qualified wedding planner who stands out in the wedding industry. This can help you start a wedding planning business and build a successful career in wedding planning. Enroll in wedding planning courses UK or online courses for wedding planners to get started. Advanced Certification Wedding Planning programs can further hone your wedding planner skills, including using a wedding business CRM.

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Our top 6 wedding planning certification courses

Ready to start your career in the wedding industry as a certified wedding planner? Whether you're based in the UK, the US, or anywhere else in the world, we have found the right course for you!

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Wedding Planner Certification Program - Certified Wedding Planner Society (CWP)

Price: $598

Type: Online

The Wedding Planning Certification Program by CWP is a 20-hour online course that covers the essentials, from effective client communication to establishing a professional online presence for your wedding planning business. The course also provides insights into the current job market for professional wedding planners. Upon completion, you will receive a lifetime membership to the CWP Society.

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What you will learn:

• Cultivating strong connections with venues
• Wedding etiquette and procedures
• Creating a preferred list of vendors and a dream team
• Identifying and building your wedding planning niche
• How to create your portfolio (what to include and skip)
• Optimising your wedding planning website

Certificate Of Professional Wedding Planning, Styling & Design - The Wedding Planner Institute

Price: $697

Type: Online

This online wedding planning course by The Wedding Planner Institute is the perfect introduction to wedding planning. It covers every aspect of wedding planning, styling, and design, providing a step-by-step guide to kickstarting your career in the wedding industry. By completing this wedding planner certification, you'll gain the practical skills and confidence needed to oversee all aspects of a wedding.

What you will learn:

• Planning ceremonies and receptions
• Creating an impressive wedding planning portfolio
• Finance management
• Landing your first wedding
• Starting a wedding planning business

Wedding Planning Elite Course - The Wedding Planner School

Price: £3,449

Type: In-person (Kent, UK)

The Elite Course by The Wedding Planner School is a one-week intensive wedding planning certification program. It combines theoretical learning with practical experience in wedding coordination. Under the guidance of an award-winning professional wedding planner, students collaborate to coordinate a real-life wedding.

Upon completion, students receive an externally accredited wedding planning certificate from the International Association for Distance Learning (IADL). They also gain valuable resources such as planning templates and ongoing support tailored to their needs.

What you will learn:

• Wedding planning basics
• Marriage laws and procedures
• Researching suppliers
• Social media training
• Creating a marketing plan
• Health and safety obligations

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Certificate in Wedding Planning - The Event School London

Price: £1,350

Type: In-person (London, UK)

The Certificate in Wedding Planning course by The Event School London is a transformative 5-day program curated by renowned wedding planning expert Siobhan Craven-Robins. Classes are held at the prestigious ExCel London Campus, where you'll explore every aspect of wedding planning—from understanding client needs to starting a wedding planning business and promoting it effectively.

What you will learn:

• Wedding industry working conditions and ethics
• Spotting and implementing wedding trends
• Managing wedding budgets
• Using wedding planning tools
• Contingency planning

Wedding Coordination and Design - The International School of Hospitality

Price: $3,300

Type: In-person (Las Vegas, NV)

The Wedding Coordination and Design course by The International School of Hospitality equips you with the skills and knowledge to excel in the wedding industry. From the first client meeting to the wedding day, this course offers top-notch guidance from experts in Las Vegas' wedding scene. You'll learn about cultural ceremonies, vendor relations, and more. After completion, you'll receive a Wedding Coordination and Design (WCD) Certificate, proving you're a qualified wedding planner ready to shine in the industry.

What you will learn:

• Proposal writing
• Photography and videography
• Sustainable wedding planning
• Staffing and timeline

Certified Wedding & Event Planning Course - Lovegevity Wedding Planning Institute

Price: Starting at $1,595

Type: Online/in-person (US)

Lovegevity offers a comprehensive certification programme for wedding planners. The 12-week long programme is designed to educate you on the top strategies, practices, and techniques to become a wedding planner. Take the course on a self-study basis, or add on the fast track package which offers real-life experience working on actual events guided by industry experts. As a graduate of this programme, you won't just receive a certification, but also a letter of recommendation and CWEP designation that recognises you as an industry expert.

What you will learn:

• Building your portfolio
• Mastering client acquisition
• Create standout wedding packages
• Etiquette and cultural intelligence
• Standard event planning platforms and technology

TLDR: Start Your Career as a Certified Wedding Planner Today!

In the competitive wedding industry, aspiring planners aim to differentiate themselves by obtaining a wedding planner certification. While not mandatory, certification validates expertise and professionalism, providing a competitive edge.

Becoming a certified wedding planner demonstrates commitment and proficiency. Training covers industry trends, vendor relations, and event logistics, fostering confidence in handling diverse weddings. Certification assures clients of a planner's skills in delivering seamless, memorable experiences.

Networking opportunities and community support facilitate ongoing professional growth. This certification not only attracts diverse clientele but also lays a solid foundation for a fulfilling career in the dynamic wedding industry.

Interior designers must continually seek improvement to their creative skillset and their business management capabilities—for personal challenge, professional growth, and the success of their interior design business. Interior designers can find further education after becoming qualified via courses, workshops, and seminars to develop new, important interior design skills to attract new clients and remain at the forefront of the interior design industry. We call this Continuing Professional Development (CPD).

The British Institute of Interior Design (BIID) is the UK's preeminent professional body for interior designers. Commitment to CPD is a requirement for all BIID members, this mandate ensures British interior designers strive for continual development and helps to maintain a standard of excellence that drives the interior design industry forward.

CPD for interior designers creates opportunity for personal and professional growth. In this article we'll explore the benefits of participating in CPD to interior designers, and provide an explanation of CPD requirements for BIID members. A breakdown of what we'll cover:

• The benefits of ongoing education for interior designers
• The CPD requirements for BIID members and how to track them
• The best BIID accredited UK-based interior design courses—and why you should take them

Ready to take the next step in your interior design career? Let's start learning.

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Why is Continuing Professional Development important for interior designers?

The interior design industry is constantly evolving and interior designers need to keep up. CPD keeps interior designers sharp, adaptable, and informed on important conversations happening in the design industry. Neglecting CPD is passing up an opportunity to learn and develop as an interior designer—in other words, self-sabotage.

The three biggest benefits of CPD to interior designers:

Refine your interior design skillset

You always want to be working at the top of your game, right? CPD ensures you continue to reach your potential as an interior designer and can feel proud of the level you are working at, both creatively and managerially. Plus, clients want to work with someone clued up and professional—CPD is a great way to ensure that you are always both.

Meet BIID member requirements

Last but not least, completing BIID approved CPD courses is a mandatory requirement for BIID members. Being a member of BIID opens up a wealth of opportunities and industry insights. It is said that BIID members are often preferred by high-end clients and are more frequently featured in publications.

Prove your worth

A commitment to CPD sets you apart from your competitors in the interior design space. One hundred designers might claim to be "experts" in certain topics, but how many have the credentials to back that up?

Certificates of completion for industry-standard training courses look great on your website and help prove to prospective clients that you are the real deal—display them like a badge of honour. Fellow industry professionals will be impressed by your list of educational accomplishments too, opening up opportunities for brand collaborations and partnerships.

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CPD requirements for BIID members

BIID members are required to complete and record at least 20 hours of CPD activity per membership year (1st April - 31st March). At least 10 hours should be structured CPD activities, and the rest can be unstructured.

Structured CPD activities form part of a planned programme and have clearly defined goals. On the other hand, unstructured CPD activities are more self-led and spontaneous.

Examples of unstructured CPD activities:

• Attending in-person educational events such as CPD training, seminars, courses, and conferences.
• Becoming digital educational events such as webinars, recorded talks, and e-learning courses.
• Publishing articles, manuals, or books for a professional audience.

Examples of unstructured CPD activities:

• Attending interior design industry trade shows.
• Reading interior design related books, journals, or magazines.
• Becoming an interior design mentor.
• Listening to interior design podcasts.

Exemptions to CPD requirements do apply, so don't be disheartened if you are not currently in a position to commit to CPD at this scale. See BIID website for more details.

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BIID-approved CPD courses for interior designers

We have rummaged through thousands of excellent educational resources for interior designers, to bring your our top pick of BIID-approved CPD courses for interior designers. Get your notebooks at the ready...

BIID Essential Business for Interior Designers

Type: Live workshop

Duration: 18 hours (31st January—2nd February 2024)

"Dive into the basics of building and running a successful interior design business."

The BIID Essential Business for Interior Designers (EBID) is a three-day interior design workshop tailored for emerging and early-stage interior designers. It addresses the unique challenges faced by pre-startup and early-stage interior designers and tackles business fundamentals including strategic planning, effective marketing, and more. The course is limited to a small group of 12 designers to ensure individual attention and interaction.

What you will learn:

• Interior design business 101: marketing, time and project management, setting goals.
• Client management: communication strategies, setting boundaries.
• Financial management: financial planning, bookkeeping, taxes.

Book a slot and learn more about the BIID Essential Business for Interior Designers.

Smartphone Photography for Interior Designers

Type: Live workshop

Duration: 3 hours (28th February 2024)

"The lenses are ready, but are you?"

High-quality photos are the cornerstone of an interior designer's online presence. They allow you to visually showcase your work, attract potential clients, and stand out in a crowded market. This three-hour interior design workshop invites designers to discover the exciting possibilities of using smartphone cameras to capture and showcase their work.

What you will learn:

• Basics of smartphone photography: tips and techniques.
• How to edit smartphone pictures.
• Put it into practice: practice your new skills in the showroom with advice from Jenny.

Book a slot and learn more about the Smartphone Photography for Interior Designers workshop.

BIID Member Tour of Collect Art Fair 2024

Type: Live event

Duration: 1 hour (29th February 2024)

"Discover new artists, trends, and perspectives."

Collect Art Fair offers a curation of work from emerging artists across various styles and mediums. Limited to just 10 BIID members, this event provides an insider's perspective on developments in design and craft to provide a fresh perspective on the artworks, ranging from textiles and new materials to glass and ceramics. Here, you'll discover unique textures, colour combinations, and artistic techniques that wouldn't be readily found in magazines or online.

What you will learn:

• Network with fellow industry aesthetes.
• Discover fresh perspectives on art and its applications.
• Spot emerging trends in the word of art and design.

Book a slot and learn more about the BIID Member Tour of Collect Art Fair 2024.

Applying Circular Economy to Office Furniture Projects

Type: Online seminar

Duration: 1 hour

"Foster sustainability with remanufactured furniture."

Timely and relevant, this course explores the industry's imperative shift toward a circular economy—a model of production that aims to keep resources in use for as long as possible. By adopting circular economy strategies, interior designers can minimise their environmental footprint and address industry challenges like carbon washing.

What you will learn:

• How furniture suppliers are reducing carbon emissions.
• How specifying sustainable furniture contributes to carbon-neutral design.
• How to identify true ecological suppliers.

Book a slot and learn more about Applying Circular Economy to Office Furniture Projects.

Instagram: How to Create an Algorithm Proof Content Strategy

Type: Online workshop

Duration: 1.5 hours (7th February 2024)

"Achieve consistent visibility, engagement, and growth on Instagram."

Instagram is an ever changing landscape, but don't let the algorithm get the better of you!

This workshop with social media strategist Bella Foxwell promises to equip interior designers with a practical toolkit to adapt to current Instagram trends and create future-proof content strategies.

What you will learn:

• The rules of the Instagram algorithm in 2024.
• How to align your content strategy to your sales funnel.
• How to approach scheduling of feed posts and stories.

Book a slot and learn more about Instagram: How to Create an Algorithm Proof Content Strategy.

Health and Wellbeing in Homes

Type: Online course

Duration: 2 hours

"Show how much you care for your clients through design."

People are now placing higher value on overall wellbeing, leading to an increased demand for homes that go beyond aesthetics. In this online interior design short course, you explore the gap between what you know about housing and health and how it's put into practice. This helps you understand how wellness-focused trends, like biophilic design and ergonomic furniture, can make residents healthier and happier.

What you will learn

• The importance of health and wellbeing in the interior design industry.
• Gain an insight into the major considerations for health and well being in design.
• The criteria of a healthy home and how to achieve it.

Book a slot and learn more about Health and Wellbeing in Homes.

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CPD for interior designers in a nutshell...

A commitment to CPD is integral to the professional development of an interior designer and the subsequent success of their interior design business.

In order to uphold high standards in British interior design, BIID makes CPD a membership requirement. BIID-approved CPD courses set the gold standard for professionalism, ethics, and technical competence within the industry. BIID members are required to complete at least 20 hours of BIID approved CPD courses per year.

Educational courses for interior designers can be found on a range of topics, from technical skills to business management. We encourage interior designers to participate in an array of educational activities for optimum growth.

Continuing education for interior designers is an unspoken rule. In order to run a successful interior design business, you must strive for continual progression and upgrades to your interior design skillset.

In order to remain at the forefront of the interior design industry, designers and architects must complete continuing education units (CEUs). CEU courses are not only a great way to maintain industry knowledge and important skills as an interior designer, but they are also often a mandatory requirement. For example, The American Society of Interior Designers (ASID) makes participation in CEU-accredited courses a requirement of membership.

ASID approved CEU courses come in all shapes and sizes, from online courses to in-person workshops. Topic covered range from managing risks as the owner of an interior design firm, to learning how to foster community through design. In fact, there is so much education available to interior designers, it can be hard to know where to start.

In this article, we'll walk you through the fundamentals of CEU for interior designers, including:

• The benefits of participating in further education for interior designers
• What is CEU for interior designers? And how is it tracked by ASID
• The top ASID-approved CEU courses for interior designers

Ready to level up your skills as an interior designer? Here is the what, why, and how of CEU for interior designers.

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Why is continuous learning important for interior designers?

The interior design industry is continually evolving which means that in order to stay at the top of the industry, interior designers must evolve too.

Interior design education covers all facets of life as an interior design entrepreneur: business management, tactile skills, critical thinking about industry development, and more. In every format, CEU is a powerful tool for interior design career development.

Three key benefits of continuing education for interior designers:

Improve important interior design skills

Interior design clients are increasingly seeking expertise in innovative commercial design, sustainable design, and incorporating AI into the design process. Regularly completing relevant CEU courses allows interior designers to confidently navigate these frontiers and offer them to clients. In addition, further education for interior designers informs participants on changes in ethical considerations, building codes, and other legal requirements, helping to reduce the legal and financial risk to your interior design business.

Increase credibility to prospective clients

CEU certifications are physical proof that you have the credentials to support your claims. Clients are more likely to trust an accredited interior designer, and your sharpened skills means they are are more likely to be satisfied with the outcome of their project.

Fellow industry professionals will also view your ASID membership as a badge of merit, opening the doors to new  brand partnerships and collaborations.

Retain membership to ASID

In order to be a member of ASID, interior designers must complete a set criteria of ASID approved CEU courses. As a member of ASID, interior designers have access to a comprehensive bank of resources essential to career maintenance and growth. For example, the ASID provides research reports on the latest developments in the interior design industry, compiles an unrivalled list of interior design jobs, and hosts regular awards to allow your interior design excellence to be recognised industry-wide.

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CEU requirements for ASID members

All ASID members need to complete at least 10 units (equal to 10 contact hours) of approved continuing interior design education every two years. Certain exemptions do apply—see ASID website for details.

The ASID maintain the belief that ongoing continuing education is important for interior design professionals because "professional development strengthens the interior design profession and the Society by improving members’ competencies, knowledge, and skills in subject areas essential to the growth and success of the industry." CEU benefits the individual designer, and the interior industry at large.

What types of of CEU can I undertake?

CEU courses can be taken in-person or online and ASID approves many learning formats such as short courses, workshops, webinars, and conferences. ASID does not limit the subject matter of CEUs but instead encourages interior designers to pick the courses that best support their personal professional development.

In order to be credited, a CEU must be approved by one of the following:

• IDCEC Approval System
• State Regulatory Board
• Approved Industry Relevant Organizations:
• American Institute of Architects (AIA)
• Green Building Certification Institute (GBCI)
• International Facility Management Association (IFMA)
• National Kitchen and Bath Association (NKBA)

If an interior design course is not yet approved by one of the above entities, you may submit the course for review using the ASID Self-Reporting Submission Form.

How do I track my CEUs?

After successfully completing a CEU, interior designers should log their certificate of completion with the International Design Continuing Education Council (IDCEC). All ASID members are granted access to the IDCEC registry with their given IDCEC number.

What happens if I don't meet my CEU requirements?

After each reporting period, ASID will look at the IDCEC report to see if you met the required number of CEU for interior designers. You may also be asked to audit and present proof of completion

If you can't provide proof of having completed the mandatory CEU requirements laid out by ASID, you might face membership suspension. In case of health issues, disabilities, or other extenuating  circumstances, you can request an adjustment at least three months before the current reporting period ends.

For other questions and concerns, visit the ASID Frequently Asked Questions.

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Our top 5 ASID-approved CEU courses for interior designers

Ready to take on your first interior design workshop or event? Let's explore five promising CEU interior design courses.

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[R]Evolution of Interior Design: Demonstrating its Power and Value

Type: Webinar (recording)

"Learn how the interior design profession is reinventing itself, breaking down barriers to develop new partnerships and new approaches to the practice and process of design."

The role of an interior designer is evolving. This webinar explores how interior designers can collectively build a better future for the industry. Explore paths to innovation from cross-industry collaborations, to incorporating new developments in health, safety, and welfare.

What you will learn:

• Review and evaluate changes in design by practice area and process.
• Identify opportunities for cross-disciplinary learning.
• Understand and communicate the power of interior design.

Register for [R]Evolution of Interior Design: Demonstrating its Power and Value.

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Body, Mind, Wallet: Translating Your Values to Your Design

Type: Short course

Meet your educator: Marylena Sevigney

"Approach design decisions as an expression of your values by implementing simple, accessible strategies to support health, wellness, and sustainability."

Your designs should always reflect your personal values. This course teaches interior designers how to identify their personal values and appreciate their role in the health and well-being of their community. Equip yourself with a framework to make deliberate design decisions that reflect your values .

What you will learn:

• Draft a values statement to guide your design process and project goals.
• Identify steps you can take to improve your own health and wellness.
• Identify ways in which you can build a more sustainable design practice.

Register for Body, Mind, Wallet: Translating Your Values to Your Design.

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Managing Risk in Your Interior Design Business

Type: Short course

"Learn how to effectively protect your business from risk exposure and expensive lawsuits."

A creative mind is not enough to run an interior design business. Sometimes, you need to pull up your boots and tackle the serious stuff. ASID-approved CEU course that breaks down legal matters such as contracts, intellectual property, liability to ensure you are up to date with different regulations and licensing requirements and feel confident in your work. Resources include downloadable PDFs and educational videos.

What you will learn:

• Common legal claims against interior designers
• How to recognise and address potential problems
• Importance of liability insurance

Register for Managing Risk in Your Interior Design Business today.

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Build Your Brand Identity Beyond Logos

Type: Short course

"How Interior Designers Can Use Branding to Build a Successful Business."

Branding is the best investment you can make for your interior design business. The Build Your Brand Identity Beyond Logos course is not just about creating a good logo; it's about developing a unique identity that resonates with clients. This material for continuing education for interior designers revolves around consumer behaviour, types of branding, brand strategy development, and more.

What you will learn:

• The true definition of branding and its influence on business growth.
• How to create a brand strategy document.
• Alternative ways to look at branding.

Register for Build Your Brand Identity Beyond Logos.

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Planning for Your Firm's Future - And Yours!

Type: Webinar (recording)

"Learn how to plan for your future at key stages in the business lifecycle."

At all stages of your interior design career, you want feel secure in the future success of your interior design business. This ASID accredited course teaches interior designers about the life cycle of an interior design business and the best approach key decision making.

What you will learn:

• Recognise the importance of planning for transition.
• Describe the possible advantages of selling your firm.
• Identify the ways in which partnerships can ensure your firm’s legacy.

Register for Planning for Your Firm's Future - And Yours!.

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CEU for interior designers in a nutshell...

Staying at the forefront of the interior design industry requires more than just creativity, it demands a commitment to continual education and improvement.

ASID has made it easy for interior designers to access CEUs that interest them and contribute to their professional development. In order to retain membership to the ASID, interior designers are required to complete at 10 units of CEU every two years.

Continuing education for interior designers is beneficial to the interior designer, the clients, and the interior design industry at large.

Jeffrey Ampratwum is a creative director, stylist, and educator specialising in menswear. I met Jeffrey in March of this year and was immediately drawn to his abundance of energy. In his own words, Jeffrey is "the guy who will dance at all your parties (and drink all of your champagne)." Having got to know him better, this description fits.

Outside of his obligations as life of the party, Jeffrey is dutifully committed to his work. He is passionate, admirably so, and he approaches styling with a respect and ingenuity that is rare in an era of trend-mania and throw-away fashion.

I am unable to define Jeffrey's personal style—something I think he'll be pleased to hear. Jeffrey's outfits are spirited but always smart, influenced by tradition but never predictable. He certainly has style trademarks—"some people know me as ‘Babushka Boy’"—and his influences—"Renaissance art, Parisian art deco, and contemporary New York"—are evident in equal measures but still a definitive descriptor eludes me. I come to realise this is because there is far more to a Jeffrey-ensemble than the clothes. The context in which an outfit is seen in, is as important as the garments themselves. One must set the stage. "The surroundings, the look, the delivery, the conversation. For me, that is style."

Jeffrey is intriguing. His style turns heads. But, it is his understanding of fashion's pivotal role in how we interact with both ourselves and others that I am most fascinated by. I ask Jeffrey to dial in from across the pond to talk me through his perspective, his process, and the origins of his signature style.

Raised in New York

Jeffrey dials in from a park bench in the centre of his city, unfazed by the incessant traffic, ambling onlookers, and an inquisitive pooch that joins us mid-call—a true New Yorker. After all, New York is the city that raised him. And it is the city that continues to inspire him.

Jeffrey sets the scene. "I'm sitting here, my birthplace actually: the Bronx, New York. There is an extremely creative atmosphere." The Bronx is also the birthplace of hip-hop. Jeffrey grew up apace with the Hip Hop movement, his childhood soundtracked by new funk-inspired beats. "We wanted to emulate what we saw. So during our downtime, it was basketball or it was hip-hop music. [This is] before we had the phones. We were forced to come outside and do things!"

Jeffrey credits his environment growing up with nurturing his creativity. But perhaps the biggest influence of all came from even closer to home, his mother. Jeffrey's mother took pride in her appearance, despite being a single parent she would always find the time to make an effort. Jeffrey started paying closer attention to his mother's morning routine and realised that the ritual was about more than hygiene or habit. He realised she was creating a look. And that it was really important to her. Observing his mother allowed Jeffrey to draw the correlation between getting dressed up, and feeling good about yourself. "I knew that when my mother put on certain things, it made her feel better. I think that's where my first love for dressing women came from."

Jeffrey reflects, "I was melting into this creative being, but I didn't necessarily know it. As I started high school, I began to express my creativity in my wardrobe and by drawing on things." And yet, a career in fashion—or a creative career, full stop—never felt like an option to Jeffrey. "Being from West Africa, Ghana specifically, you're not encouraged to go into the arts. It's either you're going to be a lawyer, a doctor, an engineer, or… just go back into the womb!" When Jeffrey attempted to marry his innate creativity with a family-approved profession, he got dentistry. "I'm left-handed, but I think with the right side of my brain. I coordinate well. I'm artistic. I can draw. I need to appease my family. I love a great smile. I love to smile. I like to be around people who smile. It made sense." Jeffrey packed his bags and set course for dental school in Tennessee.

Jeffrey has never lost his love of a great smile but, as one may have already assumed, his dentistry career was short lived. After graduating, Jeffrey admitted that his heart was still elsewhere and so returned to New York and found work at a non-profit. After three years, Jeffrey came to the realisation that "the American passport is a thing of luxury" and decided it was time to take advantage of that. To figure out his destination, he looked back to his roots. "I'm nostalgic. I love my past and as such I have always loved vintage. I wanted to feel like I was living back in the '80s." He settled on Paris.

Paris, the city of dreams

Many become enamoured by tales of Parisian romance but complain that Paris never lives up to expectations. For Jeffrey, the beauty of Paris never became an illusion. "The imagination of Paris made me feel like I was living in another life. Or, even living a life that I had lived before. Paris is very different after dark. A lot of the characters start to come out when the sun goes down, you get to experience the great and the raw of Paris."

In Paris, Jeffrey was finally able to pursue fashion, and he took no hesitation in doing so. Almost immediately after touching down in this foreign city, Jeffrey slid into the DMs of an art curator and built a partnership that allowed him to find his feet as a stylist. The pair collaborated on a fashion editorial shoot outside of the Louvre—Jeffrey acting as stylist, art director, and production manager. I note that many aspire to this level of proactivity, but Jeffrey does not indulge in self-praise. He shrugs, "My attitude has always been, I'm gonna get up and go do it." Simple.

Paris was just the beginning. Jeffrey also nestled his way into the fashion scene in Stockholm, and then London. He recalls his travels by the outfits that defined them, his style evolving and adapting based on the vibe of his surroundings. For Jeffrey, fashion became a way to document the stories he encountered along the way. He tells me of his collection of lace dresses that became a travelling canvas. Jeffrey dressed models across Europe in the same dresses and after painted each individual's story upon the dress in red wine and acrylic. Each dress a documentation of the people he had met and the stories they had told. More than just a keepsake of his travels, the dresses helped Jeffrey to recognise himself as a 'real' stylist, "It was a confirmation of my ode to fashion. I realised I was good at what I was attempting to do and people appreciated it." Upon reflection, Jeffrey, pinpoints this experiment as the catalyst to his becoming a creative director.

Jeffrey's rite of passage into the industry was not an easy journey. He explains that there was a time when Paris really beat him up. "You can't be a poser in the arts. The French are tough. When you come in from the outside saying you're an artist, they say 'prove it'." Jeffrey rose to the challenge.

The student becomes the master

Jeffrey returned from Europe armed with a new found self-belief and a clear sense of direction. He enrolled at the Fashion Institute of Technology (FIT) and completed a fashion styling programme. At college, Jeffrey set up a mentoring programme for younger students. In his own words, "I made it cool to be smart, I made it cool to get all As. And I offered a new perspective on how to obtain information." Jeffrey speaks the language of menswear, but more importantly he knows how to convey it to others. His evident enthusiasm for education, accompanied by his command of the subject set him on a path which culminated in landing the role as lead educator on the menswear programme at FIT.

Jeffrey continues to teach Menswear Styling at The Fashion Institute of Technology, a role in which he takes great pride. "I think I'm really good at what I do. I'm probably one of the best in the menswear teaching space, in the way that I teach it." And that is because Jeffrey's criteria for success deviates from the traditional A-F grading system. Jeffrey sees his course, and fashion more generally, as a vehicle for young people to explore their strengths, express themselves, and find their true calling. "I've always been big into education. I think that stems from my childhood, being the only child and always feeling like I needed mentorship. We all have some form of innate creativity. My job is to help my students tap into that and then find out where they can excel best. By doing that, we can find the best you. I have a lot of students who are now in PR, design, hair and makeup—nothing to do with styling at all." Jeffrey's own tough journey into the industry means he is committed to not letting other young people walk in blind. He explains, "As we all know, most of the time we go to school and we come out doing something totally different from what we thought. My students are no exception. Logistically, I think it's good to talk about industry practices and where you can have a career in other areas. It's important that they know they have options. I want the next generation to enter the industry with accurate expectations."

Jeffrey is teaching the future of the fashion industry, but his syllabus is rooted in history. "I go through the whole history of menswear in my class. An understanding of that history has been important to me as a personal reference, and I think it is a great checkpoint for all." By teaching students to appreciate the value of dress through time, Jeffrey hopes his students can find their own respect for dress. "My dad's generation would never go to a dinner without a jacket. Think about your dad, granddad, great grandad in their overcoats and their ties." To Jeffrey, inheriting a generational hand-me-down is a great honour. "Not only are these quality pieces, but they also tell a great story." The idea of storytelling through dress is integral to Jeffrey's teachings at FIT.

Jeffrey is conscious that his classes are equal measures challenge and fun. Jeffrey talks me through a go-to exercise in his curriculum: a pile of random garments is laid out on a table and Jeffrey gives his students 3 minutes to rummage through and piece together "the key look". Once the students have presented their outfits of choice, Jeffrey will announce that nobody made the grade and instead show them the look he would have compiled. At that moment—and this is his favourite part—he can guarantee a flurry of objections. I can see Jeffrey's genuine delight as he narrates the scene that follows. Naturally, the students begin to defend and justify their looks and Jeffrey is often forced to admit that they have a good point. "Fashion is subjective and it's open to interpretation. So I often leave the classroom thinking, 'You know what? That person was kind of right.'"

These teachings then move with Jeffrey into his work in the industry. When someone offers up an idea he hasn't yet considered, he is conditioned to respond with, “Let's try it!” Jeffrey also credits his students with helping him keep pace in today's ever-evolving digital landscape, "My students are utilising platforms like Pinterest and TikTok more and more. I can't continue to use PDFs and PowerPoint presentations and gradually become outdated. I'm always welcoming new technologies and new conversations from the students. It helps us all to grow. It's always good to get different perspectives, and I get that from my students."

Building a brand

Jeffrey is always searching for the new approach. In his work as a fashion director, he is keen to pioneer new visual narratives. With his own fashion brand, he is pushing the possibilities of what it means for fashion to be an experience.

Jeffrey is the co-founder of luxury goods brand Ken Jeffreys. "A buddy that I met in college and I made a vow to both become dentists. He saw it through, I didn’t. But more importantly, we stayed friends. He's Kenny, and I'm Jeffrey—KenJeffreys. The brand is built on the idea of appreciating and elevating the experience of travel—undoubtedly informed by Jeffrey's own experience travelling at the start of his career. Now, the KenJeffreys product range includes a unisex fragrance, bespoke shoes for women and men, and a collection of handbags. All is made to order, in line with Jeffrey's commitment to sustainable practices.

Ever a connoisseur of trends and culture, Jeffrey set out to build a luxury brand with lifestyle at its core. The products are not simply practical accessories for use when travelling; they are emblems of the beauty of travel itself. Jeffrey explains, "The act of arriving at the airport and settling into your business class seat, what does that feel like? When you get to the hotel, what are you wearing? When you open the door to your room, what is the fragrance? What is your experience getting ready for dinner? Foggy bathroom mirrors wiped with a fresh cotton towel—these are the moments that we want to capture. That for us is a luxury travel brand."

The journey with Ken Jeffrey's has just begun. Bottling the essence of travel and capturing the mood of exploration has endless possibilities. Jeffrey envisions it as so, "I believe in the near future I will be incorporating more bespoke wear and suits to my collection. The levels of customisation will be endless and allow me to play in various areas of menswear aesthetics on the highest level. I’m excited for that!"

Ken Jeffreys exemplifies the same simple principle that has guided Jeffrey's interest in fashion to date. In his own words, "We want to look good and smell good. Because if you do, then you feel good. And then you perform well. All these things are important."

Put on your best shoes

Teaching the next generation of fashion enthusiasts and heading a new-wave lifestyle brand are mammoth tasks in themselves. But what about conveying the value of style to a seemingly fashion-averse generation?

Many emerged from the pandemic happy to roam the streets in their sweatpants, but Jeffrey is not too keen on the trend. "There's been a shift in dress culture. The pandemic and the rise of working from home have been taken by some as an excuse not to groom, not to get dressed up." Flip-flops have become a staple at cocktail bars and sports shorts have found entry into jazz clubs.

Jeffrey attributes this to a lack of understanding of and appreciation for dress culture. "I think some men are using it as an excuse; not knowing how to dress for an occasion, versus not knowing how to dress at all."

In an attempt to combat this style epidemic, Jeffrey compiled his style philosophy into a Menswear style guide—a ‘how-to’ on dressing for a metropolis: New York, London, Stockholm, Paris etc. A physical style guide could be deemed superfluous in an age where a majority seek quick style inspo on social media but it aligns perfectly with Jeffrey's appreciation for presentation, quality, and story. The guide is certainly not a rule book—Jeffrey doesn't abide by fashion rules—but it does enforce just one: enjoy it. "I love to have good fun with fashion. That's my thing. The most important questions: Is it fun? Is it enjoyable?"

What Jeffrey teaches in his book is more than the intricacies of matching a tie to a blazer. Instead, Jeffrey repositions the act of getting dressed as a manifestation of your attitude to life. It is not so much about the shirt you choose, as it is the fact you consciously chose it. In doing so, you have displayed a willingness to put in effort for yourself and others, and will find more fruitful connection and opportunities as a result. Jeffrey explains, "You don't have to be in a three-piece suit every time you leave your house. But certain events are important: dinners, weddings, galas." Jeffrey reasons that that if we lose the art of, or care for, dressing for these events, then we lose our chance for allure, enchantment and sexiness. Without that, what do we have to look forward to? How do we as individuals feel about ourselves? And how are we being perceived by others?

Jeffrey doles out a harsh truth: "Whether we like it or not, people judge you based on your appearance." As a society, we spend a lot of time trying to deny that fact. But in doing so, are we leaving young people ill-equipped to navigate the world of work?

Jeffrey is very aware of the barriers to entry imparted across all industries—"I look back now and think, 'Hey, I'm from the Bronx, how does this even work?'"—but he is determined to not let appearance be yet another barrier to entry for young people who grew up in the same place he did. So, he has made it his mission to educate the young men of New York on the importance of style. "You can't be sloppy if you're going for the interview. You have to put in some effort in order to get to a certain place in your life, and that can start with getting dressed."

Jeffrey and his partner, Ken, set up a social programme to help young people understand the value of being well-groomed—and how to do it. The pair visit colleges across the US and deliver a taste of the KenJeffreys experience, including style assessments, dressing for work tutorials, lessons on general grooming, and even a dental screening. Because, as Jeffrey explains, "It's an entire package. Think about it; you can't be dressed smart and looking great but chatting with food in your teeth—oh God!" Jeffrey's outburst is both a nod to his dentistry days and evidence of his understanding of style as a whole package, not just a choice of clothing.

With his teaching, his book, and his social programme, Jeffrey wants to offer young people a helping hand in making their way in the world. Style holds the same value today as it always has. Jeffrey explains, "Things change. Music, beauty, communication, everything changes. But we cannot go outside naked. That's never gonna change. Well, maybe we might come to that one day…" But for now, putting on your best suit still goes a long way.

After an hour chatting to Jeffrey I am left with a renewed energy, a new found pride in my appearance, and a reluctance to slip back into my hoodie. I have just one question final question before we part ways, one that is over-worn but interesting when posed to the right person: Does fashion change lives? Jeffrey smiles, nods, and says, "I'll start with me. Fashion gives me both the energy to want to create and the physical space to do so. Fashion also gives you the capacity to leave a mark, a legacy, if you will. Creating something that continues to give. When both your passion and your purpose marry, I think you've satisfied your hunger. That is where I am now, and that is what I am trying to build for the students. My leadership role is about helping them find their passion and then seeing where it fits into the lexicon of fashion because there are a plethora of roles that they can apply their greatness to. Fashion gives me an outlet to continue to create. They say when you love what you do, you don't work a day in your life."

Connect with Jeffrey on Instagram. Learn more about his work on his website.

Designing beautiful interiors is an intricate skill. Many spend years studying the craft before entering the world of work as an interior designer. But what if there was an alternative way to start a career as an interior designer?

From innovative layouts to experimental colour palettes, these three interior designers turned their personal spaces into laboratories of creativity and leveraged their newly made-over spaces as launchpads for their interior design careers. Learn how these industry experts transformed their living spaces into stunning reflections of their design philosophies and set the stage for their success in the interior design industry.

Ksenya Malina

Ksenya Malina is the founder of Time & Place Interiors, a New York-based design studio specialising in combining vintage with modern decor.

Ksenya's story

Ksenya's journey into the interior design industry began with the gut renovation and furnishing of her own pre-war apartment in Manhattan. Being mindful of the building's Art Deco architecture, she sought to juxtapose her apartment flat with her love for Mid Century style design. She began to dive into the interior design and architecture world by salvaging vintage doors, hardware, antique grille covers, original bath fixtures, and vintage lighting.

Throughout the renovation, Ksenya was working a full time corporate job. She recounts, "My work paid the bills, but I began realising how a career in the visual field would be a much better fit for me. I didn't intend to become an interior designer, but I started some side projects before eventually taking the leap into a full-time pursuit of my own business. As luck would have it, I landed my first big client project the day after I left my office job!"

Now, Ksenya's projects involve broader scopes of interior design for both modern and older spaces, but she continues to prioritise vintage and antique fixtures and furniture in her designs. Ksenya explains, "[Antiques] not only make a space feel special by bringing a unique history and style; they’re also the greenest way to decorate."

Ksenya's advice: phone a friend

"Don't delay in documenting your work with professional interior photography. It's critical to building your portfolio and winning new projects. My own home was the primary source for my portfolio, but I made sure to document other small projects I was doing for friends and family to round out my website. I also began a blog to educate prospective clients about my design philosophy and approach.

Start requesting Google reviews from family and friends early on to build up your client feedback ratings and online presence. Finally, even when you work with friends and family, follow your professional process to set expectations for both yourself and your client."

Find more of Ksenya's work on her website or on Instagram.

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Alessia Lamonaca

Alessia Lamonaca is an interior decorating and home staging expert from Barrie, Ontario. She holds a Fine Arts degree from Toronto Metropolitan University (formerly Ryerson University) and began her early creative career in film and marketing before moving into design.

Alessia's Story

Growing up, Alessia created room mood boards for fun and spent her free time flipping through home décor magazines and pinning interior design inspiration to Pinterest boards. Yet, it wasn’t until the purchase of her first home that she truly started putting her passion for interior design to work.

In 2020, Alessia started an Instagram account to document her home renovation journey along with photos of interiors that inspired her. The account garnered interest from friends, family, and new followers—many asking for help in their own spaces. Alessia recalls, "I had a friend who had just purchased a house as well. After seeing my mood boards, she reached out and said, 'You have to help me!'" The friend then referred Alessia to her friend, and so on, and so on. And the rest is history!

At first, Alessia found it challenging to achieve the elegant, luxury design looks she loved on a tight budget. However, she soon figured out that the formula came down to knowing where to pinch pennies and where it was important to splurge. Though Alessia grew up loving design, she'd never heard of anyone in her circle hiring an interior designer before and felt the service was typically perceived to be a luxury reserved only for a wealthier, older crowd.

As a result of her experience, Alessia decided to leave her successful career in marketing to set up her own interior design firm called New Mode Home. She set out to disrupt the industry by offering more affordable, virtual design packages in hopes of making beautiful, luxurious spaces more accessible. New Mode Home has since flourished into a thriving interior decorating, styling, and staging firm offering remote and in-person services to residential and commercial clients globally.

Alessia's passion for storytelling and design has always been evident in her work, whether helping businesses convey their brand message through marketing and creativity or assisting homeowners in telling their personal stories through their home décor. She is driven by her tremendous ambition and an unrelenting desire to challenge the status quo and bring big, creative ideas to life.

Alessia's advice: overcome imposter syndrome

"My advice to new designers who don’t yet have a portfolio of their work is to just start. Build your online presence, get involved in the interior design community and start making a name for yourself. I remember wanting to start for a while but wanting everything to be perfect before I launched things. I wanted the brand to be perfect, I wanted all of my services to be buttoned up, and I wanted stunning portfolio photos. It was overwhelming to think about. But one day I just started Instagram from my couch. I didn’t launch my website until months later. And guess what? Nobody cared but me. Your brand will evolve and you figure things out as you go. The hardest part is just getting started.

There are many challenges to overcome when transitioning from a hobby to a business. I had to determine a process that worked best for my clients, develop a contract, determine my services and pricing, and figure out a system for taking payment. As a one-woman show, I had to wear all the hats. I also had to overcome imposter syndrome. I was self-taught, and even though I had soaked up a ton of information over the years and had been designing mood boards as a hobby for a long time, the stakes felt so much higher when I started charging people money. But as soon as clients confirmed that they loved something as much as I did and told me I had a great eye, it gave me the confidence I needed to keep going.

To get portfolio photos, start with your own home. You can also consider working with a close friend or family member for free with an agreement that they’ll let you take photos of the space once it's finished. If you have the skills for it, designing digital mood boards can also show potential clients how you can put a space together.

Some designers feel strongly that you shouldn’t post other designers’ work on your Instagram feed but I strongly disagree; plenty of people do it, even big accounts. When you’re just starting out it’s difficult to have enough content to post to socials—reposting others’ work allows you to curate a vibe and help potential clients see what your style is before you have a portfolio to show them. It also gives them a place to go and get inspired by images that match your aesthetic. It’s just important that you give proper credit to the designer (and photographer, stylist, etc. if that information is available)."

Find more of Alessia's work on her website or on Instagram.

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Debbe Daley

Debbe is an experienced interior designer helping homeowners in New England and beyond. Debbe is also involved with the Designer on Call programme at Boston Design Center.

Debbe's story

Ever since Debbe was young, she has had a passion for interior design. She learnt to sew scrap fabrics on her mother's sewing machine as a child, would regularly rearrange her bedroom furniture, and, during her preteen era, she even asked for a  a wicker peacock chair for her birthday.

Despite her passion, Debbe was never exposed to the idea of interior design as a career. Instead, she pursued business but continued to sew and design pillows and clothes. But at the age of 22, Debbe had the joy of decorating her own home, from the flooring to the wallpaper. The creative freedom unlocked her passion and rekindled her relationship with interior design. Debbe proudly declares herself as a "DIY-er before it was even a thing!"

Debbe began assisting friends and family with redesigning their living spaces and soon felt a strong pull to join the interior design industry. She pursued this passion by enrolling at the New York School of Interior Design, balancing her studies with online classes in the evenings alongside her daytime job. Her goal was to expand her knowledge to eventually establish her own interior design business.

In a strategic move to broaden her expertise, Debbe took on a part-time role at a flooring store. There, she immersed herself in learning the intricacies of different flooring options. This hands-on experience not only enriched her understanding of design but also empowered her to assist homeowners in selecting the perfect flooring for their spaces. Her growing expertise led her to offer comprehensive home design consultations, allowing her to guide homeowners in making informed design choices.

All of Debbe's experiences culminated in her opening a boutique studio where she sold hand-sewn window treatments, antique furniture, and hand-picked wallpaper. Today she has expanded her footing in the industry, as a full-service interior designer, published author, and interior design educator. In Debbe's own words: "Interior design is my life. Being  able to help others create beautiful, sanctuary spaces that they love is my goal."

Debbe's advice: think outside the box

I began building my portfolio with photos of my creative projects and work in my own home. I would rearrange furniture and create tabletop accessories to showcase collections. I started with a sofa, table, and mantle, and an array of arranged pictures forming a wall gallery of art. I would rearrange candlesticks, stacked books, pillows, rugs, accessories, and window treatments to demonstrate my creativity.

Ask family and friends if you can practice your design skills on a room in their home. In return, you want to be able to take professional photos of the spaces for posting on your website and on social media. Tip: take photos in portrait mode on your cell phone, this will focus on one item and create a blurred background that gives the image a high-quality feel.

Another creative way to attract clients is to have an event in your own home (or a friend’s home). Offer a wine and cheese night and invite friends to bring a plus one.  Throughout the evening, give a demonstration of redesigning a room in the home. Start the evening in the room that is going to be transformed so that your guests can see the before. Then, have the guests mingle in the kitchen whilst the space is being transformed. Once the space if completed, invite them back into the room for the reveal of the redesigned space. Explain the changes you’ve made and talk about the services you offer: paint consultations, room redesign, shopping services, etc. Encourage the guests to take photos and share the event on social media. Be prepared to book appointments and ensure you have a fee and service schedule ready to offer your guests.

Nowadays, video is also very important. For new designers, explaining your design process on social media and even creating a YouTube video with a shareable link is a great way to attract potential clients. Get in front of your dream clientele and show them your personality and your knowledge as an expert. The design world is visual. It’s all about showing your work.

Find more of Debbe's work on her website or on Instagram.

When you first ventured into the wedding planning business, what was your dream? What vision of your future motivated you to start your career as a wedding planner?

Those long term goals for your wedding planning business are still in reach. You just need a plan to help you get there. Goal setting is a crucial practice for establishing a successful wedding planning business, playing a significant role in both personal well-being and business strength.

Introducing a system of short term and long term goals to your wedding planning business contributes to a clearer pathway to success. Ready to stop dreaming and start doing?

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Why is goal setting important for wedding planners?

Whether you have been planning weddings for over 20 years or have just begun, it is vital to have a clear vision for your wedding business. Setting yourself clear goals is the key to achieving this vision.

Like any effective business, high-level and well-thought-out goals should be implemented as a strategy to track progress. Every goal you achieve contributes to the execution of your long term vision for your wedding planning business.

There are a lot of moving parts to a high-functioning wedding planning business. Without a clear strategy, you may find yourself in a difficult position—setting goals will increase your motivation and keep you from getting lost.

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How to use short term and long term goals for your wedding business

In order to set aspirational yet attainable goals for your wedding planning business, you should first understand the difference between short term and long term goals.

Short term goals are mini goals that you can tackle in the near future—think a few months to a couple of years. Setting short term goals as a wedding planner will keep you motivated with small-wins, improve your focus, and help you to manage your time.

Long-term goals are your long term aspirations—the big dreams you hold for the future of your wedding planning career. Having solid and clear long term goals sets a strong foundation for your wedding planning business (and short term goals keep you on the right path for reaching these grand plans).

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Long term goals for wedding planners

First things first, what do you want to achieve as a wedding planner and as a business owner? You must consider your overall long term goals and aspirations when it comes to wedding planning. What is the purpose and motivation behind your business?

Your goals can span financial, professional, and personal areas of interest. For example, a personal goal might be to be able to take one extra day off a week to spend with your family. Aligning your goals with your values and what holds the utmost significance to you will provide increased motivation for their long term accomplishment.

It is easy to feel overwhelmed and develop a doomsday tunnel vision whilst figuring out ambitious long term goals. To prevent this, try working backwards. Start by defining your wildest dreams—if anything was possible where would you love to see yourself and your wedding planning business in 10 years time? Then, work backwards. What three goals can summarise this dream vision? And what milestones will you need to achieve over the next 10 years in order to get there? Reversing the process enables you to experience a sense of achievement in advance, providing valuable insights into the steps needed to attain it.

Once you have defined your ultimate vision, breaking down your long term goals into short term goals will further help you to avoid burnout and remain on track (more on that to come!)

It is important to remember that over time, your aspirations might evolve. Regularly reassess your goals and be open to modifying, refining, or even discarding them if they no longer align with your vision. Implement monthly check-ins as a way to ensure that your goals are moving you towards your vision of success for your wedding business.

Examples of long term goals for wedding planners

1. Grow my Instagram following to >10,000. Whilst following isn't everything, a notable online presence increases your reach and client trust. It also helps you to establish a name for yourself amongst fellow wedding professionals such as vendors and wedding venues.
2. Establish myself as an industry leader with a feature in Vogue Weddings. A feature in one of the most highly respected wedding publications solidifies your work as truly unique and of the utmost quality. It also advertises your services to thousands of new clients and connections.
3. Book 35 couples in the year 2026. A full calendar is every wedding planners dream—how can you make it your reality? Diversifying your offerings, improving your branding, and lots of networking are good ways to start.

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Short term goals for wedding planners

Congratulations! You've set out a clear vision of success for your wedding planning business. The next step is to work out a plan to make that your reality. Dissecting your overarching objectives for your wedding planning career into smaller, more manageable goals enables you to progress step-by-step towards your ultimate destination.

Short term goals act as checkpoints on the journey to achieving your long term aspirations. In order to set effective short term goals for your wedding planning business, use the SMART formula. The SMART goal setting formula ensures that all your goals are:

Specific

Measurable

Achievable/Attainable

Relevant/Realistic

Time Based

Following this formula will ensure your short term goals will be effective in helping you to eventually achieve your long term goals. Goal setting in this manner will not only benefit your career as a wedding planner,  but also create a more organised and healthy system for your own mind.

Examples of SMART short term goals for wedding planners

Let's work with the long term goal: Book 35 couples in the year 2026. In order to make that possible, here are three short term goals to keep you on the path to success.

1. I will give my About Me page on my wedding business website a makeover to be more personable and make myself stand out.

Deadline: 10 days

2. I will research 3 influential wedding planners who I admire and make notes on their brand positioning and the services they offer. I will reflect on how I can implement aspects of this into my own wedding planning business.

Deadline: 1 month

3. I will attend 3 wedding industry networking events (trade shows, seminars, industry mixers) to bolster my professional development and grow my network. More industry contacts = more referrals.

Deadline: 6 months

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How to track the progress of your wedding planning business

There are countless ways to keep track of the progress of your wedding business, but what is really important is to recognise your development and congratulate yourself at every step of the process. Careful thought and reflection on your progress towards your goals—even if less than you'd hoped for—can help motivate you and invigorate your passion for your wedding planning business.

Three ways to track your progress as a wedding planner:

• Keep a daily/weekly journal to document your progress towards your goals, the problems you are facing, and anything you have learned along the way.
• Track and analyse metrics for all quantitative goals (things that can be measured in numbers).
• Meet with a mentor, advisor, or friend at least once a month to discuss your progress and ask for advice or constructive feedback.

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Setting goals for your wedding business: the summary

Goal setting in the wedding planning business isn't just about setting directions; it's the roadmap to success. From distinguishing short-term wins to sculpting grand, long term dreams, each step contributes to the ultimate success of your wedding business.

By aligning personal values with clear-cut goals, carving out distinct pathways, and implementing SMART strategies, you pave the way for your wedding planning business's growth. Regular reassessment of your goals, allowing flexibility in your approach, and consistent goal tracking ensure you stay on course—transforming aspirations into accomplishments.

Whether it's through journals, consistent check-ins, or seeking guidance, each move propels you closer to the envisioned success story of your wedding planning venture.

Craft is something that is always on Chella’s mind—whether she’s writing for games, live-Tweeting about her favourite TV shows, or championing representation in the industry.

Originally a games journalist, Chella had previously never considered narrative design as a career—despite being immersed in the industry! It was only through a chance writing retreat that she discovered the profession—and found a way to combine her dual loves: creative writing (particularly when using fountain pens…) and video games.

In our chat, we talk about the joys of collaboration, the importance of honing your craft, and how Chella serendipitously discovered the career that combined her two sides—in her words, ‘making her whole’.

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Let’s dive straight in. I know that you studied English literature at university and journalism as a post-grad. I'm curious to know how your journey into the game design world came about?

I wrote about video games as a journalist for a really long time, several console cycles, which is how you measure the games industry really—in the life of PlayStations and Nintendos and Xboxes.

I was always writing fiction on the side, even before I was a journalist—just when I was doing my first jobs, whether it was a receptionist or whatever, I was always writing fiction. That was the aim—because, ‘if you write fiction, you write novels’, was the connection that I made in my head. I was quite focused on getting better at writing. I was constantly writing fiction. For some reason I never thought about rating games. It’s weird to think now that I could write about games for so long and know so much about the industry, but not think about the people who wrote them.

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What was stopping you from getting into game writing, and how did that journey come about?

‍It was so male dominated, that was one of the things. Also there was a technical barrier that created some hurdles. I saw an advert for a writing retreat called Writing for Games and it had really great people as the tutors, David Varela and John Ingold who's from Inkle Games and Rihanna Pratchett was a guest tutor—she was there for one evening to answer questions and things.

It was a week focused on learning how to write games, and it was intense and inspiring and energising. That week changed everything.

I was still writing the book, but I immediately started focusing on writing a game, and then I went to a workshop for radio drama. I noticed that the tutors on the workshop they'd all had different disciplines within writing—two, three had come through journalism as well, but David had written a radio drama that was on Radio 4. It seemed to be a pattern to follow to improve my craft.

I wrote and self produced a radio play with a couple of friends. Then I went to a game jam—and that’s where we made Before I Forget. It was that accidental domino effect of happy events.

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When you signed up for the retreat, what did you think that would bring you?

It was a sudden realisation that I could combine these two aspects of myself. I was a games journalist and I was a writer. I wanted to do creative writing, but I had fallen into this commercial side of writing.

So all of a sudden I was like, oh wow—of course people write video games, and I can combine these two things. I didn't know what would come of it. I suppose my attitude was, ‘you always have something to learn’. So, even if it was just a greater understanding of games as a games journalist, then that's worth it.

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You used the word ‘craft’ a lot—could you expand more on that? What does craftsmanship mean to you in a context of designing games?

For me, that means that it's something that you hone. You never say, ‘I'm finished becoming a narrative designer.’

When you have a craft, you can always get better at it or be more experimental or challenge yourself or collaborate in different ways—and especially in games, because it's young as a medium. And now, games can be a hundred hours long. How do you make sure the player still knows what's going on?

There are all those questions. So you can never be complete.

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I love that perspective. What do you consider yourself? A writer first or a designer first?

It depends on the project and the structure of the team. For 3-Fold Games, I don't think you can really extrapolate those things. If you are writing without thinking about game design, that means that the story is not going to support the game design or that the systems within the game—you have to think of those things in tandem.

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How would you describe the role of a narrative designer to someone who is not familiar with game design?

As a narrative designer, you're given a set tools and constraints—and you're trying to tell a story using these tools.

For example, you may have ‘tools’ like you can run, climb, shoot, and solve puzzles in a game. Then, maybe the goal is for you to find the treasure in the cave at the top of the mountain. As a narrative designer, you're thinking about how best to break up that experience.

So it might be that you interact with a non-playable character and maybe that goes into a cut scene—and then maybe there's a traversal puzzle to get up the mountain. Then you might be rewarded with a big, luscious cinematic moment.

Narrative design is about how to tell the story best using the tools that are within the constraints of your game.

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Do you think in visuals, or do you think in terms of words?

I do think visually. When I'm writing I do have to be able to visualise it—I guess direct the scene in my head a bit. I think cinematically quite often.

Say with Before I Forget, for instance, one of the first things we did was build the house that our character lives in. So you have this three-dimensional space that you can see and walk through.

We had a whole Pinterest board for our Sunita—our main character—and for the house. There’s lots of environmental storytelling that informs character and vice versa. Sunita has a hobby of pottery, which I'm sure nobody has noticed ever, because there's some poetry books on the shelf—that's an aspect of her that we created.

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I love that. Were you creative as a child?

Yeah. I was always writing or drawing or sewing or living in imaginary worlds—literally being two people, and all my teddies had different voices and things like that.

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Do you remember what you wanted to be?

I did like the idea of being a writer. I wanted to be a newscaster. At one point I also wanted to be David Attenborough—I wanted to be a zoologist, but I'm not very scientifically minded.

I really loved animals and I'd get animal encyclopaedias for birthdays and Christmas—that's all I ever wanted, and then I'd draw them. I also wanted to be a comic book artist. There were several phases.

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Tell me a little bit more about the different side hustles and passion projects that you have.

When I was in the UK, there was a lot going on. I had a game-makers hub around my dining table, just with friends who were games-adjacent or interested in games. At the moment, my side hustles are 3-Fold Games, where we have our next project, which is in very early stages—embryonic stages—and then there's Windrush Tales, which is further along, and is separate from 3-Fold Games. It was started by me independently, to celebrate my Caribbean heritage. It’s a narrative illustrated game about the immigration of people from the Caribbean to Great Britain in the 1950s. It's a branching narrative that charts three different characters travelling from their respective islands going to the UK and navigating a less than welcoming society.

My other side hustle is POC In Play, which is an organisation focused on improving the representation and visibility of people of colour in games, as well as in the games industry.

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Amazing. You mentioned earlier that you're really into films—where does this love for film and TV come from?

That comes from my mom and my brother. We'd watch films together a lot, and we all have an appreciation of cinema. My mum lived in India when she was younger, so we'd watch Indian TV and cinema as well. It was a broad range of films.

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In terms of your various passions, do you see them as buckets of separate things? Or do you see them in a way in which everything is melded together?

That's interesting. I do look for ways that they can inform each other.

Windrush tales came about because of my own heritage and a lack of representation in films or TV or anywhere—so part of what drives me is representing those unheard voices and experiences.

In terms of cinema, screenwriting and game writing, they definitely intersect. They’re all facets of me. I don't see them as separate entities, but they use separate energy pools.

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What do you mean by that—separate energy pools?

It's one of those things that people say in the games industry—once you become a game developer, you don't play games anymore.

Playing games uses a separate energy pool because it feels like work a little bit. You’ll always be looking at ways to inform what you're doing in your own creative space.

In terms of POC In Play, that's emotionally draining—it’s emotional labour that you're doing for the industry. It’s important for us to be really conscious of each other's energy levels as a team.

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You mentioned that playing games sometimes feels like work because there's that part of your brain that doesn't switch off. What about when you're watching film or TV?

All the time. That's one of my hobbies—live tweeting when I watch films. Because it's a different craft and I'm really interested in it and love it, I don't find it draining. I find it more relaxing. I'm always analysing, ‘why is this good? Why do people like this? How did they do that?’ It’s inspiring.

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When you write, do you write on pen and paper or on a screen?

I have three fountain pens with different colour inks, so my first instinct is pen and paper. I really like writing long-hand. At work sometimes, the pace is so frantic, I don't tend to do that anymore, I tend to write straight into the editor—because you have to rate at pace.

But if I do get stuck, I will go back to pen and paper—there's immediate brain to hand connection. Even if you can't write anything, you can still make a mark—whereas on screen you have that blinking cursor!

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I love hearing about this process, and I'm really curious about your three fountain pens—you said they're in three different colours, could you tell me more about that?

I went on a writing retreat, which was a week in this beautiful Georgian cottage in Devon just down the road from me, and I met a woman—she had a fountain pen and we hit it off and chatted and sat and wrote together.

The brand of her pen was LAMY, and I'd been looking at getting a LAMY—so we got talking about fountain pens and then she asked if I wanted to borrow one. She told me it was a limited edition, because they release an ink every year. I was sold after trying it.

You can get all these beautiful coloured inks, and when I got home from that writing retreat I immediately ordered a pen and some ink.

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I love that. So you've got three different colours. Do you use them for specific things?

So that was the other thing this woman did—she wrote in a different colour every day, so she could see what she'd rested.

I just pick depending on what my mood is. Usually it's just like, I haven't used ‘November Rain’ for awhile or whatever the name of the ink is.

I haven't written with a normal pen for so long. I feel bad when anyone comes around and they're like, ‘have you got a pen?’

I think they make my handwriting look nicer—it makes a ceremony of writing.

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Do you have a routine to write? Do you need to sit in a specific place or use a specific pen?

Generally, no—because with side project stuff, you're grabbing moments to do it. I think if I had to have some ritual attached, it would never get done.

When I lived in my house in Somerset and I had a garden, I'd like writing in the garden or in the shed because I had a home office then—so the home office was very much a workspace. I wasn't doing creative writing then, I was a journalist and a copywriter, so I couldn't really write in that space because it felt very work oriented in a non-creative way. I suppose I had that kind of ritual then in terms of space, but then I liked writing in cafes as well.

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Do you still have that creative community of sitting with people, talking to people, writing with people now, with COVID?

That's the beauty of writing games—going to work is like going to a writing group every day. You’re collaborating not just with writers, but with all sorts of incredibly talented people from all sorts of disciplines.

I'd worked from home for twenty years prior to moving to Sweden. With the pandemic, it was kind of depressing because I'd made this mental switch.

Before I’d moved here, I’d told myself that I was not working from home anymore—I’d be working in an office. I thought, ‘This could be a disaster.’ I could have had a huge culture shock. Then six months in, I had to work from home. And I was like, what? I don't even have a desk!

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You mentioned earlier wanting to combine two aspects of yourself with game design—the writing side and the games journalism side. Do you think those two sides have effectively mashed into one now

Yeah. By the time I left games journalism, I was ready to leave. I’d been doing it for a really long time, and it’s cyclical—the PlayStation 5 was announced and I was like, I can't do another. I could just imagine what the articles were going to be. “What are the games going to be at launch? What's the price point going to be? What's the processing power?” I was just like, I can't do it.

I was really ready to leave—and it was in the middle of production on Before I Forget, and it had gotten really positive feedback, so it was a whole new adventure. Moving away from journalism was weird, and sad in some ways. I sometimes miss having that platform I had as a journalist, but mostly I'm fine with not being a journalist anymore. I feel like it’s a perfect mash of the two sides of me. I'm now complete.

Flower girl in chief and poet in residence. That’s what it says on Sana’s Twitter bio.

Sana is currently a VP of Product and Design at Peanut, the social networking app for women. She’s a longtime member of the tech community, having earned her stripes at places like Apple, Twitter, and Deliveroo. Sana grew up in India, and has lived in New York, San Francisco, and London.

I was interested in Sana’s multi-hyphenate identity—but not just the jobs she’s held, where she’s lived, or how she defines herself on a social networking app.

There’s her work with understanding feminine-coded communications, which stemmed from her own exploration of creating safe and equitable workplaces.

And there’s her exploration of her own femininity.

“I didn't make peace with my own femininity for a very long time. I had associated femininity with whatever Asian cultures associate femininity with: weak, small, demure, sensitive, and emotional. But, over the last few years, especially with weightlifting, I made my own understanding of what femininity is for me, and realized how complex it is and how misunderstood it is in wider society.”

Her identity is ever-evolving, she says. She’s spent the last few years unravelling the parts of that were given to her: what bits she accepted, versus what she discarded. And what of the parts of herself that she’s created? She’s relearned, or reintegrated, those parts that were natural to her, and re-examined aspects she had taken on because she felt she needed them to ‘succeed’.

The hour-long conversation sped by as we talked about her obsession with tea, calling herself a poet, and the femininity of creation. As for where poetry fits into her identity, she quips, “It’s part of life, isn’t it?”

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Your Twitter bio says you’re ‘flower girl in chief’ and ‘poet in residence’. What does that mean?

I've always been a little bit obsessed with flowers. A lot of people around me get annoyed by that. That's where the flower chief comes from. I set out on a project last year where I was drawing flowers and painting flowers every day.

Poetry, I've been doing for a really long time, probably about 15 years now. But only recently on my sabbatical did I really start pursuing it seriously.

I started connecting with other poets in the community, writing and submitting and publishing. And I started my own poetry curation newsletter, Found Poems, which I try to send out twice a month.

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Drawing, painting, poetry. Have you always been interested in these as a kid?

I came to poetry surprisingly late in life.

I only started reading poetry in the last year of uni in India, where I did graphic design. I picked a poem as a part of my graphic design final. I had to illustrate this amazing ballad—the longest ballad written. That's when I really got into poetry.

Growing up, I was always really into art. I was never the academic student in the way that the Asian community defined academics, which was very much route learning.

I was interested in mathematics and English and decent enough at it, but I was a visual thinker and a visual learner. I always found myself in the fine arts department of the school just hiding away from all the other academics, whenever there was a Hindi or mathematics happening.

I would just go to the fine arts department and just make some sculpture.

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What’s the story behind Found Poems?

‘Found Poems’ is a little bit of an inspired name. If you know about the found art of found poetry movement, it is all about moments of beauty or serendipity that you find in the ordinary.

That was very much the intention where I would be the person trying to find or curate a little bit of poetry so that—for people who don't look at poetry as an accessible thing, or like poetry very much, or read much poetry because of the way that they were taught poetry growing up—it will become more human and accessible.

Like you’re walking by on the street and you notice a little verse on the little street corner, and appreciate it in that moment.

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Your ‘day job’ is at Peanut, where you’re VP of Product & Design. Alongside that, you’re a flower girl in chief and poet in residence. How do these roles fit into your identity?

Identity is a really good word. I think a lot of people who work in the tech community, or generally in a capitalistic society, tend to look at work as the way that they define their identity.

It was very true for me as well, because of my Type A personality and Asian background. You tend to use career achievement to define your identity.

When I left my previous job and I was on a little bit of a sabbatical, I didn't have work and I wasn't really achieving or producing something. I started to pick apart what identity even is, and why I felt the need to define my identity by the achievement or the day job or the work that I do and the employment that I have.

That’s when I actually started defining myself as the ‘poet’ or the ‘painter’. I was always hesitant to claim these titles in my identity, because I wasn't achieving something in them or I wasn't employed [in those roles].

If you look at my Twitter bio or anywhere else, I actually now say that I am a poet first. And on the side, I also ‘work’ in product. It’s not to say that I don't derive any joy from my ‘work’, which I absolutely do at this moment, but it is not the primary source of my identity.

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When did you feel comfortable calling yourself a poet?

It wasn't very long ago, even though I've been writing for a really long time.

It was probably a year and a half ago.

I was working with a leadership coach during my sabbatical. I wasn't ‘leading’ anyone during that time, so I thought I didn’t need to work with the coach anymore. But that coach said, “No, you're, you're still leading, you're leading yourself. Let's talk about what's important to you and what your values are.”

During that conversation, I realized that the thing that gives me most joy, I don't have to have any external validation, or external employment or achievement in order to claim that as a part of my identity.

I'm going to call myself a poet because I'm doing it. I'm writing and I'm going to poetry open mics. I'm going to workshops and courses.

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I want to talk about your sabbatical a little. What led to you taking a break?

I was very burned out by being in the tech community, mostly early-stage hyper-growth startups, or in environments which generally weren’t really set up for my success or for a person who looks like me. These environments were hegemonic and very monoculture.

It was also the pace. I hadn't taken a break for a decade. I’d intended to take a month off. But my body was just not having it. It was like, “Nope, you're not going back.”

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What did you do on sabbatical?

For the first few months, I tried to still do some “productive” work by reading, painting flowers and writing poetry.

But for the most part, I was doing nothing. I was talking to my friends, reconnecting with people, painting when I felt like it, reading when I felt like it, and writing when I felt like it.

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You talked about listening to what your body needed. What are some routines or rituals you have in place now that help you stay connected with what you physically or mentally need?

The reason I had the burnout was because I didn't have any practices in place.

Now, it's interesting because working from home has really allowed me to do that. The one positive of the pandemic is that, when you're in your own space, you're in control.

You can check in on your body. If you're feeling fatigued, you can step away from the computer. You're not in an external environment where you have to be visibly there and on your computer and working all the time.

I'm now very regimented about looking at my energy levels. So if I feel like my energy is dropping, if I'm feeling mentally fatigued, I will book a mental health day. And I make sure that everyone on my team knows that I'm taking a mental health day so that they can feel that they can take it too.

I try to take a mental health day every two or three weeks, where I will not look at a screen, not think about work. I will just read, write and do whatever it is that I want to do and recalibrate.

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That’s a wonderful practice—to treat yourself.

Exactly.

You also need to have other practices that constantly prompt you to think about what you need from a situation, which I think a lot of people don't do.

I do therapy every week in the middle of the week, which allows me to refocus away from everything else and everyone else that's happening, and just focus on myself and what I need from any situation that I'm in.

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Focusing on yourself—what has that taught you about you?

So much. Where do I even start?

A lot of what I've learned is that, as women or as women from Asian culture or minority communities, a lot of us are socialized into fitting in and hyper-performance. I had normalised so much of it because I had spent so much of my time figuring out how I can fit into a community.

Certainly, in the early stages of your career, you are trying to achieve something and make it in your career.

But at this point, the biggest thing I've learned is that I can step away from environments, people and relationships that don't support me.

There is always a choice in where you choose to spend your time and your energy and attention. That's the most precious things that you can give to anyone or anything, and so you have to be very, very careful about where you spend it.

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What are some things that you’re devoting your time and energy to now?

I'm in the middle of purchasing a house, so a lot of my energy is going towards nesting, or trying to figure out what I want the space to be. I've never really had the privilege to be in a space where I could do it up in the way that I wanted.

Also, I’m focusing on my physical wellbeing. I lift weights a lot.

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How does weightlifting contribute to your physical or mental health?

In huge, huge ways.

Obviously there are so many hormonal benefits that are already written. But it’s a thing that I feel women don't do because there are all these notions around what weightlifting does to your body.

There's not a lot of talk around what it does to your brain. And especially for women who are constantly told to, or socialized to, be the subservient people in society, I feel like weightlifting gives you a strength. I wouldn't call it dominance, but yeah, just a kind of strength. Something changes in our brain—there's a chemical change in your brain. I don't know if it's an attitude thing. It just makes you feel like you own the room. Maybe it makes you feel like a man does all the time!

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Shifting gears a little, let’s talk about home. You’ve lived in India, the Bay Area, and now London. How would you define the concept of ‘home’?

It’s a really great question because I feel like any immigrant struggles with that question.

I left India about 10 years ago. I thought that it was going to be just for a two-year master's program and I’d return, because my entire family, including my twin sister, is in India.

When I moved from San Francisco to London, it again was also supposed to be a temporary six-month assignment with Twitter. The plan was that I would go back to San Francisco, but I never ended up going back.

It was always a thing for me. What is home? I felt unmoored for a really long time. I always defined home as a place that I wasn't.

When I would go back to India, things would look and feel very different. It felt like it’d moved on without me, and was very disconcerting.

After about five years or so of not having a permanent residence, I just started looking at home as wherever I am.

I started feeling a lot more settled. Now that I've been in London for five years, and I've actually bought a house, that feels really momentous. I’d never thought that I would want to commit to a place long enough to buy a property.

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Can you have more than one home?

That's the thing. Even though I have bought a place here, and I'm here for now, my family is in India and India is home as well. Some of my close friends are in San Francisco and New York. A lot of my books are still there.

I’ve stopped defining home as a geographical place, and almost more like a metaphorical place. Wherever feels comfortable, or whatever place feels like you've been here before, you are free to be yourself.

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You’ve got an interest in “feminine-coded communication.” Earlier on in our conversation, you mentioned that you were working in a lot of hegemonic environments. Can you share how that interest came about—are those linked?

I did a talk very recently actually at the Leading Design conference. It was about, and how do you create safety?

When I had burnt out, one of the things I realised was that I was excelling and I was getting promoted. It wasn't that I had a dearth of opportunity.

But what I realized when I left was that I burnt out because I didn't feel safe in those environments. There wasn't overt racism, but safety is created when all views are equally present and valued. When I first joined tech, because I was so junior at that point, I always thought that it was just a way of communication that I have to learn, but I never thought of it as a masculine style of communication.

Now, because I've done so much research into this, I realised that there are distinct styles of communication. Because the tech industry in general is so dominated by men, the communication style that people are conditioned to adopt, or be judged or evaluated by, is very much defined by those people.

I remember thinking early in my career that any of the women I saw in exec roles or senior leadership talked, walked, dressed exactly like the men on the team. I remember pointing it out to my boss, going “I'm not like any of them, so am I never going to be one of those people? Or is that how people talk when they get to that level?”

There are a lot of things I found in research coded in terms of the way women communicate: the ‘just’ and the ‘sorry’ and the ‘like’. Stop saying that, stop apologising. Just be clear, just be direct.

Many aspects of masculine coded communication are about dominating and superiority. It’s not about giving everyone an equal chance to talk, or wanting to connect. Those are seen in feminine coded communication styles, which women are socialised to do and naturally do anyway.

This is something I see very much in Peanut. The app is all for women. The kind of content you'll see on Peanut is drastically different from any kind of open platform. The way women talk to and communicate with each other, the vulnerability, and the trust on the platform.

That was the first time where itI actually hit home for me: that’s what happens when you have a space where that masculine coded communication style just doesn't exist.

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Were you actively seeking out a role in a company where feminine coded communication would be centre stage? Or was that happenstance?

It just happened.

In my sabbatical, one of the first books I’d picked up was by the researcher, Jennifer Armbrust. She's written this book called “Proposals for the Feminine Economy.”

I am obsessed with that book. It's literally always on my table. I had been thinking about that space for so long and wanting that for myself, but at that point, I didn't think that existed in any tech companies specifically.

In the back of my mind, I was thinking I might have to do it myself. I might have to start a company where that kind of culture exists.

When I talked to the CEO of Peanut, Michelle Kennedy, and talked her through these principles and heard from her side, I realized that there couldn't be a better fit.

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This feels like an academic interest, or a subject matter expertise. Where do you see yourself going with this?

I don't have an endgame to this. It's something that I’ll forever be interested in.

It’s like a side academic research interest. Maybe I'll write a book about it, or do more talks about it.

But at the moment, my focus is to just tell as many people as possible, and especially women, about it so that they understand that there is validity in the way that they communicate and they don't have to adapt and change their styles, or their natural way of being, just to be fitting into a system that doesn't appreciate it or isn't designed for it.

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This is a “side academic interest” that fits in so squarely with your “day job” at Peanut. What about poetry? Is there an intersection, or are they completely separate?

At the moment, they are completely separate. But Peanut uses a lot of poetry, actually, in our branding and messaging.

Poetry is, to me, an inherently feminine act. Any kind of creation is, really. But poetry is about acknowledging your feelings.

A lot of people think about it as an intellectual activity, and that's fair.

But for me, poetry is an art and is about creation. And what's more feminine than creation.

And Peanut is a social network. Social connection is to me inherently feminine in nature.

If you had to draw a connecting line through all of my work and all of my interests, this (feminine nature) would probably be one of those core connecting lines.

I tend to rationalise a lot of emotions, and poetry helps me come back and get back in touch with the emotions and the humans and the vulnerability behind everything.

That’s probably the reason I like poetry.

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How would you describe your poetry and creations?

It's changed a lot over the last year. I've become much more confident as a poet in the last year, especially since I've started claiming myself as a poet.

A lot of my poetry is about human relationships or about meta patterns that you see. A lot of art and design is about connecting the dots and patterns where an ordinary person or someone outside those disciplines might not be able to see those patterns or similarities.

The way I write poetry is very much the juxtaposition of, or moving between, two entirely dissimilar things so that you can reveal similarity in them.

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Does the poem find you, or do you find the poem?

That's a really good question. Have you read Anne Lamott's “Bird by Bird”? It's a beautiful book.

And she says something like—a poem is like a train. It just comes by, with a big rush. You either jump on it in time or it leaves you. And sometimes you realise too late that it's passing you by and you try to pull it back. And it comes in backwards.

That's a metaphor that I can totally relate to. Poetry is not a thing that I do intellectually. I don’t sit and say I'm going to craft a poem.

It's a train. I have a little niggle, or a thought, or something has happened. The last poem I wrote was when the George Floyd incident had happened. It had just been sitting in my head for so long, and I'd been thinking and thinking about it. I had to write about it and I sat down and it just came in a big rush.

As an artist, you're always critical about the work that you're doing, but that would probably be the poem that I hold up to people and say is the best thing I've ever written. Because the train was coming and I jumped on right at the right time. And I caught that thought..

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How do you prepare yourself to be ready to jump on the train?

The main thing that I feel like I need for myself, in order to write or create anything at all, is solitude.

You need to be able to keep yourself away from all the other people, all the other influences, and all the other responsibilities to understand “What is your voice?” and “What are your thoughts?”.

When things were open, I would just take one of my favourite poetry books, go to a cafe and sit by myself, with music in my ears. And take one of my favourite poetry books and just read, with no expectation that something would come.

You have to have a couple hours of that—taking everything away from your brain to make space for new creative things to come into the brain.

I don’t remember when I’ve not done this, at least since I started writing 15 years ago.

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What music do you listen to?

It's just ambient music. Because I write poetry in English, I listen to music in Hindi so that it's not. Interfering with my English thoughts.

The music is just sitting in the background, and it's comfortable there, because Hindi my mother tongue so I can hear it and yet not get distracted by it.

And it's the opposite. If I'm writing in Hindi, I listen to English music.

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Do you write poetry in Hindi too?

I write a little bit in a combination of Hindi and Urdu, but I'm not very fluid at it. I've been outside India for so long that English now has become the default language I think in.

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When did you start sharing your poetry?

Poetry’s a very personal thing for me. For the longest time, I had a blog but it was private. It was never really for anyone else. I was doing it for myself to process my own thoughts.

I started going to the Poetry Cafe in London, which (pre-COVID) had the longest-running open mic nights on Tuesdays, 7 to 10 pm.

If I hadn't discovered that, I don't know if I'd be able to claim poetry as my own. I started going there just to listen to people. When I saw the variety of people who were taking a chance, I thought, “Why not me?”

On my very first open mic, I was terrified. I had never shown my poems to anyone, or actually recited them in front of anyone. I was in front of 60 people. Because poetry is so emotional and personal for me, a lot of those poems were extremely raw and extremely vulnerable. It was like opening up your heart to a group of strangers. You don't know how good you are, but also it's really personal.

I remember shaking as I was standing in front of people.

I think I just started saying that I'd been writing for 15 years, but this is the first time I had an open mic night for me. And people just lost their shit. They were clapping and hooting. And it was really amazing. After that, things got a lot easier.

The community is really supportive. You can write absolute trash and they would still cheer you on as if you are the most poetic genius. The community really helped to build up my confidence in claiming that space for myself.

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Writing poetry: pen and paper, or laptop?

Pen and paper.

I've had this conversation with my boyfriend a lot. He writes with paper, and I used to write by typing.

You can always tell when a poem originated from paper or from a screen. You approach things entirely differently. On a screen, it's quicker. You can edit, you can look at meanings, you can Google names, you can look up the thesaurus, you can get distracted. The language is much more rational and clear-cut whenever I write on the computer. But when I'm writing on my paper, it's more fluid. it's more exploratory.

I don’t know if there’s any logic to it.

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Do you have any other rituals when you write?

I usually like being outside in a space that's away from any distractions. You get a good cup of tea, you'd sit and listen to music and you write.

I’m obsessed about tea, although I didn’t grow up being crazy about tea.

To me, it's more about the moment. You can't rush it. You have to boil the water. It has to be a specific temperature. You have to strain it just so. You have to sit and enjoy it. You can't rush it because you’ll literally burn your tongue.

You have to be very patient, which is not something I can say I am in other parts of my life. It forces me to slow down a little bit.

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Is poetry a form of self-care?

A hundred percent. It is the most nourishing thing for me.

If I’m physically or mentally exhausted, just spending an hour on poetry completely recharges me.

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Does it get stressful if you feel like you’re not able to write?

I don't think it's ever been that way for me, maybe because that's not my primary source of employment. I don't depend on poetry to make money.

It's a thing I do on the side, and it doesn't need to be something I capitalise on or monetise on. And that takes the pressure off.

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Are you in a different headspace when you’re creating poetry vs creating for Peanut?

A hundred percent. I used to struggle a lot earlier on with moving between those head spaces.

Tech generally, but especially screen-based design, is a very rational headspace. Design is for other people. It's not about self-expression. It's a much more rational act.

But art is self-expression. It's more poetic, it's more fluid. I would find it very different and difficult to move from that rational headspace to the poetic headspace, and I actually still do.

I hate Slack and those things that morph what you're trying to do in. You always say ‘the medium is the message’ right? The medium changes the way you communicate and how you design what you design.

I don’t do hands-on design very often now, but when I do, I try to actually start with writing. I'll start with writing about the narrative, about the person, about the user who's trying to use this product. What is their life like? What do they want from it? I’d write a story, make it a little bit more artistic, make a sketch, before you can go into the details.

The moment you start doing anything on the screen, your focus is zoomed in and narrow. And you forget about the bigger picture, or about why you're even doing this in the first place.

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You’ve got all these different mediums of creativity: writing, drawing, painting… Which one are you most comfortable in?

Definitely writing. Definitely words.

One of my thesis projects in my master's program was about sound. You’ve got Clubhouse and all that now, but this was back in 2013. My thesis was around sound being completely forgotten in technology. The reason I was doing that work was because sound and writing are two things that let your imagination work.

They don't give you a specific visual. You're not fixed in what you see and what you imagine. When you're writing, or when you're listening, you can imagine whatever you want and you can let the brain do the work. I think that's probably why I'm attracted to those modalities more.

You have more space to imagine, to interpret and actually maybe humanise it or to make it more relevant to your life.