The platform has changed the way we discover design–but it’s also raised questions about originality, authenticity, and what makes a “real” designer as well as interior design firms
When, an interior designer, found her first customer via Instagram, she knew she was on something. Higham, Sun-Soul Style’s proprietor from San Francisco, is a marketing and PR manager in a mobile ad-startup called Fetch. Higham is a development expert. It wasn’t until years after this encounter that she saw what the app could do for her own purposes that introduced her to the potential of a site like Instagram as a business tool
Yet return to the pit. Like many companies, West Elm feeds people who have branded products on Instagram so that you can see how they look at real people’s homes instead of at the well-managed, well lit replica homes of the photo studio in West Elm.
But stick to the sconces. Just like many brands, West Elm feeds people who have posted those products on Instagram so that you can see their look at real-life homes instead of well-managed, perfectly lit fake homes in the photo-studio in West Elm.
In the years since, Instagram has become a central part in how Higham finds clients and builds her brand. She estimates that 40% of her business comes from Instagram, and says that the social media platform serves as a way to centralize her archive and inspirations, and showcase her evolution as a designer.
It’s democratized design in a way. It’s made people feel that anyone can be a designer because they have all of these things at their fingertips.
The person who purchased that sconce month before, was one of the photos tagged. It’s been somewhere that said:’ hey, that girl is in San Francisco, I love her style.’ That’s how we started working together. She was working as a professional designer, but her customers came from a word of mouth–this was the first time that anyone reached out via Instagram. It wasn’t an immense undertaking, but it really felt great. I’ve been like to wow, tag and do all of these social media — there is a true benefit.
You will find it difficult to find a device more suitable for interior design than the 8-year-old photo sharing and video platform. Photos are Instagram’s focus, unlike Facebook and Twitter. Snapchat is intentionally ephemeral and is not ready for archiving or professional development. Pinterest is too busy, too strange to go Tumblr to search for a good sofa or lateral table for the average suburban.
Instagram has changed the pace and interior design industry and will never be the same in our living rooms. What this means is still up for discussion for the company. The site is full of plagiarism and IP problems and simple copying claims are rife. A mad rush for customer eyeballs has been also developed, with firms churning out designs so invariably that they verge on parody. Nonetheless, Instagram has created a few years from now a generation of designers who have quick access to millions of prospective customers and break down barriers in an industry that used to be dominated by haughty tastemakers.
Years ago, budding artists had to take some time to work in one of Colefax and Fowler’s or Dedar Milano’s old buildings before finding themselves. Growth of customers ‘ bases has been accomplished by word of mouth or popularity, and patterns have been built from the beginning to the beginning by hundreds of indoor venues, including Sister Parish and Albert Hadley.
“these trends certainly move faster than they were before.” Together with his wife and colleague professor Ashley Bigham at Knowlton, he is the co-director of the Outpost design company and uses Instagram as a pedagogical instrument to create and showcase new ideas as well as the classroom. “Works of the kind feel a bit like the esthetic of WeWork and projects are founded on the idea of people trying to get their own Instagram content into them,” says Herrmann.
Growing decade of American history could be easily identified before the calendar turned into a new millennium. In the’ 70s funky napkins and buffets, in the’ 80s plexiglass and pastels were established. In contrast, the’ 90s were bland, characterized in walls and kitchens coated in sponge-textures. We’ve gone from moody tones of industrial chic to pastell minimalism, to neon maximalism in the last part of 2010, and in the last few years alone.
Instagram is not the only technology to have been launched by accelerating and saturating trends; it also increase the consumption of design. Herrmann and Bigham saw first-hand how their entrants shaped the forum from knowing their own work to inspiring them. They encourage students to use Instagram to keep up with design and architecture trends, and even help students build a curated feed to make use of the architectural platform in the same way that they deal with photos from parties and soccer matches of their friends.
We always challenge our students to think critically about and understand their own work as a complete project, much deeper than what you would have to look at for a few seconds.