When I first visited Rome in 2008, Arlene took me to the most incredible Italian restaurant–one I would never have found on a map. We were introduced by a woman who was interested in adapting my memoir for film. Although the project fell through, I’m thankful for having met Arlene and for our long-distance friendship since, punctuated by my occasional visits to Italy.
I admire Arlene deeply, embarrassingly so. She left a job, country, and life in pursuit of something other. She wasn’t tethered to age as a means of trapping one in one’s vocation, rather she set out to find her place in the world. Up until a few months ago she was a successful writer/producer and now tell stories in another form: interiors. I love women with verve, women who take risks, break ranks, and live without apology. Arlene is all of these things, but in the end she’s a truth-teller. I only hope to be as successful as I move through my acts. Let her story inspire you. –FS
When I first met you, you’d recently emigrated to Rome from the U.S. Truth be told, I admired you, how brave you were to leave a successful career behind for something other. This was a time before we’d read articles about expats and second acts. Your career has spanned politics, film and entertainment—but tell us how you returned to your first love: decorating. Why did you leave producing behind?
Arlene Gibbs: What timing. Until two months ago, I had two careers going on, screenwriter/producer, and decorator.
When we first met, I was writing full-time and developing a few projects as a producer. Everyone told me it would be impossible to be a screenwriter/producer based in Rome (especially without a trust fund). Even after our movie Jumping The Broom was released, and importantly was a hit, I heard the same thing. Nothing changed. Nobody cared. It was a “niche” film. When I pointed out to a producer friend that there were plenty of successful British screenwriters who worked in Hollywood but lived in London, I was told, “Yes, but they are British, white, and male.”
To your last question, it took me forever to see the light. Earlier this summer, one of my dear friends, who lives in Rome, said that the universe was screaming at me and I was ignoring the signs. This friend is usually not that crunchy. I needed to heed her advice.
Then I read this quote from JJ Martin, an American fashion and design journalist who lives in Milan, and everything clicked.
The best advice I’ve ever received was to look at everything that comes your way as an opportunity. Do not underestimate the power of chance and fate. Do what you love, what opens you up, not what closes you down, and makes you act like an asshole. Be responsible, be loving, be caring. That’s what I advise to anyone starting out. If you truly love fashion, it will come to you.
She’s talking about fashion but it could be applied to any creative endeavor. I wasn’t an asshole when I worked in Hollywood, my former assistants still speak to me, but I was not myself. I became a very bitter person.
I was recently hired for a decorating project in Los Angeles. It was my first trip back since making my big decision. It was a great experience. I returned to Rome feeling positive instead of depressed.
I’ve met a lot of people our age who feel regret. Regret that they didn’t pursue this or that life sooner, hadn’t met their partner earlier in life, but I tend to believe that we find ourselves at a certain place because of all the choices we’ve made, not in spite of them. Would you agree? Do you have any regrets about the paths you’ve taken?
AG: I agree with you but I had so many regrets when I lived in Los Angeles. I wish I had started working in Hollywood at a younger age. That a woman in her EARLY 30s was told to lie about her age was ridiculous.
I wish I had worked on Wall Street, saved a lot of money, and then moved to L.A. to work in the Biz. I wish I had trusted my gut more, instead of trying to be something I wasn’t. My parents are from the Caribbean and couldn’t understand why I would choose to work in a field where migraines and panic attacks were normal.
Now, I don’t have regrets. It took me a while to get to the thing I’m supposed to do. I do believe all the experiences I’ve had, good and bad, were invaluable opportunities to learn. I think it’s just as important to know what you don’t do well, not just the areas/jobs where you excel.
Image Credit: Gina Gomez.
You’ve endured and prospered (IMO) amidst the one-two punch of being an expat and building a business for yourself in Italy. The challenges you faced (and perhaps struggle with still?) –would you say they’re mutually exclusive, or are they more like a ven diagram, one challenge eclipsing or being born out of another?
AG: Hmmm. I worked in Hollywood, which is not a meritocracy, so many of the things that infuriate American and British expats/immigrants about Italy, don’t faze me.
Is it easy to be an entrepreneur in Italy? No, it’s not. True, I do work internationally but my business is based here and Italy ranks as one of the most difficult countries for businesses. The newish Renzi government is trying to make things easier. We’ll see.
The red tape here is bonkers but it’s still easier than being a black woman working in Hollywood. Did you see the first episode of Project Greenlight this week? No words (FS: I did, and I agree, no words. I thought Damon was one of the good ones).
Regarding your previous work in film and politics– I imagine both careers required navigating verbal landmines and dealing with strong personalities. Do you feel your time spent in both careers helped you in your freelance one?
AG: Absolutely. Also, all three are about story telling, a narrative. Interior design does it in a visual way, like film, but instead of moving images it’s more tactile, fabric, form/function, etc.
A practical question—how did you build a client base and portfolio? Are there any challenges distinct to Italy?
Credits: Arlene Gibbs, Interior Designer. Architect: Domenico Minchilli. Photography: Mario Flores
AG: It doesn’t matter if you’re self taught or graduated from Parsons with straight A’s, when you’re first starting out, your clients will be friends and family (or people who are friends with your friends or family), especially for residential projects. It’s very intimate to work with someone in/on your home.
In time, if your work is published, clients who are not your friends/family will find you. However, even then, there is a courtship of sorts. Word of mouth is very important, of course. Clients will refer you to their family/friends.
Regarding my challenges that are unique to Italy, there are a few.
Before my internship, I never worked in an Italian office. I wrote all day, in English, at home by myself. My Italian did not improve when I first moved to Rome, as I wasn’t in school studying anymore. There are a lot of expats in Rome and my Italian friends speak English well. Now that I’m working with artisans, contractors, and some vendors who don’t speak English, I cannot just switch to English when I get frustrated trying to communicate. During most of my workday I’m using technical vocabulary that is not used in everyday conversation. It’s not surprising that sometimes my brain hurts. Learning a new language as an adult is tough but I’m determined to become truly fluent.
In Italy architects do the majority of interior design work. There are more architects in Rome than in the entire country of France. It’s very competitive.
In the States, technically, there’s a huge difference between an interior designer and a decorator. The former is able to do structural work and could be seen as an interior architect. Many American architects disagree. Here, there isn’t a difference as both decorators and interiors designers are not architects. End of story. If there is structural work to be done, you call an architect and/or an engineer and collaborate. I don’t know if it’s a plus or a minus that there aren’t many interior designers/decorators in Italy. Perhaps it’s not relevant.
I do know that networking in Italy is not like the States. It’s less aggressive, even in Milan. It’s a big learning curve.
Have you endured any challenges building an interior decorating business specific to being a woman or woman of color? How did you manage them?
AG: No, I haven’t. After working in a male-dominated industry for years, it was odd at first to attend design industry conferences/events and see so many women! And there are women over the age of forty. What is happening?
What has surprised you most about launching your business? What didn’t you expect? More importantly, what were you (or not) prepared for?
AG: I’m surprised by how welcoming and helpful my colleagues were/are. It unnerves me. Seriously.
As my friends know, I’m very organized. My Italian friends find all my lists and my discomfort with last minutes plans hilarious but my anal retentive ways have served me well.
Working for myself, I still struggle with setting clear work/life boundaries. They bleed into each other. It’s not healthy and counter-productive especially when you work in a creative field. It’s important to step on the brakes and disconnect once in a while. If you’re going, going, going all the time how can you really take things in? What’s inspiring you?
Do I need to return text messages and emails on Sundays and/or at 9:00 p.m. at night? My business is young and I do feel a lot of pressure to be available to my clients 24/7.
As a friend said, I’m not an ER doctor. Of course it’s okay for clients to email me when things are on their minds but unless it’s an emergency (which in decorating what could that be on a day when there are no deliveries) I can return the emails on Monday.
Who has inspired you along the way and why?
AG: Man, this would be such a long list. There have been many people who have inspired me directly or indirectly. What they all have in common is passion. They have worked in different fields and many have had non-traditional career paths. I have been that person who was sleepwalking through life and now I appreciate how lucky I am to do what I love.
What are the three things that people who are interested in launching their own business or going freelance? Are there specific lessons you can share regarding interior-related ventures?
If you’re going to freelance in a creative field learn and respect the craft.
I know people complain about the Millennials but I don’t think this is a generation issue but an instant gratification issue.
There’s nothing wrong with exploring different fields. If you want to do something creative, do it but realize it’s going to take some time and hard work. Take it seriously, or don’t bother.
I was the oldest interior design intern ever but that experience was priceless. I’ve been fortunate to have people trust me and believe in my skills. I don’t know everything and I’m grateful to have more established peers in my life who mentor me. I’ve made mistakes and will continue to do so as I’m not a robot. But I learn from them and try not to make the same mistake twice. I’m floored by the number of people I meet here who think they can just, poof, wake up one day and be a success at something they know nothing about and takes people years to learn.
Do your homework.
Some people freelance because they have been downsized. Others choose to freelance. Either way, it’s important to find out as much as you can about the nuts and bolts of your new endeavor, not just the fun and sexy part.
Write a business plan. One could be the most talented creative person on the planet but if they cannot run a business, they will not succeed. Attend design conferences in your city or the big national ones in New York or Los Angeles. In Europe there are large international conferences in Milan, Paris, and London.
Many designers have workshops or bootcamps. A note of caution, choose wisely. There are bloggers who decorate/design and decorator/designers who blog (occasionally). Huge difference. Be clear about what you want to gain from the experience. I attended Kathryn M. Ireland’s workshop in Los Angeles (she also has one in France) early in my career and still use the tools I learned everyday. It was informative and also a blast.
For design creatives I highly recommend the book, The Business of Design by Keith Granet.
Have a POV.
This doesn’t a mean a minimalist designer cannot work with a maximalist client. If you look at the work of the most respected and successful designers, they all have a distinct POV. There are elements of their DNA in each project but the home fits the client’s tastes and needs.
Anyone can take a pretty photo during Fashion Week and post it on Instagram. The street style photographers who have broken through did so because they had a POV. Once this social media bubble burst or shifts (again) the creatives who have something to say and an interesting way to say it will continue to work.
What are the three essential tools (or resources) you rely upon to get through your day?
I’m a morning person and one of my favorite things to do is jog or walk through the streets of Rome to Villa Borghese or Doria Pamphili Park. That early in the morning, the streets are quiet and the light is incredible. Living in Rome is a pain sometimes with all the bureaucracy, the tour buses, drunk American exchange students, the noise, people who refuse to clean up after their dogs, etc. Then you jog past the building where Bernini lived and buildings like the Pantheon and remember why you put up with Rome’s craziness. She’s inspiring, beautiful, and humbling.
Moleskine daily calendar.
I do have a calendar on my Mac and each project has a punch sheet or action items list but there’s something about literally crossing things off on a to-do-list that makes me happy and feel very accomplished.
I resisted getting one, as I was tired of everyone going on about their iPhones as if they just had a baby or something.
Now I don’t know how I lived without it for so long. I have a ton of information in one tiny device. It holds my contacts, my calendar, a camera, apps I use all the time like Instagram, Pinterest, WhatApp, Shazam, Goggle, a translation app, a compass, my music, pictures of my projects and moodboards, etc. etc.
All images courtesy of Arlene Gibbs, except where noted.