Where Should You Spend and Save on a Los Angeles Luxury Home Renovation?

I generally encourage clients to invest in the things that become part of the house itself.  In other words, elements that are more "fixed".  

Flooring, cabinetry, millwork, plumbing fixtures, stone, tile, doors, architectural lighting, and other permanent elements are expensive and disruptive to replace later. These decisions also establish the foundation for everything that follows.

This is one reason I like being involved early in a Los Angeles remodel or new construction project. Working alongside the architect, builder, and contractor allows me to consider the interior as a complete composition.

If something is going to remain with the house for twenty years, I want to get it right the first time.

I've always believed that luxury interiors need a design hierarchy.

If every material, finish, and furnishing is fighting to be the most important thing in the room, the result can feel expensive without feeling particularly sophisticated.

I'm a big proponent of using a simpler material in one area if it allows us to create a bigger "wow" moment somewhere else. A quieter tile might provide the perfect backdrop for a dramatic stone vanity. Simple painted walls can make an incredible piece of art or vintage furniture feel even more important.

Saving strategically isn't compromising the design. It makes the stronger choices more powerful.

Lighting is one area where I rarely recommend being frugal.

Lighting impacts everything - architectural details, mood, color, art, furniture—and ultimately how you see the home. I think of it as both functional and decorative.

A great chandelier, statement pendant, pair of sconces, or vintage fixture can completely change the personality of a room. 

I would rather have fewer exceptional lighting moments than a house filled with fixtures selected simply because they fit a predetermined allowance.  Lighting requires a lot of strategy.  

I love custom upholstery because it allows me to be precise in fit, but it also allows for a strong level of personalization.  The details really elevate an upholstered piece.  

For the pieces you use constantly—the primary sofa, dining chairs, or an upholstered bed—I think quality matters.

These are tactile pieces. You sit on them, lounge on them, entertain around them, and live with them every day. They also give me an opportunity to introduce the pattern, color, and texture that are central to my design philosophy.

One of my favorite things about interior design is the mix.  It really becomes an art.  

I don’t believe every piece in a luxury home needs to have an equally hefty price tag. In fact, I think rooms become far more interesting when everything isn't operating at exactly the same level.

I might pair a significant vintage piece with something contemporary and surprisingly affordable. A great flea market side table can sit comfortably next to a custom sofa. An inexpensive object discovered while traveling can have more personality than something bought simply because it has provenance.  All it needs is the right setting...and lighting.  

My approach has always been about fearless curation—mixing old and new, vintage and contemporary, polished and unexpected.

That tension is what makes a home feel collected rather than purchased.

Good millwork can transform architecture.  It takes a lot of planning and a keen attention to detail.  

Built-in cabinetry, libraries, and bars (check out the custom one I designed for my Naples, FL project) can make a home feel considered in a way that freestanding furniture alone cannot.

This is particularly important when I'm trying to emphasize the architectural identity of a house. Rather than treating millwork as simply storage, I like to think about how it contributes to the overall story of the design.

If we are going to build something specifically for the house, I want it to look as though it belongs there.

I’m cautious about spending heavily on anything that's overly trendy or of-the-moment.

I want my interiors to feel fresh, but I don't want them to be defined by a particular year.  I think that balancing modern with vintage helps achieve that timelessness.  

If we want to experiment with a current idea, I’d rather introduce it through something relatively easy to change—a small piece of furniture, an accessory—than commit a major portion of the budget to something that may quickly feel dated.

For me, timeless does not mean traditional or safe. It means creating a home with enough personality and conviction that it doesn’t depend on trends for relevance.

Window treatments are one of those elements homeowners sometimes underestimate until they see how they transform a room.  

Beyond its functional attributes - light control and privacy - it allows me to introduce another layer of color, pattern, or texture.

In a Los Angeles home—where indoor-outdoor living, natural light, and views can be such important parts of the architecture—I consider window treatments part of the overall design rather than an accessory added at the end.  It can be a big-ticket item, so it's important to plan accordingly.   

I generally prioritize permanent architectural elements and items that are difficult or disruptive to replace later: flooring, cabinetry, millwork, stone, plumbing fixtures. Getting those decisions right creates a strong framework for the rest of the interior.

I believe they can be one of the most transformative investments in a room. Window treatments affect light, privacy, and even how the architecture is perceived. I treat them as an integral part of the design rather than a finishing afterthought.

Ideally, I like to become involved early—before major architectural, lighting, cabinetry, tile, and finish decisions have been finalized. On a full-service project, collaborating with the architect, builder, contractor, and trades from the beginning helps ensure that thousands of individual decisions ultimately contribute to one cohesive design vision.