From Loom To Luxury: Inside Eastern Accents with Louise Traficanti

What if the softest thing in your home was also the most ambitious? We sit down with Creative Director Louise Trafficanti to follow a thread from Dublin’s design studios to a humming Chicago factory, where Eastern Accents turns global textiles into everyday luxury—pillows, bedding, drapery, headboards, and custom pieces that actually ship on time.

Louise shares how a visa lottery, grit, and a love for materials led her to a domestic workroom that still cuts and sews under one roof. We explore how fabrics are sourced from Italy, India, Turkey, China, and U.S. mills, then shaped through a monthly launch model that replaces glaze-over markets with steady, story-driven collections. Inside the process: building mood boards, balancing coordinates, crit-style reviews with sales, and price checks that keep beauty practical. Expect real talk on design psychology—why damask endures, why botanicals soothe, and why fruit prints can backfire in bedrooms—plus a debunking of thread count myths in favor of fiber quality and finishing.

Craft takes center stage as we walk a pillow from roll to box: single-layer cuts for accuracy, overlocking, meticulous sewing, hand-applied details, and final QC with lint rollers and fill choices. Custom is a core muscle—NBA-length beds, airline seat sheets with embroidered IDs, storage benches, and headboards rendered online with fabrics, nailheads, and wood stains. We also step into Pandora’s Manor, the 1905 High Point landmark Louise helped restore into a six-room inn. Each bedroom carries a distinct designer vision, while the home’s soul—stained glass, woodwork, and an exhibition kitchen—welcomes guests, events, and the quiet awe that textiles can create.

Looking ahead, Louise previews cordless, motorized Roman shades with full customization and smart controls, rounding out a portfolio built on responsiveness and respect for craft. If you’re a designer, maker, or anyone who loves the feel of a well-made bed, this story bridges the gap between mills, workrooms, and that first night under a new duvet. Subscribe, share with a friend who geeks out on fabrics, and leave a review to tell us your favorite textile moment.

Transcript

Meet Louise And Eastern Accents

Voice Over 0:00

This is iDesign Lab, a podcast where creativity and curiosity meet style and design. Curator of interiors, furnishings, and lifestyles. Hosted by Tiffany Woolley, an interior designer and a style enthusiast, along with her serial entrepreneur husband Scott. iDesign Lab is your ultimate design podcast, where we explore the rich and vibrant world of design and its constant evolution in style and trends. Today on iDesign Lab, we're joined by Louise Trafficanti, Creative Director at Eastern Accents. With over 30 years in luxury textiles and roots at Dublin's National College of Art and Design, Louise blends craftsmanship, global sourcing, and storytelling. Shaping how fabric transforms the way we experience home.

TIffany Woolley 0:49

Welcome to the iDesign Lab Podcast. Today we are joined in studio with Louise Trafficanti. I hope I said that right, who is a very creative, intelligent, well-traveled source of information in the textile industry. So excited to dive into this conversation. She is a huge driving force to the evolution and growth of Eastern Accents, which is such a unique company that we're going to get to talk about today. And I would say the creative director behind Pandora's Manor, which is a very special place in High Point that we've been fortunate enough to.

Scott Woolley 1:28

Wonderful, wonderful place. So cool.

TIffany Woolley 1:31

So welcome. Thank you. Thank you for having me. So we want to hear everything, but let's start at the very beginning. So you come from Dublin.

SPEAKER_03 1:41

Yes. So I'm Irish. Um I was born there, went to college in Dublin, studied textiles at the National College of Art and Design. And when I was in college, it was the 1990s in Ireland, things were pretty depressed. Uh the job environment was not good. And most uh young Irish people, most graduates emigrated. So I realized that's probably on the cards for me too. And I thought, well, I'll just go to England, I'll go to Europe or whatever. Wherever. Yeah. Anyway, at the time, newspapers were actually a relevant thing. So the newspaper, imagine that the newspaper had a little like little article saying new batch of Morrison visas, green cards, are coming out. And Ireland has always allocated kind of a high number of these Morrison visas or green cards. What you do is you just send on a white sheet of paper, name, address, whatever, to some place in Nebraska.

Scott Woolley 2:47

Nebraska.

SPEAKER_03 2:47

Yes. Which I always thought was weird. That stuck with me too. Um you send it off to Nebraska. It's people just get picked randomly. And like a lottery. It was a lottery system. And that's basically how I got my green card. And then when I got it, I was like, well, I guess this is where I need to go. This is this is my destiny or my fate. I meant to go to the US. So you pass, you do some tests, you pass a physical, because obviously they want to make sure you're healthy and everything. And uh that's what happened.

Scott Woolley 3:19

It's kind of like when people came to Ellis Island in the early 1990s, late 1990s. Yes. You had to do the physical and so forth. So they're still doing that.

SPEAKER_03 3:27

Still doing it. Like if you have uh TB or something, you're not allowed in. Right. I mean, it's that antiquated too, because I don't really know too many people that have TV stays.

Dublin Roots And A Visa Lottery

TIffany Woolley 3:37

So your first step into the United States, where did you land originally?

SPEAKER_03 3:43

So this is crazy. I went to Chicago at first because it was actually this was I got at my third year of college, so I had to I came for a summer to work. And the only people I knew in the country were in Chicago, and it was relatives of my dad relative. So it was at least somebody I could physically touch base with. Right. Came over, stayed with them, and then I went, I moved into Chicago. I found an apartment that I sublet. I found a student that from DePaul who didn't need their place for the summer, and I just rented it for the summer. I got a$5 bike at a garage sale. So resourceful. Yes. And I rode around the streets of Chicago on my bicycle. And that was how I got to learn the streets, which helped, obviously. And uh I worked there and I liked it. And I liked Midwesterners, of course.

Scott Woolley 4:37

So what did you start working? Was like your first job?

SPEAKER_03 4:41

Summer job. I was working at Creighton Barrel. And at the time it was on Michigan Avenue. Yeah, that was like the height of the Oprah time. It was such a good vibe. It really was in Chicago. And it was such a lovely city to be in. And it's a great city in the summer. Yeah. Beautiful beach. It's beautiful architecture. It's so clean. Such a lovely place. So I really I loved it. So you put it in.

Scott Woolley 5:06

So working at Cretenbell, what? Retail, working in the store? Working retail, working in the store. And you went to college for textile design.

TIffany Woolley 5:14

I know, and that's what just blows my mind when I hear your like read through your original story. I mean, for you to connect to Eastern accents from being a textile major in Dublin, Ireland, is like that's like hitting the lottery.

SPEAKER_03 5:30

For them and you. So I guess I hit the lottery twice. I got the green card, and then in my job, yes. It's very it was really unusual. Nobody thinks you're going to find somebody that does works in textiles in Chicago. Really, that's more of a southern thing. You think, okay, Southeast where the mills are, things like that.

Scott Woolley 5:53

And um, I kind of think of it as like out of the country. Even the name of the country, Eastern Accents.

SPEAKER_03 6:00

You think somewhere the company is a foreign company. You don't realize it's a domestic manufacturer.

TIffany Woolley 6:07

Which I love about Eastern Accents, they are, you know, a domestic manufacturer. It's made in the USA. I think that's just so spectacular. So obviously, Eastern Accents has been a huge part of your life here in the United States and in general. So how did that come about?

SPEAKER_03 6:29

So I did work in a lot of different things. One of the things I did, I worked in um like production doing um set design and portrait design for a little bit, which was interesting. Um I did work, and this is another unusual thing, but I worked for a very small boutique weaving company that was in the West Loop in Chicago. And we would weave uh beautiful fabrics, it was all handwoven for upholstery, really, really nice. And then I was doing like random three to four jobs, just sort of floating around. And that's when I started uh when I applied for the job at Eastern Accents, and I thought, this is strange, but they work with textiles, they ask, you know, they're interested in demand. I had no idea. This was sort of pre-internet, too, because I started working with Eastern Accents in 1999, and the web really wasn't around, so it was very hard to research companies. You didn't know what you were getting into. I did not know what I was getting into.

Scott Woolley 7:27

Were they as as established as they are today? No.

TIffany Woolley 7:31

How many employees then? I probably about maybe 80, 100. It's still a big company.

Early Chicago And First Textile Jobs

SPEAKER_03 7:39

Still a big company, and it was in a very unusual it was in the northwest side of the city, and um it was all a very a building that was not made for manufacturing, so it was very broken and disjointed. So when I did go in for my interview and I'm walking around looking at everything, and I'm like, this is very strange. Like, what are they doing here? And upstairs was this sewing room, and it was all old wood floorboards, and just the noise of the machines, you could almost feel the floor reverberating. Yes. But it was just a very unique environment, uh, really, really unusual. I I didn't know what I walked into, and I met the owners of the company, and I had the strangest interview of my life. I was like, I don't really know. And they're looking at my portfolio and we're talking, and the owners of the company, their husband and wife team. Husband is Turkish and his wife is Swedish. And um I'm just sitting there a little confused, trying to figure out everything. Sum it all up. Sum it all up. And then after I came out of the interview, I I called my then my now husband, then boyfriend. I said, I I think I just accepted a job, but I'm not too sure. I I don't really know what happened.

Scott Woolley 8:57

I So you went on an interview, and at the same time as the interview, they give they offer you the job. Which is unusual because normally they call back or they have to decide, or most companies.

SPEAKER_03 9:08

And I said, yes. And I think that's Eastern Accents is always very decisive. There's not that's good. There's not much hemming and hawing. Like usually they know and I love that confidence, that mindset. Yes, and I think too, what I've learned as well from working there is it's if it's more of a personal fit and a character fit, finding the right people that fit into that environment and that mindset, as opposed to what your set skills are. So when you see the person or meet the person and you get the energy, then you're like, you know what, I think you're gonna fit in just fine. And that's usually how it works in the company. So what was your initial role there? So the original designer of the company was pregnant and she was going to be going on maternity leave. So they wanted me to be her assistant, fill in and cover for her when she was gone.

TIffany Woolley 9:59

And when you say designer, was she picking the fabrics, curating the layers?

SPEAKER_03 10:04

Yes, picking the fabrics, uh, curating everything, putting the bed sets together. She really was executing the vision of the company. And then sales and marketing and everything would look at the collections. They'd be launched at high point, and that was sort of her role. And she would work with production.

Scott Woolley 10:26

For people who are who are listening and watching this who aren't familiar with Eastern Access Accents, tell us a little about what they make and what what the company does.

SPEAKER_03 10:36

Um so it's a very, very interesting company. It's in Chicago. It's uh it's it's in Albany Park, and we make luxury pillows, bedding sheets, we make headboards, draperies, um anything with fabric really we make. Uh we manufacture, we cut and sew, we design in Chicago, and it's a very, it's a really unusual place. It's got a great energy to it. And we have people that speak all languages, come from all parts of the world. I call it kind of like a little united nations of manufacturing.

SPEAKER_02 11:17

Right.

SPEAKER_03 11:17

And everybody just, you know, really gets along. It's a very unique environment.

Scott Woolley 11:23

So it's a it's a line of products that most people probably don't really think about or come up come, you know, on top of topic of mind so forth, especially in interior decorating. But the products are pretty much used by every single person there is on a daily basis. Yes, like that you don't really take it and ever think about. Everyone goes to bed every night. Everyone's laying down in a bed.

SPEAKER_03 11:47

Yeah.

Scott Woolley 11:48

And they're probably laying on your products getting a great night's sleep with.

SPEAKER_03 11:54

Yes. Like, and we do we we grew organically, and everything happened sort of very organically, where customers just like our product, like dealing with us, liked our business, like that we ship on time, the quality. And then usually they would ask and say, Hey, did you guys ever think of doing this? Because we are looking for a good source for this and we can't find one. And we never say no, we always try. Uh, so we always say yes, we're gonna figure it out. And we do that. We figure it out. We'll make it happen.

TIffany Woolley 12:24

The beauty of having a you know, team in halves that yes, get to domestic manufacturing. You just go right there and say, I want you to cut this, and can you do this?

Joining Eastern Accents And Culture

SPEAKER_03 12:34

And it's all right there, everything under the same roof. Yes. Like we've done the impossible. I've seen jobs turned around in times that should never have happened. We've made uh custom fitted sheets for airline seats that recline, and uh that we embroider the the number of the airplane onto it so that people know which jet it is used in and everything. Uh we do a lot of customization. So our we're we have very skilled artisans in sewing and cutting, and it's really hard to find that anymore. And uh most of that work is done overseas. Very few places do it domestically. So we're really a I call us a dinosaur because we really are dinosaurs.

Scott Woolley 13:17

So you're running the entire business, even from photography and all the creative, it's all done in house. In-house. But the fabrics, they're coming from because from what I understand, you're uh you travel extensively.

SPEAKER_03 13:31

Yes. The fabrics come from everywhere. We buy from mills all over the world. So we buy from we buy from Europe, we'll buy from Turkey, we buy from China, we buy our embroideries from India. So we literally we everywhere searching them. And we buy domestically too, but that's even drying up and mills are disappearing. Which is which is really sad. Yeah. And the problem is you can't start that up again. Right. Who's gonna say, I want to open a mill? You can't do that. Even with manufacturing, it's the same thing. Who's gonna say, I want to open up a factory? I mean, try finding people that can actually that have the skills to work there.

Scott Woolley 14:13

So in traveling through all these mills and so forth, do you have ever have times where you cut run across a product or a new fabric just going, oh my God, look at this.

SPEAKER_03 14:21

Yes. So that's what you live for. It is that is.

Scott Woolley 14:25

I hear everyone here in our office when scalamandra or the different fabric companies come here to show to new things, and I hear Tiffany and some of them in the office, oh my God, oh, the ooing and the Ring. I don't understand it, but a lot of excitement going on because of a new fabric.

TIffany Woolley 14:42

Well, fabric really is art, and especially, you know, in the old tapestry days. I mean, I appreciate so much as these vendors come in, and I'm sure you, and I know you guys use these materials as well. There is such history behind these fabrics.

SPEAKER_03 14:59

And when you see fabrics that just blow your mind, like you look at it and you're like, how do they even design that? Look at the construction in this, look at the layers, look at how this was made. This is just crazy. You mean how it's sewed? How it's constructed, how it's woven, how it's sewn. Sometimes we'll have embroideries where they'll be printed. Uh, then you might have some pin-tucking, like pleating, some manipulation of the fabric. Then you will have hand embroidery done on top of it. So you're just like and the different threading.

Scott Woolley 15:30

But isn't that a craft that's kind of disappearing? It's not. It's no, it's not in the old world.

SPEAKER_03 15:36

And no, like in in countries like India, like they are superior skilled people that just can create and make the most beautiful fabrics, beautiful beading, intricate detail, just things that you know, you look up close, you're like, am I seeing that? Is it really done? I mean, you live for, you do live for that. You live for that moment. Like, um, I really that's what I want. I want to go somewhere and I want to just get I want to get my socks knocked off. I when whenever I see a new mail, I'm like, I I hope you have it. I hope you have it in that bag. I'm dying to see it. Because that, when you see it's got like that's the starting point. I'm like, that's the new collection. I'm doing this. We're gonna build something around this because this is an amazing textile. And that becomes the statement piece.

TIffany Woolley 16:26

And then do you co-coordinate with these vendors maybe tweaking color or tweaking things yourself? So you're really setting your fabrics and textiles.

SPEAKER_03 16:37

Sometimes it's perfect. Right. Sometimes, you know what? It's just it works, it's beautiful, it's a whole the harmony, the composition, the color, texture, everything is perfect. But sometimes we'll say, you know, we think that our customer and in the US, this would be a better, it'd be better to lean into the palette. Yes, and the scale of this, or we should remove this. Uh because sometimes people are strange about some things like um there's always kind of a funny rule, like no fruit in the bedroom.

Scott Woolley 17:07

So fruit is not fruit in the bedroom.

What The Company Makes And How

SPEAKER_03 17:10

So fruit is something that stylized, maybe you can get away with it, but if it starts to look too much like a bunch of grapes, somebody's gonna be like, oh, is that grapes on my bed? I don't really like it. No, it's such a specific area that you're people are also people are also uh curious about birds. I love birds and bird phobias in some. With birds, I agree. I realize that will maybe be a little bit tough for some people. Actually, what's the design? Is there a design that's kind of a universal, most popular that's um a lot of so in in textiles we have like a damask design, which is kind of like a frame design. And that's kind of more of a classic thing. Right. Now that can go modern, that can go lean. I feel like we can be interpreted in a so many different ways. So I feel like that's a very easy thing to live with. But uh so traditional tech traditional motifs, I think, are popular. Uh leaves and natural things tend to also be nice choices for the bedroom, too, as well. Because for the most part, too, we're talking about somewhere where somebody goes to rest. They have to feel like it's harmony, it's nice.

SPEAKER_02 18:26

Right.

SPEAKER_03 18:26

Um, not everybody wants it, so and we try to offer something for everybody, but generally a harmonious palate is a desired thing.

Scott Woolley 18:35

Is bedding your biggest category?

SPEAKER_03 18:38

Um we have How many other categories are so we have pillows, which is just, I mean, gangbusters. We have uh hundreds of thousands of pillows. Uh, I need to start relying on you.

TIffany Woolley 18:54

Pillows more.

SPEAKER_03 18:55

And linens we have. And again, it's a lot of these fabrics we seek out are really unusual ones. So for our pillows, we try to go and find these really unusual fabrics.

Scott Woolley 19:07

Trevor Burrus, Jr.: When you say pillows, you mean like throw pillows on a few years? On a couch. Yeah. Yeah. So for outside out outdoor or outdoor is another category.

SPEAKER_03 19:16

That's a kind of a separate category we have, which is an interesting and growing category. Then we also have our upholstery. We make headboards, ottomans, benches, we do some storage benches. Yeah, you do.

Scott Woolley 19:30

And so is that all custom?

SPEAKER_03 19:32

Uh we have product. It can be. Because we can customize anything. So you come to Eastern Accents, you could say, listen, I have this custom-made bed. It's a this size mattress. Can you make me sheets and everything for it? We could do it. You give us the measurements and we make it. We've made beds for NBA athletes that are extra long. That are huge. So, you know, the scale of them is enormous. So the beds we make are custom, and even their mattresses then are custom also because they're just so huge. Right.

Scott Woolley 20:02

So how much of your business is is retail?

SPEAKER_03 20:05

Retail stores or retail chains or uh retail is isn't a huge part of our business. We're mainly a business-to-business. Right. And we encourage the public to go to look and see our product and buy from designers that carry our line, that have our binders and all of our sales materials, or go to stores. Like in Florida, we you you can find our product in bears, Robin Stucky, stores like that.

Scott Woolley 20:33

So those are the chains, those are chains.

SPEAKER_03 20:36

There's not many though. They're pretty healthy down here, but there's not as many around the U.S. anymore. So most of our product is sold through designers and through interior designers who are working on full homes. And people will get a much better And they get bet they get a better pricing if we don't we protect our customers by making sure that if they do buy it from us, they're and they realize they're going to pay more.

TIffany Woolley 21:02

How often do you release new collections?

SPEAKER_03 21:06

Every single month. So we used to do collections twice a year at High Point. We'd go to High Point, we'd have 15, 16 collections, new beds. And what would happen is people would come in and they look. And by bed three, they're lazing over. They just they can't take it anymore. By bed six, they're done. You might have lost them. It just was so much to absorb and learn and layer, take about. Yeah, it's it's take in. It's just a little overwhelming. And then over COVID time, it was interesting. I started to think like, why are we doing this? Why are we actually Wow? So for a long time that's how you're for a very long time, that's how we did it. But over COVID, it was nice because we had time to just sort of think. I thought this is so much pressure we're putting on our uh photography, our swatched. Department, everything to get all of this product ready for this big launch. Then we go out there and then people glaze over after seeing two or three of them. It's it's almost like we're doing an injustice to these new collections that all require a ton of time and energy and resources and money to get out there. So uh I thought, why don't we try something different? What if we just decided instead of doing it twice a year, why don't we do it constantly? And that way we might keep our customer more engaged, launch every month. Maybe your look, what we introduced this month isn't right for you, Tiffany, but next month maybe we've got something and you think that's perfect.

TIffany Woolley 22:36

So, how has that launch come about? So every month you're launching a new collection, and that's through photography, through social media, through internet, all that.

Global Sourcing And Mill Partnerships

SPEAKER_03 22:46

And immediately when we launch it, we will get requests for swatches. Yeah. People might say, Oh, I'm working on something. This might work in that project or that proposal. They get the fabrics, the swatches, and then they can place an order and we will ship immediately. So once we launch a collection, we have the fabric in stock, we can take orders. So you do stock all the fabric that you can do.

TIffany Woolley 23:07

Is it made to order immediately?

SPEAKER_03 23:08

It is made to order, and the reason we do a made-to-order is a lot of times the fabrics from bolt to bolt might have variations in dialots or things like that. When you place your order, we want to make sure that your actual bedset is cut from the same bolt of fabric so that everything is consistent. So the light in the room is good so that the fabric isn't, it's all perfectly matched. And we make sure that we match the dialots and match the product before it goes out to our company.

TIffany Woolley 23:36

Do you launch it to a seasonal aspect or literally just we've learned, yes.

SPEAKER_03 23:41

There are certain things like we start, we try to do tropical for Florida early in the year. January, February, realizing we're probably going to hit that market then. We try to do something very glam, a little bit more festive, and we kind of dot those through the year, but we usually have one as well that we'll try to launch in December because it's a little bit more seasonal, so that's appropriate. So we try to hit the right time where people might be looking at buying that product at that particular stage. Do you have a best seller? We do have a best seller. America loves blue. Oh, yeah. Blue is, I don't know, blue is just that, even though there's so many different segments, like we design for American Southwest, we do Southeast, we do lake looks, we do mountain looks.

Scott Woolley 24:33

That's a lot of product.

SPEAKER_03 24:34

It's a lot of product.

Scott Woolley 24:35

A lot of design.

SPEAKER_03 24:36

A lot of design, but blue is huge. Our uh current bestseller that we have in our line is called Amberlynn, and it's uh blue and kind of taupe and white, very clean look. And that one just sometimes this happens. It's magic. It just sort of hits all markets, all areas, and everybody loves it. Male, female, everything.

Scott Woolley 24:57

So so take us through the design process. So that how do you come up with a new idea? Fabrics are needed in the same way. Do you do you like once a month all sit down or you sit down as a creative director, go, okay, we're gonna create a new whatever it might be. Does that take an hour, a week, two weeks?

TIffany Woolley 25:16

Like what's gonna be the bolster? What's gonna be like how does all the It's a Laponent.

SPEAKER_03 25:23

It is uh it is like building a puzzle.

SPEAKER_02 25:25

Uh-huh.

SPEAKER_03 25:26

And uh not all the puzzle pieces come together so well, and sometimes they don't work, and you have to pivot and do something else. But we usually what we do is we see so many fabrics from different mills. We have a really vast archive in our library, in our factory. So we have probably like 50 clothing rails full of fabric, it's all separated by venture. Unbelievable. We date everything that comes in and look at it. So we realize if this fabric came in and let's say two years ago. Two years ago, three years ago, if it's from a mill, we know they'll be able to weave it again. But if it's from a converter, we know we might have continuity issues. So we're a little bit r reluctant to bring it in because it once we start, it takes us about a year to launch that collection. Wow.

Scott Woolley 26:15

A year.

SPEAKER_03 26:16

Yeah.

Scott Woolley 26:17

Fully. Wow.

SPEAKER_03 26:18

Wow. It takes a long time. Yeah. Sometimes it could be a little shorter, but I would say the average is But you're launching a uh one every something new every month.

Scott Woolley 26:28

So you've got so many things.

SPEAKER_03 26:29

Oh, we have so many things in the arsenal. It's crazy. A lot of little duckies in a row there. A lot of duckies. And sometimes some of the ducks don't behave and something falls apart, and we find out right before we're ready to launch, you know what, uh, this mill can't get this fabric anymore. We're like, okay, we got to take it out. Let's just move everything up instead. And then we go, we work on this and we put it back into the mix. So it's a ton of problem solving, and there's things that you can never anticipate that are going to happen. And what we do, but to get back to what you were asking, Scott, so we look at all the fabrics, we pull aside ones that are really inspiring and beautiful, main fabrics that are kind of like the anchor fabric of the group. Then what we do is we have those laid out, we start to build boards around it, just like you do, Tiffany, with your clients and everything. We put all the coordinates, and there's a certain balance you want to get with coordinates, and you want certain colors to be brought out and everything. We sometimes will customize uh fabrics and trims to go with it. Put everything together. We have to send out spec sheets on all of our fabrics so we make sure that we can get continuity on it.

Scott Woolley 27:36

From the mills.

Fabric As Art And Design Spark

SPEAKER_03 27:37

From the mill, from the supply. Uh, we have to have all the information on the fabric. We input all of that. We have to make sure that our purchasing knows what it is, we name it. Everything comes in, then we start to play with the fabrics. We put it together. It's an it's kind of a balance, it's like finding that perfect equilibrium in the design, like where the bolster just has enough punch or enough impact on the top of the bed. Uh, you don't want anything to overpower everything else. So it's a very kind of it's like a very fine-tuned equation that we hit in our in our design. And then we make the prototypes, and we have in-house people that just do prototypes for us only. We're constantly making beds, and we did have a an office space that we called the boardroom, but now we just took all the tables and chairs out, we put beds in there, and we call it just the bedroom. I was gonna say, just that's a and the bedroom is where we review all the time. The magic happens, literally. And we just we generally layer everything together. We just cut and place it to see all of the placement, then we get them sewn, and it's great because we have our fabulous sewers right there. They'll just sew and cut it and make it right there and then. So it's an immediate gratification thing, which is huge. You look at it and you're like, oi, that turned out really cool. Yeah. And that just worked. We have six designers that do this all the time. Full time. Yes. And then once we look at the collection, we decide, okay, this looks really good. Now we realize we're designing it for this customer, this part of the US, uh, this demographic and this kind of a lifestyle. So we try to design it in the best possible way for that customer.

TIffany Woolley 29:18

So is price point always, you know, somewhat the same, or do you ever have to tweak things due to price point? Sometimes we do. Like with that perfect equation, how much does that play into it?

SPEAKER_03 29:30

Sometimes we might hit a situation where we're like, oh, once it's in pricing, we kind of get a red flag and we're like, okay, hold on one second. Like the bolster pillow is beautiful, but let's just look at it because it's this, it's two, it's the same price as two Euro shams. And then you're like, just relatively, like that could throw a lot of people off from using that. So, do use common sense where we look at it and we say, okay, so how can we get to this? Or what could we change to make it more in line with where it should be so that it's relative to the price of the bed? We're not driven by price, we're driven by the style and the look and the feel, but we do have to take price into account. And that usually happens when it is in pricing and coding. And before then, we have all of our salespeople, we have our marketing, we have photography. We all review the beds. So we look at the beds together. So the designer gets up, presents the bed. It's a very it's very much like a crit situation in art school. So it's an open forum. There's no feelings involved. This is purely, we are looking at the merits of the sales of this bed and strategy and where the market is and who would want to.

TIffany Woolley 30:43

I love the design that goes into that. I mean, the level of detail and execution to get to that point.

SPEAKER_03 30:50

And it's nice because we're able to talk about different things that we've done. So some of the designers will try new techniques, new manufacturing styles, or come up with something new, and we're able to point it out so everybody on the company sees it. And then we know that's something we need to run with. Then we know that's something that we need to incorporate in our custom workroom because this is something that customers may want to incorporate in their own designs. So we try to make sure that when we introduce something that's new, it goes all across the board. And then do you try to keep the sheeting aspect more universal or for the most part, sheets are going to be white. Yeah, they're gonna sell. We have a lot of variety in our sheets, and we have a lot of different types of raw materials we work with, whether it's per kale or sateen and different thread counts. And what we do is when we're photographing the bedding collection, we usually select a sheet set that looks that's a lovely complement to it. So something that looks good, like whether it's linen or something with a lace insert, you know, to be a little bit more flown.

Scott Woolley 31:49

So you just brought something up I have to ask a question because I don't understand. Yes. I've heard it a million times. Thread count. Yes. How important is that? And how do you measure a thread count to a sheet or two? So how does that So the thread count.

SPEAKER_03 32:05

Because the higher the thread count, the more it's the higher the softer or No, it's really it's it's the higher the thread count, the more yarn that is in it. So and it's uh usually like per square inch. So you're like you're talking about a thousand. It's a very, very fine thread count. It's very densely woven because it's a lot of threads that go in there.

Scott Woolley 32:30

Does that mean it's better? It doesn't. Doesn't? It doesn't.

SPEAKER_03 32:34

So I always thought everybody thinks that though. It's kind of like a minor thread count.

Scott Woolley 32:39

It's like the higher the thread count, the better the sheet is, but why is it better? It's it softer or is it more expensive.

SPEAKER_03 32:48

Because it's it's a finer yarn. Right. But really, the thing you want to think about with your sheets is you need a good quality yarn. Like you need a good cotton. And the good cotton is what is most important. And where do you think that comes from in your experience? So m most of ours is uh like most of our linens are in Egyptian cotton. I was just gonna ask you. And most of our linens come from Italy, and that's where they're woven and finished.

Scott Woolley 33:16

Egyptian meaning Egypt?

SPEAKER_03 33:17

Yes. Meaning the cotton is sourced in Egypt, spun and everything, finished, brought over to Italy, and then woven in Italy in sheets.

TIffany Woolley 33:29

And how about like, because I feel like with a bed, like how much do you think about like wrinkling and does the thread counts have any bearing with that? Like for me, I can't stand when it doesn't look pristine.

Scott Woolley 33:46

Tiffany has the sheets ironed. Yes, well, that's every week. But yeah. Well, how do you think they're gonna get wrinkled as soon as you get on it? Why you're ironing it?

SPEAKER_03 33:55

But it's such a good feeling, Scott. When you get into a sheet, I've heard that perfectly pressed. It feels so nice and taut. It's one of those things that it's just it's a personal preference because we have we also have a stone washed Italian linen that is very, very soft and it's wrinkled.

Scott Woolley 34:14

Stonewashed. Stonewashed.

SPEAKER_03 34:16

It's a particular uh chemical process that they wash the fabric in. So the fabric, the linen kind of breaks down, fibers become very soft. So it's not scratchy at all. But it's linen, it's creased, it's meant to be creased. You're really not meant to iron it.

Motifs, Market Tastes, And Bestsellers

TIffany Woolley 34:32

But some people still do. Still do. Oh, yeah. I would definitely be still doing that. But is that part of your process too? Thinking of what's gonna wrinkle, what's gonna give you the long term, like especially with a duvet or certain pillows. Those things obviously are not meant to be washed and ironed every day.

SPEAKER_03 34:51

A lot of our product, because it's made using multiple components and multiple fibers, like let's say we have a pillow, and this one is mainly like this, could be viscos and cotton, this one could be linen, whatever. You've so many different variations, and you've got a trim on it. So, in order to make sure you can't wash them because it's just the blanket care doesn't work for them, and really it's just dry clean because it's so many different components that are in there and different materials. Something could shrink a lot if it's washed, and then all of a sudden you're like, oh no, my my pillow looks like it's all bunched up here, and it's like because the cord shrank, but the fabric didn't. So it can change things like that. That's so interesting.

Scott Woolley 35:36

So you have a there's a lot, you have a lot of employees, like over 300 in in Chicago. How difficult it from a standpoint of the people who are doing, and I don't know the terminology sewing or who factory. Yeah. Is it difficult to find those types of skilled workers? They're artists. They are artists. Like I said earlier, I think that's kind of like disappearing.

SPEAKER_03 35:59

I mean, there's I don't think there's a 16-year-old out there saying, I really want to sew. I really want to sit in a sewing machine and sew, or I really want to cut fabric.

Scott Woolley 36:08

It's so are you training people?

SPEAKER_03 36:09

Are you No, we're not training people. Uh our workforce is a little older, and a lot of our people have been with us for a very long time.

Scott Woolley 36:18

Aaron Powell But you have to have be thinking about it.

SPEAKER_03 36:19

Backup plain line keep continuity.

Scott Woolley 36:23

Because the company's been around since the late 80s.

SPEAKER_03 36:27

Now we do have one thing that we do have which is nice is we do have a lot of families working for us.

Scott Woolley 36:33

Okay.

SPEAKER_03 36:33

So a lot of times it's great because it's like, well, mom sews and her daughters sew, and maybe their daughters sew too because they grew up around it. And that's really encouraging because that's the way it gets passed down, and they learn it from them. So then they come to us and they're able to sew. We don't we haven't had to train people yet. When people come in, they have the base level skill set. Yes. Now we do train people how to cut fabrics, and cutting is an art form too. It sure is. You gotta cut it, you've got to center something. Yes. You, you know, we don't we cut everything one at a time. We don't bulk cut in layers because we have a half-inch seam allowance in our factory, and that's what we allow, whether we're doing custom product or our own product. And the sewers know that that's what our allowance is. And when product goes through quality, like through being ready for shipping, the people that pull the product will actually measure it to make sure that everything is the correct size.

TIffany Woolley 37:38

Never thought about so much goes into every product and it just makes people appreciate that every detail. I mean, those those little tiny things just mean so much at the end.

SPEAKER_03 37:51

Your pillow, which looks very simple, is probably touched by maybe like 10 different people around the factory at any given time. A pillow because somebody has to pull that fabric down, go and someone has to cut it, uh, somebody has to go and get the zipper, the thread, and all the components that are needed, whatever else needed, to make that pillow, then it has to go and get overlocked. It gets overlocked first, so we overlock, which is like that edging, so that the fabric will not come apart when the product is fully made. Then it goes to the actual sewer who will sew the pillow. Then it goes over to our Sometimes. We have topical things like nail heads, things like that that we do on top of it. That goes to another department where all hand application gets done. Then it moves to our packing kind of department where orders are pulled. They'll put the pillows inside out, they'll look at it, make sure everything is good, place it on the order, then it goes to the packing table. At the packing table, they lint roll, they cut loose threads. Beautiful. They will pull the pillow that you've specified that you want in there, because we offer three different fills. They fill it nicely into the corners, they tag it in the zipper, they don't puncture any holes in the fabric, and then they'll put it in a plastic bag, wrap it nicely, place it in the box. So when you get it, you just open it up and it's ready to go.

TIffany Woolley 39:12

That really is a special, special.

SPEAKER_03 39:15

It is a skill set. I have packed pillows too. I mean, to try it takes time to push and get your pillows nicely into the corners and to feel like it's evenly dispersed and that the pillow looks beautiful.

Scott Woolley 39:27

Right.

TIffany Woolley 39:28

So I mean, and then what about duvets and any techniques or any evolution to that?

Monthly Launch Model And Workflow

SPEAKER_03 39:33

Not really. The interesting thing that's happened that we've seen with duvets is we started offering comforters because customs side of our business customers wanted comforters. Whether their moms had it. Right, I feel like that's a cyclical thing. They come in like that. I get it. It could be. And just to comfort. And then sometimes people are like, I I'm just I don't want to fill a duvet. I don't want to spend 20 minutes making putting the duvet insert in. Like, I get it. So we started offering comforters, and they were just so successful that we incorporated it into our line. So now every collection that we do such a history with that too, right? A comforter version as well. And that's we probably sell an equal amount of comforters and duvets.

TIffany Woolley 40:19

Aaron Ross Powell And when it comes to sizing, like you're staying-I obviously they're standard sizing, but like when you take even comforters, just the evolution of comforter and how they would be one piece and you'd roll the pillows in, or some would hang long, and some would be seamed, and then they'd have the skirt.

SPEAKER_03 40:37

I mean, there's such a and and we do that in our custom workroom. We will do these bed spreads where the bed spread goes all the way down to the ground. It's not something we offer, but You'll do it. We will do it. Whatever you want.

TIffany Woolley 40:49

So fabulous.

SPEAKER_03 40:49

We'll make it.

TIffany Woolley 40:50

So fabulous. So obviously, we could talk about the the little ins and outs of bedding for days, but there is a really you're sold at high point is your main source of like your showroom. And that's open year-round.

SPEAKER_03 41:05

It's it it's open at market, um, and then it's open like by appointment if people want to see it. Usually what we do is we do such a we change every single market and we do such a big renovation. We change the layout a little bit, we put in new bed collections, we'll build new vignettes, we put up wallpaper, paint, different elements like that. So between markets, we're getting it ready for the next market. For gearing up, which is a lot of work. But we do have a showroom in Chicago that people come to. And we've got to be part of the factory. That's where the factory is. It's right at the factory. And we always welcome people to come to the factory. If they ever want to tour, we're happy to show them around. That's really because it's such a it's such a great educational experience. And it's really cool to be able to see it. And I'm feel very proud that we make these items and we still make them in the US. And I think most people, when they go and see how it's done, they come away too with a newfound respect. Such a new appreciation for the product. And you look at it and you're like, somebody designed that, and I just saw that being made, and that took a lot of people to make that one item.

TIffany Woolley 42:12

So spending a lot of time in high point must have been what led to the manor project, Pandora's Manor. Tell us how that came about, what Pandora's Manor is. I've seen it. It's truly a masterpiece. It is. It's in every detail. I mean, literally every layer of every level.

Scott Woolley 42:35

It's almost a reason when you go to High Point, you have to go to the manor just to go see it or experience it.

SPEAKER_03 42:40

You really do. And I mean, High Point, as you guys know, it's kind of an interesting city. Like it is the world headquarters of home furnishings, but it's kind of a weird, interesting town. You're like, it's not, you know, beautiful like Charleston or something like that. Like you would think so. You would think home furniture. The showrooms are amazing, but outside of it, you're like, well, what is that? They're city blocks. Yes.

Scott Woolley 43:04

And it's and uh when you walk two two blocks or three blocks kind of out of high point.

SPEAKER_03 43:09

And it's a little sketchy.

Scott Woolley 43:12

But you come to the manor. Oh, and you come to the manor, and it's this. Yeah.

SPEAKER_03 43:15

What is this tucked away? So right behind Lee Furniture, there's the manor is there. It's on High Avenue, and it's like the old historic district. The home is beautiful. It was built in 1905. It was built for Henry Frazier. Henry Frasier was one of the founding members of like the furniture business. So him, Tomlinson, and all the rest were the first people to set up furniture companies in High Point. And his home right there was like just within walking distance to the factory. And he also had set up the Almadesk Company. So this house that he built was built in 1905. The train tracks are right there. Right there. They would have day laborers that would just come off the train and help. Build the house at the time. And the house was it still is, but at the time it was very magnificent. Yes. Very large 15,000 plus square feet home. Beautiful. Porch. Beautiful, yeah, beautiful.

Scott Woolley 44:14

Doesn't it be a bigger thing?

SPEAKER_03 44:15

Southern porch, yep, wraparound porch. And then the woodwork is amazing.

TIffany Woolley 44:20

Um, scale too for that time. It really like it's estately.

SPEAKER_03 44:28

It was. It was very impressive. And this house was only built 10, 15 years after the Biltmore. So it's like a very similar time period as the Biltmore. And it's really a little, it's this amazing little jewel that when you're in it, you're like, I I don't really know where I am, but this is it is special. Special. Uh so Eastern Accents acquired the house in I think 2014, 2015 when uh Rid Vaughn, the owner of the company, bought the house. It was uh not in the best shape. Okay.

TIffany Woolley 45:00

It was uh Whose hands has it been in?

Prototyping, Pricing, And Crits

SPEAKER_03 45:04

It's only been in three different owners. The um the Frasiers who built it, and Henry Fraser built it. His wife's name was Pandora, that's why we call it Pandora's Manor, because the house was really her house. Uh-huh. And they had one daughter, Isla. And uh they lived there until the late 20s when they sold the house. Wow, so they didn't have it that long. They didn't have it that long. And in the house, there's an amazing stained glass window at the top of the stairs on the landing. And Henry Frazier was a religious man, and he commissioned that. It's a Madonna and child, but he commissioned it to commemorate his wife Pandora and his daughter Isla as well. And when we did our addition, we built kind of a whole protective area around it, and we backlit it with LED lights so that it's lit up the whole time. Because the end of the house ended there, and the poor stained glass was just getting beat up from the exposure of the sun and everything, hitting it in the back.

Scott Woolley 46:02

Has it always been called Pandora or did you know we called it?

SPEAKER_03 46:06

So once we it was Pandora's Manor, then they sold the house to the Wilson family. The Wilson family were the first four dealership in the town. And so not furniture. Not furniture at all. And Eastern Accents acquired it from the Wilson family. So we are like the third owners. And when we got it, it was crazy plumbing and like step-up bathrooms, so you know all of the pipes were there because it's much easier to put the pipes under the floor as opposed to going into the walls. Right. And a lot of the space had to be reconfigured. But when I started looking into the history of the house and found out about who built it and when it was built, I thought, well, we have to call it Pandora's because it's her house. And I do believe it's her house. And it's uh it's their house. And I do feel like that I I feel like I was the steward of the house, and it was my job to make the house feel today just like it felt when it was in 1905.

TIffany Woolley 47:02

This amazing feel that way. Thank you. It's and it's every the layering is is truly masterful.

Scott Woolley 47:10

And each room that you sit in is just so relaxing and cozy.

SPEAKER_03 47:15

The house has a good soul and a good energy, and I it has a wonderful energy. Thank you. And it took a long time. Like I would go down there and just stay there on my own, and I would walk around the house to see like what I needed to change or how the flow could be better with with minimally invasive things. And we would take down some of the door frames or the woodwork because it was so lovely, deep, old, generous woodwork, and we would repurpose and use it somewhere else. And then there were like some mold fireplaces we had to take out, you know, things like that.

TIffany Woolley 47:45

So, how did you go about putting your group of artisans together? Like such a departure from pillows and you know, this bedding, like definitely into it's a it's an interior design architectural digest. It is.

Scott Woolley 48:01

So we kind of thought, you know, we wanted to has it been featured in architectural digest or anything like that? It should be.

SPEAKER_03 48:06

No, it should be, yeah.

Scott Woolley 48:07

Yeah, it should be.

SPEAKER_03 48:08

Thank you. But uh if what was interesting is we wanted it to feel a little like Alice in Wonderland. You're in this historic home that feels like it should, it should be in 1905, like you're walking into the past, but you have today's conveniences. And then we wanted the bedrooms to all feel completely different. Like you open up the door and you're in a whole different world. And that's really how the bedrooms feel when you're in them. It's everything is such a unique signature and handwriting, and that's why we went and we asked different designers that we knew to take on board a bedroom. Okay, so you bring their identity to that, and that's what we did.

TIffany Woolley 48:44

So, how did you go about selecting who you were working with for that? Yeah, and did you work on keeping continuity between them as well? What was their marching order?

SPEAKER_03 48:54

Their mar uh I gave them a very limp, I I already did the bathrooms. The bathrooms were black and white as the base, and I picked all of the shower tile and everything. So I didn't I wanted there to be some consistency there. But other than that, they kind of had free reign on what they wanted to do, uh, what they wanted to place, paint wallpaper, decor, whatever. So we went to these designers, some of them we worked with, um, like Barley and Celery and Tom. Amazing. And Matcap we worked with too, and even Toby. So it was really nice because we already had a nice rapport with these designers. We knew they all had a different vision, and then we were able to say, you know what, here's your room. You go and just make it amazing. And that's what they did. So at what point did it become the an in? 2016, we kind of launched it, opened it up, then people could stay there, and now anybody can stay there, and you can go and pick whatever room you want to stay in.

Scott Woolley 49:52

So it's a bed and breakfast.

SPEAKER_03 49:54

It's a fully functioning bed and breakfast.

Scott Woolley 49:57

There was some event going on, and you had even said to us, go get something to eat in one of the rooms. And we we weren't hungry, but we walked into the dining room.

TIffany Woolley 50:06

Such a beautiful over the top. I was like, In the kitchen itself.

SPEAKER_03 50:13

Oh so the kitchen is my favorite room. So the kitchen became like my own personal passion, passion project. I was like, if I could build a perfect kitchen, I would make it like this. And that's what I did. And I picked things that I loved. I I was very respectful again of the space and everything, but knowing we want this beautiful exhibition kitchen that people could sit at, where you could have a chef cook, everybody could watch, interact, where it's a different experience. So that was the kitchen that we built.

Scott Woolley 50:42

I think it's a place, you know, I had a restaurant I mentioned to you last night long ago for a number of years. It's without a doubt a place that if you're a restaurant owner or you own a hotel, it's a place that people should go to experience the feeling that you get. Yes. Like as soon as you walk, like we did a podcast a few weeks ago with a woman, interior designer who who designs with bong shui.

SPEAKER_02 51:07

Yeah.

Scott Woolley 51:07

And the the feel and the mood of the house. And when you walk into a house, the your the manor, you walk in, and you immediately feel so comfortable.

SPEAKER_03 51:19

And it still feels like a home.

Scott Woolley 51:21

Home.

SPEAKER_03 51:21

Yes.

Scott Woolley 51:22

It's just yes.

SPEAKER_03 51:23

It never it it's a living, breathing entity.

Scott Woolley 51:27

And it's like you feel the energy.

Sheets, Thread Count, And Care

SPEAKER_03 51:31

Yeah. I I I think so too. And I I I feel it. And every time I go down to High Point, I always stay there, yes. And I just like it because I always sort of walk the house to make sure everything is good. I look around to see if there's something else I need to add, because I'm constantly looking for different things to complete it or update or change and add, or what can we improve on? And I walk around the grounds because a lot of times I'll go down in the summer and I'll spend maybe a week there and we start to plant things and I'll do different things because I love doing all of the flowers as well at Eastern Accents and our showroom and at the manor. And I love planting things in the garden that grow and we'll cut from what we have growing in the manor.

Scott Woolley 52:12

But you also do parties and events there.

SPEAKER_03 52:13

And we have parties and events there, yeah, special events. At market, there's a lot of events that have been. Server weddings there. There are some weddings there. It's a perfect place. We used to have a tent in the backspace, we don't have that anymore. But it's a lovely event for like a second wedding or a smaller wedding or elopement, something more intimate.

TIffany Woolley 52:31

You know, and I feel like text you definitely feel the connection to textiles when you walk in. So come you know, that it's a completely different entity, but you can tell it's the house that Eastern accents brought back together. Do you know? Yes. It has an overwhelming layering of It does have a lot of layers on a lot of the ultimate, you know? Yeah. We be able to incorporate all that is just so special.

SPEAKER_03 53:02

And we made all of the draperies. We had to do it. The draperies are spectacular. Different things to complement the wallpaper, like with there are birds actually in the wallpaper there, but it's not in the bedroom, so it's okay. But we did hand paint birds on some of the drapery swags and everything to tie in with the paper that we used in the main area. And just different rooms of different themes, and things were curated and collected. I had bought in the dining room there's a map that's there, and it's from the 50s, and it's a map of North Carolina, and it's huge. I mean, I don't know how people opened it up and actually platter their way in the car, but it's a beautiful map. So I think I got it for$20 at a thrift store in High Point. Oh my goodness. And then I went and brought it to a local framers and had them dry mount it and cut it into a triptych, and that became like the focal point for the dining room. And the dining room is very kind of about transportation and maps and all the rest because the train's right there in front.

TIffany Woolley 53:58

It really is such a special place. So do the owners get over there often as well? Like what is their infight? Nah, um like the owners of Eastern Accents.

SPEAKER_03 54:09

Yes. Not absolutely. Something more your baby. It's I feel like I've kind of claimed it as my baby. I stay there, but I just I want to make sure that she's just always beautiful, that this house is always gorgeous, and that whenever you walk in there, I I'm genuinely happy when, like you said, Scott, your initial reaction, you walk in there like, this is amazing. And it just makes me happy to see it because it is a beautiful piece of architecture. And it could have been easily wiped out. Like it could have been knocked down.

TIffany Woolley 54:40

Is it on the historic registry? Yes, it is. It is.

SPEAKER_03 54:43

And it's what's crazy is the house to the right of it is also another historic house, the red uh, the red egg. And that house was actually where Lee furniture was. But they moved it to the space that it's in now. But you think, you know, in a city where people want showrooms and showroom spaces, it's so easy to say, well, this is a great piece of land. Let's just knock this house down and build a showroom. And it just would be such a travesty because I feel like this house is a gift to the people in the area. It really is an amazing thing for people to see in the world.

TIffany Woolley 55:14

It's a destination in and of itself. It is.

SPEAKER_03 55:17

So who puts together the staffing and the maintaining uh so we have separate staff, uh we have manager and everything that looks after the manor. So it's like a fully functioning entity on its own. And it's open year-round and locals use it, people come there. We have there's different people stay there. Uh we've high point university there, so we have a lot of parents from the university that once they come and stay there, that's where they want to stay. And they have their favorite rooms or they try out different rooms. So it's in it. There's only six rooms. Okay. Wow. So it's very intimate, very small, very personal. And generally, if we have an event there, usually you're the only event that's there. So it's nice because again, it's intimate. You're not gonna run into like another company, or if it's your wedding, you get the whole place.

TIffany Woolley 56:08

Unbelievable. So is it always booked way in advance for high point? Market is tough.

SPEAKER_03 56:14

We've got a waiting list. I'm sure we have a lot of regulars that just come. Yes. That's their home. Like it's it becomes like a home away from home. You just feel comfortable, you know the staff, you know what's there. We have snacks out all the time, we've got homemade cookies.

TIffany Woolley 56:30

Uh, it really is such an experience.

SPEAKER_03 56:33

Watching a feeling. Yeah.

TIffany Woolley 56:35

It's whatever you want. So, what's next? What's next on your agenda? Oh, what is next? I mean, you've had an amazing year traveling with this own object and all that.

Skilled Labor And Quality Control

SPEAKER_03 56:48

This year has started off very inspiring with a lot of travel and a lot of exposure to a lot of different ideas. I don't think I've fully absorbed everything at all yet. Because I think it has to kind of it's like coffee, it just has to run through the filter. So it's still going through the filter, but right now we're sort of busy because high point is coming hot on our heels in April, so that's going to be busy. Uh we're working on doing some core uh cordless Roman shades, which is very, very exciting. I love that idea.

TIffany Woolley 57:20

Motorized shades, which is very cool. That's very cool. So it can and they're customizable, obviously, in width and height. Yes. Yes. It's really nice.

SPEAKER_03 57:30

When are those launching? So we've been working on it. We're hoping to launch it sometime this summer. We just want to make sure when we launch it, like we've hit our learning curve and made enough of them that we know exactly what works and what doesn't.

Scott Woolley 57:46

Like a Roman shade.

SPEAKER_03 57:48

Yeah, a Roman shade. That's that to me is very exciting. It is exciting. And it's nice because they're all cordless. And cordless is really the way to do it because you just touch it and it goes up and you program to stop everything. The robocontrol is pretty impressive. You just push the button and it'll stop automatically. And then you can actually have a program through your phone. So if you're on vacation, you could say you can program it to close your shape.

Scott Woolley 58:10

So will you launch those on a on your on a your website where people can customize it and then order it?

SPEAKER_03 58:16

Yes. Everything is customizable on our website, and we actually have a whole rendering program for a lot of our headboards, things like that. So you can actually see the fabrics in our line rendered. You can add nail heads, well, it's change the stain of the woods, things like that.

Scott Woolley 58:29

So is it just the fabrics that you handle, or can people use their own like a COM?

SPEAKER_03 58:34

You could COM. We do COM all the time. We do COM all the time. And what's kind of funny, and one thing I've noticed is we we'll do COM, and I'll be looking at something that's made, and I see amazing fabrics, which is really, really cool. So I feel like I get exposed to even more fabrics. But sometimes I'll go and I'll see it and I'll be like, oh no, this person just COM this fabric. They didn't realize we carry the same colorway, we have the same fabric. Like, if I bought that, that is so funny. They wouldn't have even had to have been shipped into us. They could have just saved money. Used it that could have saved us money. So it's a it's Eastern Exe is always a good resource for fabric and trim because we carry such a range of it and we're always in stock because we needed to make our product to ship it out. So very rarely would you find our fabrics.

Scott Woolley 59:18

So, how many fabrics do you think you carry? Oh, 50,000.

SPEAKER_03 59:22

50 racks.

TIffany Woolley 59:23

I mean, I can't even wrap my head around that.

Scott Woolley 59:25

5,000 different fabrics.

TIffany Woolley 59:30

Fabrics and trims. It's a lot.

Scott Woolley 59:32

Yeah.

TIffany Woolley 59:32

It really is such an operation. I mean, like, really comprehending it is it is.

SPEAKER_03 59:37

You stand back from it every night and then you get a little mind blown. I'm like, ooh, I sometimes I walk through the factory and it's almost like I have a new perspective. And I'm like, God, how does this happen? How does how's this?

Scott Woolley 59:47

But 5,000. So, but what and I guess maybe if for people don't realize they come in these huge roles.

SPEAKER_03 59:54

Heavy. 50, 60 pounds a bolt. Yes. Not easy. We're like moving them around every day. Schleck workouts. It is a great workout.

TIffany Woolley 1:00:04

Oh, well, I love this conversation so much. And I just feel like you're so blessed to have this rich history and passion for textiles and to have landed in the United States and add eastern accents.

unknown 1:00:17

How love?

TIffany Woolley 1:00:18

It's such a blessed career and existence and met your husband and have your beautiful family. You are, you know, a dream. So thank you.

SPEAKER_03 1:00:28

Thank you. I am very blessed. I'm very, very fortunate. And thanks for having me on.

Scott Woolley 1:00:33

We look forward to seeing you at High Point. Yes, we're gonna see you.

TIffany Woolley 1:00:37

We'll see you at the manor is right. Oh, I love that. Well, thank you for listening to iDesign Lab Podcast.

Voice Over 1:00:44

iDesign Labs Podcast is an SW group production in association with the five star and TW Interiors. To learn more about iDesign Lab or TW Interiors, please visit TWinteriors.com.