What it means to be a design publicist in 2020

Architectural Digest Pro released an interesting article this month which rings true for the UK public relations industry today as we quickly look to navigate and change with the times. This week, we have for example spent huge amounts of time looking at how to run creative, slick yet interesting virtual press launches.

A decade ago, a savvy design publicist would have two key goals for designer clients: to get them exposure in the key print magazines, and to help them get distributed by the right brick-and-mortar retailers and showrooms. Those with stables of top-tier clients enjoyed a certain status as gatekeepers, using that power in their relationships with editors and buyers.

But with a diminishing magazine industry, a mushrooming digital media landscape, and a flood of younger PR firms and designers entering the market—not to mention the unprecedented global turmoil we are encountering—the fight to make sure clients’ work is seen by the right eyes is becoming more complicated than ever. And design PR has had to change with the times.

There has also been an expanding game of musical chairs, as designers and architects move from one PR firm to another or, in some cases, choose to take their public relations efforts in-house. Younger designers on tight budgets who find the retainer of bigger PR firms cost-prohibitive are instead turning to freelance communications enterprises.

What does it mean to be successful in PR in 2020? AD PRO picked the brains of five seasoned publicists to learn how they’ve adapted to changing times and what they think the future holds for the industry.

Print is still kicking—but it’s not the only thing that matters

“Years ago, PR was more formulaic,” says Sarah Boyd, founder of Sarah Boyd Co., whose clients include Field + Supply, Waterworks, and Beth Webb. “You gave an exclusive news item to one publication and then waited many months to secure more print stories. That’s not the way it’s done now.” Instead, print is just part of the equation.

“Some print publications look better than ever,” says Rebecca Goldberg Brodsky, founder and partner of Dada Goldberg, who counts Foscarini, Stonehill Taylor, Pelle, the Lake House on Canandaigua, and Maximilian Eicke among her clients. “While there are fewer prestige titles, the big ones have maintained their brand value.” At the same time, she says, digital media is a big draw—it’s not only highly visible and more trackable, but also often friendlier to long-form journalism. “We try to educate our clients that it’s not about one placement. It’s about a strategic plan that produces careful ubiquity for brands. It's seeing your name in multiple places but with different angles and headlines.”

And it’s no longer just magazine editors who wield the power—influencers, stylists, and writers can hold equal sway in their relative niches, and all that should be taken into account with a media strategy. “Print press, or earned media, is not the only go-to answer anymore,” says Melissa Skoog, founder of Skoog, whose clients have included Andrea Goldman, Robbins Architecture Soucie Horner, and Tiffany & Co. “It’s also about getting a designer’s name in the right circles, both for new business opportunities and to strengthen vendor relationships, and finding the right speaking and event opportunities that put a designer in the same room with opinion leaders and potential clientele that they need to know.”

A multifaceted approach is key, but you don’t have to be a one-stop shop

Many designers are looking to their PR companies to help them with more than just publicity. Common expectations include brand strategy, business development, marketing, communication, data analytics, and even SEO. But seasoned publicists say it doesn’t always serve the client—or their own business—if they act as a jack-of-all-trades

Rather than trying to be an expert at everything, publicists today benefit from carving out a specialty—whether that’s marketing, brand narrative, or business development—and striving to be the best-in-class within it. That said, having a cohesive, multipronged approach is something of a requirement in this day and age.

“We compare our strategies to setting up a chessboard,” says Chesie Breen of NivenBreen, who represents Bunny Williams, David Kleinberg, and Amanda Lindroth, among others, and was recently elected to the board of trustees at the New York School of Interior Design. “Some pieces on the chessboard carry more significance, but all play an integral part in establishing the end goal. A public relations strategy is most effective when a myriad of components move together with grace, patience, and balance.”

Social media is an essential part of the package

A top-of-mind ask that most designers have for their PR firms: How can I excel at social media? A smart Instagram strategy doesn’t just allow designers to directly interact with the public and establish a unique creative voice. All of those followers are also potential clients and customers.

“Social media has been an incredible tool for broadening the pool of people interested in design, and for designers, in turn,” Natkins says. “When leveraged properly and strategically, it can be game-changing for a business.” Banking on social media’s increasing value, Natkins’s firm recently launched Camron Digital, a full-service division dedicated to audience intelligence and insights, digital strategy, content creation, influencer marketing, paid media, retargeting and conversion tracking, and digital analytics and analysis.

Goldberg Brodsky agrees that a shrewd social media approach is crucial. “Design PR agencies are relevant for translating the heart and soul of a brand or personality into memorable experiences through story, interaction, and quiet product placement on social media,” she says. “You no longer need to have a television show or a line at Target to be noticed by the consumer. Recognizing this, designers have poured tremendous energy and resources into their social media accounts, and they've amassed impressive followings. Many feel that their Instagram page is more important than their website.”

Storytelling—and point of view—is king

With so many potential platforms for telling a designer or brand’s story, publicists have now become shepherds of that narrative. “Storytelling is crucial,” Skoog says. “Brands need to own their story, and then use PR, events, and influencer engagement to amplify and promote new products and services. Consumers are reaching brands in so many different ways now, and it is important that, no matter how they discover you—whether through a story in a magazine or event, or through social media—the brand storytelling is clear and cohesive.”

Since opportunities for print stories are fewer, Natkins agrees that a clear brand narrative is essential. “A nuanced, tone-setting article that delivers a point of view can be a critical asset for business building,” she says. “Attractive interiors and strong visuals can help a designer get published, but more often than not, we are approached to help build a profile or brand with a point of view.”

As consumers increasingly hold brands to account for their practices, that’s also true of social values, says Goldberg Brodsky. “In the past, brands shied away from commenting on social issues for fear of being too political. In this year, life and politics merged in a way that gave us no choice but to be political, empathic, and human. We advised our American brands to stand up for equality whenever possible.”

You’ve got to be more nimble than ever

The arrival of COVID-19 sent the design industry scrambling to change course. But these veteran publicists know that being able to shift their sails at a moment’s notice has always been a necessary skill. In fact, many of them relished the chance to think creatively when the coronavirus hit.

For Goldberg Brodsky, whose clients depend on design fairs and trade shows to drum up much of their new business, that meant creating virtual showrooms where editors and customers could “walk through” spaces to see their products in situ. For Boyd, who worked on the launch of Waterworks cofounder Barbara Sallick’s book The Perfect Kitchen, it meant canceling a national tour and connecting Sallick with readers via Instagram Live. “We knew we had to do it,” Boyd says of her thinking at the time, “but how do we make it feel natural and on brand?” After several practice runs on FaceTime, Sallick proved to be a natural—and Boyd came up with a similarly creative strategy for Carrier and Company, who set up a textile showroom in their living room.

Breen, who has also orchestrated virtual programming for many of her clients—including a by-invitation webinar for the launch of his book Pietro Cicognani: Architecture and Design—says business has actually increased since the pandemic struck. “We’ve brought in two new marquee clients and two short-term project initiatives, all of whom are seeking resourceful ways to navigate the new normal,” she says. “We’ve learned that needs can shift on a dime, and our strength is meeting those challenges head-on and making sure our clients stay front of mind and grounded despite all of the uncertainty.” While nimbleness is particularly useful in light of this year’s upheaval, it’s clear that quality will continue to be the contemporary design publicist’s calling card.