St. Louis Bathroom Design: The Renovation Questions I Get Asked Most

St. Louis Bathroom Design: The Renovation Questions I Get Asked Most

St. Louis bathroom renovation by Rachel Blindauer

Bathroom renovations generate more anxiety than any other room, and for good reason: the decisions are expensive, the timeline is disruptive, and the mistakes are permanent in ways that paint colors are not. A tile you hate will be in your bathroom for ten to twenty years. Here are the questions I am asked most in St. Louis bathroom projects, and the honest answers I give.

At a glance

  • Tub or shower: keep one tub in the house; make the primary bath all-shower
  • Floor tile: large-format, matte or honed
  • Vanity height: 34 to 36 inches if you are over 5’7″
  • Shower size: 42 by 42 inches at minimum
  • Grout: a mid-tone, never bright white in a shower
  • Fan: at least 1 CFM per square foot of floor, and never less than 50
Walk-in shower replacing an unused tub

“Should we keep the tub or go all-shower?”

If no one in your household has taken a bath in the last year, no one will take a bath in the next year. Soaking tubs are beautiful objects used far less frequently than their owners imagine when installing them. If you want a large shower and the only thing stopping you is guilt about removing an unused tub, remove the tub. On resale: the absence of a tub matters more in family neighborhoods with young children, less so where buyers tend to be empty nesters. My general recommendation: if you have a secondary bath with a tub, remove the tub from the primary and go all-shower. You’ll get a better shower, more space, and a room that functions how you actually use it.

Large-format tile and a honed floor finish in a bathroom

“What tile should we use?”

Size: Larger tiles make small bathrooms feel larger—fewer grout lines mean less visual interruption. In a small St. Louis powder room, 12×24 or 24×24 tiles on the floor will make it feel bigger than 4×4 tiles. Small tiles in small spaces make them feel smaller, not cozier.

Finish: For floors, always matte or honed—polished tile is slippery when wet and shows every footprint. For shower walls, glossy subway tile reflects light beautifully and is easy to clean.

Color: Warm whites and warm creams age better than cool whites because skin tones read more flatteringly against warm backgrounds. A bathroom in warm white tile with warm-temperature lighting is a room you feel good in—which is specifically what a bathroom should be.

Marble vanity at a comfortable working height

“How high should the vanity be?”

Standard vanity height is 32–34 inches. Comfort height is 34–36 inches. For anyone over 5’7″, comfort height is significantly better for daily use—the difference between leaning over to use the sink versus standing upright at it is felt every single morning. If you are tall, go to comfort height. Floating vanities—mounted to the wall without a floor base—add visual spaciousness by revealing the floor plane beneath them and make cleaning significantly easier. They require wall blocking installed before drywall is finished, so plan for them early.

“What paint color should we use?”

Warm, and tested under the bathroom’s own lights rather than daylight, because most bathrooms are seen at 6 a.m. and 10 p.m. Choose an eggshell or satin finish so it can be wiped down. I keep an updated list of the exact colors I am specifying, with brand and number, in the best bathroom paint colors.

“Should we do a curbless shower?”

If the budget allows, yes. A curbless shower is easier to clean, makes a small bathroom feel larger, and means the room will still work if anyone in the house ever has a knee replacement, a stroller or a wheelchair. It has to be planned before the floor goes in, because the subfloor must be recessed to slope to the drain. I cover the details of bathrooms that work for every age on my sister site, Well Aging Home.

A bathroom detailed to age well

“What decisions will I most regret getting wrong?”

In order of regret-potential: shower pan size (anything smaller than 36×36 feels cramped immediately and forever—go 42×42 at minimum, 60 inches on the long dimension if you possibly can), grout color (white grout in a high-use shower is a maintenance burden—choose a mid-tone gray), and ventilation fan capacity (undersized fans cause persistent moisture problems leading to mold and grout deterioration—buy more CFM than you think you need; the common guideline is at least 1 CFM per square foot of floor area, with 50 CFM as the floor, and duct it outside rather than into the attic).

The renovation you’ll love in ten years is the one where permanent decisions—tile, layout, fixture height, shower size—were made carefully, and decorative decisions—hardware finish, accessories, towels—were treated as changeable.

Rachel Blindauer is an award-winning interior designer based in St. Louis with 15+ years of residential renovation experience. Book a consultation at rachelblindauer.com.

Finish the Bath

Solene Brass Vanity Light

Solene Brass Vanity Light
$597

Lucerne Oval Mirror

Lucerne Oval Mirror
$1,495

Cascais Brass & Glass Bath Shelf

Cascais Brass & Glass Bath Shelf
$1,195

The Design Consultation with Rachel Blindauer — two hours on your project

SOMETHING FOR EVERYONE

THE PIECES RACHEL RETURNS TO, AGAIN AND AGAIN

Sarasota Interior Design: Light, Salt Air, and What Actually Holds Up

Sarasota Interior Design: Light, Salt Air, and What Actually Holds Up

Plaster bedroom in soft Gulf Coast light with a fringed linen coverlet

I designed in Sarasota for years before I understood it. The light is the thing everyone mentions, and the light is real; the Gulf throws it up under eaves and across ceilings in a way inland rooms never see. But the light is only half of the brief. The other half is what that light, and the salt air behind it, does to everything you put in a room.

So this is the practical version of Sarasota interior design: what I specify, what I have stopped specifying, and why a house on the Gulf Coast is a different design problem than the same floor plan in St. Louis.

At a glance

  • Paint: the coolest of the warm whites, tested on two walls for a full day
  • Stone: travertine and honed marble
  • Upholstery: indoor-outdoor performance weaves that feel like linen
  • Metals: powder-coated, sealed or antique finishes; unlacquered brass if you like patina
  • Skip: silk, jute by the lanai, lacquer in direct sun, anything nautical

Start with the light, not the palette

Gulf light is high, white and slightly blue at midday, then warm gold for a long hour before sunset. A color that looks perfect at noon can go chalky at four. This is why so many Sarasota houses that were meant to feel serene end up feeling washed out: the paint was chosen from a chip indoors and never tested against the window.

My rule is to sample every wall color in the actual room, on two walls, and to live with it for a full day. Warm whites with a drop of grey (not yellow) hold up best. Pale greens and blues read as air rather than color. Anything with a lot of yellow in it turns to butter by afternoon. I wrote about specific colors in my paint guide for Sarasota, San Francisco and Nantucket; the short version is that Sarasota wants the coolest of the warm whites.

Three I trust in Gulf light: Benjamin Moore White Dove (OC-17) for walls and trim, Benjamin Moore Classic Gray (OC-23) where a white looks too stark, and Benjamin Moore Palladian Blue (HC-144) when you want a room to read as air.

Materials that survive the coast

Stone. Travertine and honed marble were made for this climate. They stay cool underfoot, they do not fade, and they take the humidity without complaint. A travertine coffee table in a Sarasota living room is almost a cliché for a reason: it is the one piece that looks better after ten summers.

Performance fabric. Not the crunchy outdoor kind, the newer indoor-outdoor weaves that feel like linen and shrug off sunscreen. Every sofa and dining chair I specify near the water is in one of these. Sun through a sliding door will bleach a cotton velvet in a season.

Finishes. Unlacquered brass will patina fast in salt air, which I happen to love; if you do not, choose a sealed or antique finish and know that chrome will spot. Powder-coated metals over raw iron, always. Solid wood over veneer, because humidity lifts veneer at the edges.

What I have stopped using. Silk anything. Jute rugs in rooms that open to a lanai (they hold moisture and smell). Lacquered furniture in direct sun. Heavy drapery, which fights the whole point of the house.

Travertine and Viola marble checkerboard floor, a stone floor made for Gulf humidity

The “coastal” trap

The fastest way to make a Sarasota house feel like a rental is to decorate it about the beach. Rope, driftwood, the word relax in cursive. The houses that feel expensive here do the opposite: they take the calm of the coast as a given and then furnish the rooms the way you would furnish a very good apartment anywhere. Real art, real wood, one strong piece per room, a lot of restraint.

The version of this that works is white plaster, pale oak, travertine, and color used sparingly and with intent. Nothing nautical. It reads as coastal because the light does the work, not the objects.

Indoor-outdoor kitchen opening to a pool and lanai

Layout for how people actually live here

Sarasota houses are lived in sideways. People come in from the pool, the lanai is the real dining room half the year, and the front living room is often the least used space in the house. I plan for that. The best seating goes where the view is; the good lamp goes where you read after dark; the dining table sits close enough to the kitchen that carrying plates outside is not a project. A rechargeable lamp like the Nomad earns its keep on a lanai table.

Art, because it matters more here

White walls and big windows make a room feel unfinished faster than anywhere else. One large framed piece over the sofa does more for a Sarasota living room than a dozen small objects. I keep the palette in the family of the water outside: marine blues, sea-glass greens, bone and sand. The framed abstracts in the shop, in a curved walnut frame, were chosen with exactly these rooms in mind.

Sarasota interior design questions I hear most

What paint colors work best in Gulf Coast light?

Cool-leaning warm whites and soft blue-greens. Avoid anything with a lot of yellow in it; by late afternoon it turns to butter.

Is travertine a good choice in Florida?

Yes. It stays cool underfoot, does not fade in the sun and handles humidity well. Seal it, and choose honed over polished near the pool.

Which fabrics hold up in salt air and sun?

Indoor-outdoor performance weaves for anything near a window or a sliding door. Save silk and cotton velvet for rooms the sun never reaches.

How do I make a coastal home feel elevated instead of themed?

Leave the beach outside. Furnish with real art, real wood, stone and one strong piece per room, and let the light make it feel coastal.

Shop The Look

Working with me from Sarasota

I split my time between Greater St. Louis and the Gulf Coast, and I take on Sarasota projects both in person and virtually. If your house has the light and none of the calm, a design consultation is where I would start. And if you want to know which direction your rooms are already leaning, the two-minute Style Quiz will tell you.

Sarasota Style, Brought Home

Luna Travertine Table Lamp

Luna Travertine Table Lamp
$665

Ashbourne Cabinet in Natural Pine

Ashbourne Cabinet in Natural Pine
$5,784

Ashcroft Hand-Loomed Wool Rug

Ashcroft Hand-Loomed Wool Rug
From $50

2 Hour Interior Design Virtual or In Person Consultation

SOMETHING FOR EVERYONE

THE PIECES RACHEL RETURNS TO, AGAIN AND AGAIN

Designer-Approved Luxury Gifts Under $500: What an Interior Designer Actually Recommends

Designer-Approved Luxury Gifts Under $500: What an Interior Designer Actually Recommends

THE GIFT PROBLEM NO ONE TALKS ABOUT

Every holiday, every housewarming, every milestone—the same question: What do you give someone who has beautiful taste? As an interior designer, I field this question from clients constantly. And the answer is not a candle from the department store. It is not a generic vase. It is something with soul—a piece that feels considered, that belongs in a room rather than cluttering it.

I have spent fifteen years sourcing objects for luxury homes. These are the pieces I give as gifts myself, and the ones I recommend to clients who want to arrive with something truly memorable.


New This Season: What I’d Actually Send

Everything below is in the shop right now. I have edited this list the way I edit a room — nothing is here to fill space. If I would not put it in a client’s house, it is not on this list.

Start With Who You Are Buying For

Who you are buying for What I would send Why this one
The friend whose house is already beautiful Terra Travertine Box She owns everything except somewhere to put the small things. A closed box is the rare gift that solves a problem without announcing it.
A new homeowner Gstaad Alabaster Table Lamp Lighting is the first thing people underbuy and the fastest thing that makes a half-finished room feel finished.
Your mother Serene White Marble Bowl Weight is what makes an inexpensive object read as expensive. This one has it.
The host Grove Teak Bowl It works on a table, an island, or a console, which means it will not end up in a closet.
A couple, together Bold Border Hotel Duvet Cover Set The only bedding I recommend as a gift. The border does the work a pattern would, without committing them to one.
Someone mid-renovation The Design Consultation Two hours on their actual plans. It is the gift that prevents a $20,000 mistake, and it is the one people write to me about afterward.
The obligation gift under $100 Valeria Bowl, Alabaster Alabaster reads as a much larger budget than it is. This is my default when the number is fixed.
Genuinely impossible to shop for Cadence Wall Art Quiet enough to live anywhere in a house you have never seen.

Best Luxury Gifts Under $100

At this price point, the key is finding something that feels far more expensive than it is — an object with weight, material quality, and real design intention.

The Sanctuary Candle is my most-gifted item. It is not just a candle — it is an experience. The vessel is beautiful enough to repurpose as a catch-all or planter after the wax is gone, which is the mark of a truly thoughtful gift.

The Tavira Outdoor Citronella Candle is the summer hostess gift no one thinks of but everyone loves.

The Vitruvian Travertine & Brass Bookends are the under-$100 piece I reach for when the person already owns everything. Stone and brass read as considered on any shelf, in any house, at any age.

Sanctuary Candle

Sanctuary Candle
$45

Tavira Outdoor Citronella Candle

Tavira Outdoor Citronella Candle
$93

Vitruvian Travertine & Brass Bookends

Vitruvian Travertine & Brass Bookends
$98

Serene White Marble Bowl — Round

Serene White Marble Bowl — Round
$82.00

Valeria Bowl, Alabaster

Valeria Bowl, Alabaster
$85.00

Apiary Marble Box

Apiary Marble Box
$112.00

Cadence Wall Art

Cadence Wall Art
$126.00

Chalk Ceramic Bowl

Chalk Ceramic Bowl
$135.00

Best Luxury Gifts Under $300

This is the sweet spot for meaningful gifts — pieces that make a real impact in someone’s home without crossing into furniture territory.

The Terra Fold Sculptural Vase is the kind of object that starts conversations. Its organic, folded form works on a bookshelf, a coffee table, or a mantel. I have never given this as a gift without receiving a follow-up asking where I found it.

The Isla Dot Pillow and Colette Cloud Pillow are luxurious, tactile, and the kind of upgrade most people will not buy for themselves.

Terra Fold Sculptural Vase

Terra Fold Sculptural Vase
$110

Isla Dot Pillow

Isla Dot Pillow
$297

Colette Cloud Pillow

Colette Cloud Pillow
$297

Bold Border Hotel Duvet Cover Set, King

Bold Border Hotel Duvet Cover Set, King
$167.00

Root Teak Wood Bowl

Root Teak Wood Bowl
$180.00

Peony Ceramic Decorative Bowl, White

Peony Ceramic Decorative Bowl, White
$205.00

Luster Onyx Bowl

Luster Onyx Bowl
$234.00

Sagaponack Marble Table Lamp

Sagaponack Marble Table Lamp
$238.00

Cortina Marble Table Lamp

Cortina Marble Table Lamp
$252.00

Grove Teak Bowl

Grove Teak Bowl
$288.00

Best Luxury Gifts Under $500

At this level, you are giving a piece of design — something that anchors a moment in someone’s home.

The Éclat 24K Gold Photo Frame is the rare frame that is worth looking at when there is nothing in it.

The Palermo Rattan & Brass Catchall Tray is the perfect entry table or vanity piece — it combines warm rattan with polished brass in a way that feels both casual and luxurious.

The Sculptural Serenity Vase is museum-quality. Its fluid, organic form in matte ceramic is the kind of object that makes an entire room feel more intentional.

Éclat 24K Gold Photo Frame

Éclat 24K Gold Photo Frame
$375

Palermo Rattan & Brass Catchall Tray

Palermo Rattan & Brass Catchall Tray
$380

Sculptural Serenity Vase

Sculptural Serenity Vase
$452

Also at This Price

Reed Rattan Box — Small

Reed Rattan Box — Small
$312.00

Ellipse Marble Bowl

Ellipse Marble Bowl
$339.00

Gstaad Alabaster Table Lamp

Gstaad Alabaster Table Lamp
$346.00

Sculptural Serenity Bowl

Sculptural Serenity Bowl
$352.00

Fladis Bowl, Matte Cream Marble

Fladis Bowl, Matte Cream Marble
$375.00

Terra Travertine Box

Terra Travertine Box
$387.00

Blush Marble Bowl

Blush Marble Bowl
$450.00

The One Gift That Is Not an Object

The Design Consultation is two hours on someone’s actual project — their floor plan, their paint samples, the wall they cannot resolve. Of everything on this list it is the one people come back and tell me about. If you are buying for someone in the middle of a renovation, buy this instead of an object.

HOW TO GIFT LIKE A DESIGNER

A few principles I follow:

  • Gift objects, not trends. Choose pieces made from lasting materials—stone, brass, ceramic, rattan—that will not feel dated in two years.
  • Consider their palette. A warm-toned home deserves warm-toned gifts. Pay attention to the metals and finishes they already have.
  • Think in vignettes. The best gifts complete a moment—a tray with a candle on it, a pillow that ties a sofa together, a vase that anchors a shelf.
  • When in doubt, go sculptural. Sculptural objects work in any room and never feel generic.

How I Decide What Is Worth Giving

A gift for a home has to survive a taste it was not chosen for. That rules out anything trend-shaped, anything with a logo, and most color. What is left is material and weight — marble, alabaster, teak, travertine, onyx. Those read as considered in any house, which is the whole job of a gift.

Luxury gift questions I hear most

What do you give someone who has everything?

A closed box, like the Terra Travertine Box. Everyone has small things without a home, and a beautiful box solves that without announcing itself.

What is a good luxury gift under $100?

Something with weight: the Vitruvian Travertine & Brass Bookends or the Valeria Bowl in alabaster. Stone reads as a much larger budget than it is.

What is the best gift for someone renovating?

Not an object. The Design Consultation gives them two hours on their actual plans, before the expensive decisions are made.

How do I choose a gift for a home I have never seen?

Choose material over color. Marble, alabaster, teak and travertine work in almost any palette; a strong color or pattern is a guess.

EXPLORE THE FULL GIFT COLLECTION

Every piece in the Rachel Blindauer gift collection has been hand-selected for its design integrity, material quality, and ability to make someone’s home feel more beautiful.

Gifts Under $500

Sanctuary Candle

Sanctuary Candle
$45.00

Apiary Marble Box

Apiary Marble Box
$112.00

Sculptural Serenity Bowl

Sculptural Serenity Bowl
$352.00

The Design Consultation with Rachel Blindauer — two hours on your project

SOMETHING FOR EVERYONE

THE PIECES RACHEL RETURNS TO, AGAIN AND AGAIN

Color Drenching in Paint or Fabric: The Technique That Makes Any Room Feel More Expensive

Color Drenching in Paint or Fabric: The Technique That Makes Any Room Feel More Expensive

Color-drenched interior from the Lilac Textural Glamour project by Rachel Blindauer

Color drenching is not a new idea—it is an old one that has been rediscovered and widely discussed in recent years. The principle is simple: paint the walls, ceiling, trim, and all millwork in the same color, or very close variations of it. The effect, when done correctly, is a room that feels like it was designed rather than decorated. When done incorrectly, it looks like someone ran out of time and painted everything the same color by accident. Here is how to do it correctly.

At a glance

  • What it is: walls, ceiling, trim and millwork in one color
  • Best rooms: libraries, dining rooms, powder rooms and entryways
  • Best colors: complex ones, such as Farrow & Ball Calke Green or Hague Blue
  • The detail most people miss: the same sheen on every surface
  • The softer version: fabric on the walls instead of paint
Color-drenched interior from the Lilac Textural Glamour project by Rachel Blindauer

Tonal drenching from my Lilac Textural Glamour project — walls, drapery, and upholstery held in one family.

Why a Drenched Room Feels Calmer Than a Painted One

Contrast between wall and trim creates edges, and edges make the eye read a room as a collection of separate surfaces — wall, then molding, then ceiling, each announcing where it stops. Remove the contrast and you remove the announcements. What is left is a single volume, and a single volume is quieter to sit in. This is the same reason a monochrome outfit reads as more considered than a coordinated one: fewer decisions visible on the surface.

Color-drenched interior from the Lilac Textural Glamour project by Rachel Blindauer

Choose a color with enough complexity to carry the room

Simple colors—pure whites, clear blues, bright yellows—tend to flatten under color drenching because there’s not enough variation in how they read across different surfaces and angles. The colors that work best are complex ones: dusty sages with gray and green undertones, warm putty whites with yellow and pink layering, deep navies with barely-visible purple in them, earthy terracottas that shift from almost-red to almost-brown depending on the light.

My most-recommended colors for drenching: Farrow & Ball Mole’s Breath (a warm, complex gray-brown), Farrow & Ball Hague Blue (a deep teal-navy that transforms under different lighting), Benjamin Moore Newburyport Blue (a dusty, complex blue-gray), and Farrow & Ball Calke Green (a desaturated sage that is as close to a perfect color as I’ve encountered).

For a softer, more romantic drench, I am loving the dusty lilacs right now: Sherwin-Williams Grape Mist (SW 6548) and Ash Violet (SW 6549), and Behr Plum Taupe. They read as a quiet neutral in daylight and turn warm and enveloping by lamplight.

Color-drenched interior from the Lilac Textural Glamour project by Rachel Blindauer

Hold the same sheen from wall to ceiling

People expect me to shift sheen between the wall, the trim, and the ceiling — eggshell here, semi-gloss there, flat overhead. I do not. I run the same sheen throughout, and it is the detail that separates a room that reads as drenched from one that reads as a paint job that got away from someone.

The reason is the same as the reason for drenching at all. Every change in sheen creates an edge, because light bounces differently off each surface. You can remove every color boundary in a room and still see the outline of the crown molding, purely because it is shinier than the wall behind it. Hold the sheen and the edges go with the color.

Lilac Textural Glamour dining room by Rachel Blindauer

The rooms that benefit most

In a library I will often pair the drenched envelope with a hide wallpaper — the color does the wrapping and the hide gives it something to catch on, so the room reads as considered rather than simply painted.

Libraries and studies are the natural home of color drenching—a deep green or warm navy wrapped around a room full of books, with warm lamplight, is one of the most satisfying interiors in residential design.

Dining rooms benefit enormously from drenching, particularly in saturated colors. A deep, complex color on all surfaces creates the same intimacy as restaurant lighting.

Powder rooms and small bathrooms are ideal candidates because the small scale means the material cost is minimal and the impact is disproportionate. A drenched powder room in a deep color—Farrow & Ball Railings, Hague Blue, or even Pitch Black—is a moment in an otherwise neutral home that guests remember.

Entryways benefit from drenching because they’re typically small and benefit from making a strong first impression.

Lilac Textural Glamour dining room, fabric drenched

The dining room from the same project. Same principle, executed in cloth as much as in paint.

Drenching in Fabric, Not Only Paint

Paint is the version everyone writes about. The one I love more is fabric — upholstering the walls and the ceiling in the same cloth, wrapping the room rather than coating it.

It does everything paint does and then two things paint cannot. It absorbs sound, so the room goes quiet in a way people notice before they can name. And it introduces texture at the same moment it removes contrast, which means the room stays interesting even though it has stopped varying in color. A drenched paint room relies on light for its depth. A drenched fabric room carries its own.

Where Fabric Drenching Belongs

Room Fabric or paint Why
Primary bedroom Fabric The acoustic softening is worth the cost here more than anywhere else in the house.
Dining room Fabric Conversation improves in a room that is not bouncing sound off four hard walls.
Library or study Fabric Quiet, and it flatters the way you sound on a call.
Powder room Paint Small, damp, and high-traffic. Save the fabric for somewhere it will survive.
Kitchen Paint Grease and cloth do not negotiate.
Hallway Either Fabric if you want the hush; paint if shoulders and luggage are going to touch the walls.
Bathroom Paint Moisture rules this one out.

Practical notes: fabric-wrapping wants a solid or a texture rather than a directional pattern, since pattern reintroduces exactly the visual breaks you are drenching to remove. Budget for more yardage than the square footage suggests, because the ceiling and the returns eat it. And it is an upholsterer’s job, not a painter’s — get the right trade in the room before you fall in love with the idea.

Color-drenched interior from the Lilac Textural Glamour project by Rachel Blindauer

What to keep in mind

Drenching amplifies what’s already in the room. Beautiful millwork becomes more beautiful. Mediocre millwork becomes more mediocre. Light matters more in a drenched room than in any other context—test extensively in all lighting conditions before committing. And remember: paint is the most recoverable design decision you’ll make. If you’ve been considering a color for two years and have been too afraid to commit, color drenching is one of the best possible reasons to finally try it.

Color drenching questions I hear most

Do you paint the ceiling the same color?

Yes, in the same color and the same sheen. A white ceiling draws a line around the top of the room, which is exactly what drenching is meant to remove.

Will color drenching make a small room feel smaller?

Usually the opposite. Without contrast at the corners and the trim, the eye cannot find the edges of the room, so a small room feels more enveloping rather than more cramped.

Which sheen should I use?

Choose the sheen the most-used surface needs, then hold it everywhere. In a living room or bedroom that is usually a low sheen; in a powder room, choose something more scrubbable.

Is color drenching just a trend?

No. It is how many historic rooms were painted, long before it had a name. Done in a complex color, it will outlast the conversation about it.

Rachel Blindauer is an award-winning interior designer based in St. Louis with projects across the United States and internationally. Book a consultation at rachelblindauer.com.

Color-Drenched Pieces

Violet Cascade

Violet Cascade
From $700

Amethyst Breccia Bowl

Amethyst Breccia Bowl
$560

Amara Block Print Lumbar Pillow

Amara Block Print Lumbar Pillow
$108

Color Harmony — The Designer’s Guide, Free

Find Your Season.
Dress In It. Live In It.

Learn to read your own coloring, then carry your palette from your closet to your rooms — 16 pages of Rachel’s method. Not rules. Resonance.

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The Design Consultation with Rachel Blindauer — two hours on your project

SOMETHING FOR EVERYONE

THE PIECES RACHEL RETURNS TO, AGAIN AND AGAIN

St. Louis Kitchen Design: What Works in a Midwest Home (And What’s Just Instagram)

St. Louis Kitchen Design: What Works in a Midwest Home (And What’s Just Instagram)

The kitchen is the most remodeled room in America and the one where the gap between aspirational design content and practical reality is widest. The kitchens that photograph brilliantly—white marble, open shelving, industrial fixtures—are often kitchens designed to be looked at rather than cooked in. The kitchens I design in St. Louis are designed to be used: daily, intensively, by people who actually cook, who have children and dogs, who host with genuine hospitality. There’s a significant difference, and it shows up in the decisions.

At a glance

  • Best countertop for a working kitchen: quartzite, such as Taj Mahal
  • Best two-tone pairing: Benjamin Moore White Dove (OC-17) uppers with Benjamin Moore Hale Navy (HC-154) on the island
  • Island clearance: 42 inches for one cook, 48 inches for two
  • Pendant height: 30 to 36 inches above the countertop
  • Hardware finish: unlacquered brass

Countertops: what actually holds up

Carrara marble is beautiful. It is also soft, porous, acid-sensitive, and will show every lemon squeeze, every wine spill, and every sharp object interaction within the first year of use. In a working St. Louis kitchen, marble is a maintenance burden that most clients eventually regret.

What I actually specify:

  • Quartzite (not quartz—quartzite, the natural stone) for clients who want the marble look with far better durability. Taj Mahal is the one I return to: warm, soft veining that sits beautifully beside wood and brass. Seal it once a year.
  • Engineered quartz for clients who want near-zero maintenance and a consistent appearance from slab to slab.
  • Honed or leathered granite for clients who want natural stone with less reflection. Absolute Black in a leathered finish hides fingerprints and crumbs better than anything polished.

The exception: a marble pastry slab in a dedicated baking area. Marble genuinely excels for pastry work.

Cabinet color: moving past all-white

White kitchen cabinets have been the default for so long that they now signal a lack of commitment. What I’m specifying in St. Louis kitchens right now is a warm white on the uppers with a deeper color on the island or lowers. The two-tone kitchen reads as intentional and layered, and the darker base forgives scuffs from shoes, dogs and vacuum cleaners.

  • Uppers: Benjamin Moore White Dove (OC-17), a warm white that stays soft in gray winter light
  • Island in navy: Benjamin Moore Hale Navy (HC-154)
  • Island in a muted green-gray: Farrow & Ball Pigeon (No. 25)
  • Island in a deeper green: Sherwin-Williams Pewter Green (SW 6208)
  • Island in sage: Benjamin Moore October Mist (1495)

Always test a large painted board on the cabinet itself, morning and evening. For more on how kitchen colors behave, see my guide to kitchen colors that work.

Layout: the triangle still matters

The kitchen work triangle—the relationship between the refrigerator, sink, and range—has been declared dead by design media several times and continues to be the most reliable measure of kitchen functionality. The total distance between these three points should ideally be between 13 and 26 feet, with each leg between 4 and 9 feet. Kitchens where these relationships are wrong exhaust their users.

  • Island aisles: 42 inches if one person cooks, 48 inches if two do.
  • Seating at the island: about 24 inches of counter per stool, with a 15-inch overhang for counter-height seating.
  • Older St. Louis homes: many brick homes from the 1920s and 1930s have narrow kitchens. If you can’t keep 42 inches on all sides, a peninsula usually works better than a squeezed-in island. I compare the two in kitchen island vs. peninsula.

Open shelving: honest about the commitment

Open kitchen shelving looks extraordinary in editorial photographs and requires more maintenance than most people are prepared for in real life. Everything on open shelves collects grease and dust. The compromise I frequently recommend: open shelving in one carefully chosen location—a floating shelf above the coffee station, a single shelf beside the range for oils and spices—with closed cabinetry handling everything else.

Lighting and ventilation: the parts nobody photographs

  • Pendants: hang them 30 to 36 inches above the countertop. Over a typical island, two larger pendants look calmer than three small ones.
  • Bulbs: 2700K to 3000K. Cooler bulbs make a kitchen feel clinical, especially in short winter days.
  • Under-cabinet lighting: the single most useful light in a kitchen. Plan it, with outlets, during the renovation.
  • Range hood: duct it to the outside, and size it to your range. A common rule of thumb for gas ranges is about 100 CFM for every 10,000 BTUs.

If you are working with an older kitchen, read renovating an old kitchen the right way before you demo anything.

Hardware: where personality lives

Cabinet hardware is the jewelry of the kitchen—the smallest investment with the most outsized visual impact. I consistently find that upgrading hardware transforms an average kitchen more cost-effectively than almost any other change. My current recommendation: unlacquered brass or warm bronze for kitchens with warm wood tones and warm white cabinets, and matte black for more contemporary, high-contrast kitchens. Avoid satin nickel, which is the kitchen hardware equivalent of greige paint—it goes with everything and elevates nothing.

Pulls on drawers, knobs on doors is the classic rule, and it still looks right. You can see the brass and marble pieces I specify in my hardware collection.

St. Louis kitchen questions I hear most

Is quartzite worth it over quartz?

If you want natural stone that looks like marble, yes. Quartzite is harder than marble and stands up to heat better than engineered quartz. If you never want to think about sealing, choose quartz.

What cabinet color won’t look dated?

A warm white on the uppers with a deeper, muted color on the island. Navy, green-gray and sage have staying power because they behave like neutrals beside wood and stone.

Island or peninsula?

If you can keep at least 42 inches of walkway on every side, an island. If not, a peninsula gives you the same seating and storage without the bottleneck.

Does a kitchen renovation pay off in St. Louis?

Kitchens are among the renovations buyers notice most. I break down which projects return the most in St. Louis renovation ROI.

Rachel Blindauer is an award-winning interior designer with 15+ years designing kitchens and full residential interiors.

Finish the Kitchen

Crescent Brass Cabinet Pull

Crescent Brass Cabinet Pull
From $45

Isla Rattan Counter Stool

Isla Rattan Counter Stool
$771

Bellagio Twisted Brass Lantern Pendant

Bellagio Twisted Brass Lantern Pendant
$3,795

2 Hour Interior Design Virtual or In Person Consultation

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The Home Office That Doesn’t Look Like a Home Office

The Home Office That Doesn’t Look Like a Home Office

Home office designed as a real room

The home office became, through necessity, one of the most important rooms in the American house. And yet most home offices are an afterthought—a desk pushed into a corner, a chair that came from somewhere else, a backdrop of chaos visible on every video call. They are designed for function in the narrowest sense: a place to open a laptop. The home office I design for clients is a room that functions as a brilliant workspace and also feels like a room you’d want to be in if you weren’t working. Those two things are not in conflict. In fact, achieving both is the point.

Workplace wellness in office design

Why the Room Changes How You Work

Everything above is about how the room looks to someone walking past it. This part is about what it does to you while you are sitting in it — which is the part most home office advice skips entirely.

Start with the light—natural first, artificial second

Natural light is the most significant variable in workspace quality. Position your desk to receive natural light from the side—not directly behind your monitor (which creates glare) and not directly in front of you from a window behind the screen (which backlights your face on video calls). Side light is the designer’s and the photographer’s preferred light source: even, directional, and flattering without blinding.

For artificial light: a desk lamp at eye level with a 3000K bulb for task lighting, and a warmer ambient source (floor lamp, table lamp across the room) for the surrounding environment. Overhead lighting alone in a home office creates the institutional feeling of a corporate cubicle. Layer your lighting.

Desk placement in a considered home office

The desk: size, surface, and position

Most desks sold as home office desks are too small. The standard 47-inch desk gives you barely enough room for a monitor, a keyboard, and a notebook. If you work with physical materials or simply like the psychological spaciousness of room to spread out, go wider. A 60-inch desk is meaningfully better. A 72-inch desk, in a room that can accommodate it, transforms the workspace from cramped to generous.

Surface material matters. Glass desks look clean but are cold to the touch, difficult to write on, and show every fingerprint. Wood desks—solid wood or good veneer—are warmer, more pleasant to work on, and read better on video calls.

Shop Writing Desks

Alderley Washed Oak & Brass Writing Desk

Alderley Washed Oak & Brass Writing Desk
$3,295

Hartwell Walnut Writing Desk

Hartwell Walnut Writing Desk
$4,584

Corsica Brass & Glass Writing Desk

Corsica Brass & Glass Writing Desk
$3,495

Home office with an intentional background

Make the background intentional

Video calls have made the space behind your desk one of the most-seen aspects of your professional identity. The best video call backgrounds: a single piece of art or a small curated gallery hung intentionally; a bookshelf organized by color or subject with a few beautiful objects interspersed; a painted wall in a strong, interesting color; or simply a clean, painted wall with good light. Any of these communicates care and intentionality.

View from behind an ergonomic leather desk chair across a walnut and brass desk to two guest armchairs and a fireplace in an elegant home office

The chair: the one place not to economize

The chair is the object in the home office that your body is in contact with for the most hours. Its ergonomic quality affects your physical health, your energy level, and your concentration. A beautiful but uncomfortable chair will cost you more in back pain and fatigue than you saved on the chair. Excellent ergonomic chairs now exist in aesthetically sophisticated designs. This is the one piece of office furniture I recommend buying well and buying once.

How to tell a chair is truly ergonomic:

  • Adjustable seat height: feet flat on the floor, knees at about 90 degrees, thighs parallel to the floor.
  • Lumbar support: the backrest should meet the natural curve of your lower back. If it does not, add a firm lumbar pillow.
  • Seat depth: two to three finger-widths between the front edge of the seat and the back of your knees, with a rounded waterfall edge so circulation is not cut off.
  • Armrests: at or just below desk height so your shoulders stay relaxed and your elbows rest near 90 degrees.
  • Swivel and casters: so you turn your whole body instead of twisting your spine.

Then set up the rest of the desk around your body: a work surface 28 to 30 inches high, the top of your screen at or slightly below eye level about an arm’s length away, and a task lamp on the side opposite your writing hand so you are never working in your own shadow.

Seating for Guests Across the Desk

Positano Accent Chair

Positano Accent Chair
$455

Cortona Barrel Lounge Chair

Cortona Barrel Lounge Chair
$460

Solaire Upholstered Dining Chair

Solaire Upholstered Dining Chair
$1,315

Shop the Ergonomic Desk Setup

Arden Swivel Desk Chair in Mink Performance Fabric

Arden Swivel Desk Chair in Mink Performance Fabric
$1,523

Cascata Marble Buffet Lamp

Cascata Marble Buffet Lamp
$1,200

Vesper Marble Desk Lamp

Vesper Marble Desk Lamp
$1,299

The detail that separates a home office from a corporate workspace: the room should contain at least one element that has nothing to do with work. A plant. A piece of art you love. A beautiful lamp. These signal to your brain that this is a human space—a place where a whole person works, not just a function being performed.

Rachel Blindauer is an award-winning interior designer based in St. Louis with projects across the United States and internationally. Book a 2-hour design consultation at rachelblindauer.com.

Designing for Deep Work: The Home Office as a Performance Space

The pandemic permanently changed how many high performers work, and with it came a long-overdue reckoning with the home office. A desk in the bedroom corner is not a home office. A dining table with a laptop is not a home office. A performance workspace requires, at minimum, four things: dedicated space that signals transition into work mode, excellent task lighting that doesn’t cause eye strain over long periods, ergonomics that protect the body across extended sessions, and freedom from the visual cues of domestic life that continuously pull focus away from deep work.

The research on this is unambiguous. Psychological distance — the sense that you have “arrived” somewhere to do focused work — measurably increases both the duration and quality of concentrated effort. This is why the office door, the separate entrance, the bespoke built-in shelving that frames the space as professional: these are not affectations. They are cognitive signals that allow the focused, deliberate thinking that produces results.

Natural light is the single most impactful upgrade in any work environment. Exposure to daylight during work hours improves alertness, mood, and cognitive performance, and reduces the kind of end-of-day fatigue that makes evenings difficult to enjoy. Where a window is available, the desk belongs near it. Where it is not, a well-curated combination of task and ambient lighting — layered, warm-to-neutral in color temperature, without the harsh overhead fluorescence that signals institutional space — can meaningfully approximate the quality of natural illumination.

A walnut chest, branches and art — storage that reads as furniture, not filing

Order, Beauty, and the Psychology of Identity

There is a concept in behavioral psychology called behavioral congruence: the tendency to act in ways that are consistent with our sense of who we are. A home that reflects your highest values — that is ordered, beautiful, and genuinely expressive of the person you are becoming rather than the person you have been — functions as a continuous identity signal. Every time you walk through the door, it tells you who you are.

I have watched this phenomenon play out in project after project. A client who felt scattered and overwhelmed redesigns her home office and suddenly works with focus and clarity she hadn’t experienced in years. A couple who renovates their bedroom into a genuine sanctuary reports sleeping better, fighting less, and feeling more connected. A man who transforms a cluttered basement into a proper training space starts exercising consistently for the first time in a decade. The environment did not make these things possible. But it made them much, much easier.

Biophilic Design: The Performance Science of Nature

The research is unambiguous: human beings function better in the presence of natural light, natural materials, plants, and views of nature. Studies across office environments, hospitals, schools, and homes consistently show that exposure to natural elements reduces cortisol, lowers blood pressure, improves attention, and accelerates recovery from stress. Biophilic design — the intentional incorporation of nature into built environments — is perhaps the most evidence-based design philosophy currently in practice.

In a home, this translates to maximizing natural light through window placement, window treatments that can fully open, and mirrors that amplify daylight deeper into the space. It means choosing natural materials — stone, wood, linen, leather, ceramic — over synthetic ones whenever possible. It means maintaining at least a few living plants, whose benefits extend beyond aesthetics to measurable improvements in air quality and psychological wellbeing. It means giving priority to views: positioning seating near windows, keeping sightlines to gardens or trees clear, and resisting the urge to fill every surface with objects that obstruct the natural view.

A slim console desk in a living room — a workspace that disappears when the laptop closes

The Question of Clutter

Clutter is not a housekeeping problem. It is a cognitive one. Each object in your visual field that is out of place, unresolved, or unintentional creates a micro-demand on working memory — a small but real fragment of attention that is no longer available for the task at hand. In an environment where hundreds of such objects are present, the cumulative cognitive load is significant. This is why people reliably report feeling calmer, more focused, and more capable after organizing a cluttered space — not because the work itself is satisfying, but because the cognitive friction has been reduced.

The solution is not minimalism for its own sake. It is intentionality: ensuring that every object in your home is either beautiful, functional, or meaningful — and that those which are none of these things are removed. The homes I design for high-performing clients are not bare. They are curated: rich in quality, deliberate in arrangement, and free of the visual noise that invisibly taxes attention around the clock.

2 Hour Interior Design Virtual or In Person Consultation
Marlowe Boucle Bench, Ivory/Natural

Marlowe Boucle Bench, Ivory/Natural
$700

Marais Chandelier

Marais Chandelier
$2,300

Isla Dot Pillow

Isla Dot Pillow
$297

SOMETHING FOR EVERYONE

THE PIECES RACHEL RETURNS TO, AGAIN AND AGAIN