An interview with renowned writer & stylist Ali Heath.

Ali Heath, a UK based interior writer and stylist, has over 14 years experience of working with top UK and international print publications including Homes & Gardens, Livingetc, Elle Decoration, Elle Decoration Country, House & Garden, 25 Beautiful Homes, Country Living, Modern Rustic, Country Homes & Interiors and YOU Magazine to name a few.

 So Ali, tell us a little bit about yourself and how you started out on this career path?

Hi, thanks so much for asking me to get involved Pete. I am a UK based freelance writer and stylist, and work with a varied group of exceptional photographers. I have been freelance for the past 15 years and source and develop concepts, visual content and copy for editorial home features, creative profiles, specialist maker features, lifestyle trend stories and travel pieces. Basically I like to work with people who inspire me. I generally source the majority of feature ideas, style and art direct the shoot, then sell the idea to magazines. But I do also work with a few international photographers, who I collaborate with on writing alone; and magazines do also sometimes commission direct for specific stories too. I like being involved at so many touchpoints and coming from a branding background it ensures that there is reliable continuity for the person we are featuring. Integrity is important to me.

My career path has been quite an evolving one and I didn’t really come to interiors in a conventional way. I graduated from Nottingham Trent University with a degree in European Business and German and started my working life on the Marks and Spencer Graduate programme, before moving three years later to Kraft Foods. This blue chip brand experience was invaluable and gave me retail, marketing and sales experience. The creative parts of the roles appealed and I loved the time working with our creative agencies. I made the decision to swap from client to agency and moved to a then top-ten, below-the-line marketing agency, The Yellow Submarine. They were a very innovative company and my roles combined both strategic and creative skill sets - starting as an account director and then later heading up new business for them.

I turned 31 and decided that I wanted to work for myself. I had long harboured a love of antiques and interiors and swapped my flash company sports car, for a much adored silver van and began dealing in French and English antiques and decorative accessories, with names such as Mulberry. I didn’t really know what I was doing but started small, bought what I loved and it seemed to work. At the time a number of high profile retailers started using antiques as props and bought lots from me – though I always struggled to part with things! Our kids came along really quickly and within 10 months of starting out on my own I had Grace and then 2.5 years later our son, Archie. I carried on trading all the way through my pregnancies - back in the van buying with Grace at 5 weeks, it was all a bit mad, but I loved every minute and adored the flexibility of doing my own thing, to suit family life.

One thing lead to another and by the time our son was 2, I realised that it was tricky to manage active sourcing and a retail shop with young ones. I carried on with occasional private sourcing but moved back into consultancy for a large local antique dealer who wanted to evolve her business. I started a national advertising campaign for them and was introduced to a few editors. At the same time I agreed to be in a feature to promote the antiques side of my business and it sparked awareness of the world of magazines, interior styling and writing. The photographer agreed to do some shoots with me and the rest is history. Styling and writing for 15 years has been the longest part of my career to date and I am lucky to work with such inspiring photographers, who I have established relationships with along the way!

At the core of my approach is always an appreciation of brand, a love of interiors and a passion for the creative process: it is considered at every stage, via targeted storytelling, feature placement and collaborative consultancy. I think all the elements of my earlier career definitely feed in to my work and have helped to shape what I am doing now.

Work is published regularly in Homes & Gardens, Livingetc, Elle Decoration, Elle Decoration Country, House & Garden, 25 Beautiful Homes, Country Living, Modern Rustic, Country Homes & Interiors, YOU Magazine, The Telegraph Magazine, Stella Magazine, Red, Reclaim, Homes & Antiques and The English Home. I syndicate with Narratives in the UK and Living Inside in Milan.

Working both as a stylist and journalist, do publications tend to approach you directly or do you proactively pitch a project? 

It is mostly proactive editorial pitching – I am definitely an ideas person and love creating concepts that I style and write and ask the right photographer to get involved on. However, magazines and weekend supplements do also approach me directly too, which is great. Styling and writing work is mostly editorial, although I have worked on a few commercial projects too. For me it is all about the brand or individual. I get asked a lot to do PR for people but have always kept a really strict rule of just working editorially, so that editors trust what you are bringing to them is impartial.

You've had such an accomplished career to this point, what would you say have been the highs and lows?

That is really kind of you to say, thank you!  

Highs: Seeing your name in print and making cover, is always hugely exciting, for example recently with Alexander James and Hám Interiors on the cover of Homes and Gardens and architect Rob Mills with Livingetc. Getting to know so many amazing creatives is a great privilege, that I never take for granted.

Hunting down a contact for Iris Apfel and getting her to agree to be interviewed was a definite career highlight – she was every bit as brilliant and inspiring as I had hoped! Connecting with Lynda Gardener (stylist) and Marnie Hawson (photographer) in Australia has been a wonderful experience, in terms of a genuine collaborative relationship, but from the other side of the globe. We were due to shoot in Germany this month and do a Storytelling workshop together in France for Ruth Ribeaucourt  - so I look forward to when that can happen again after the Covid restrictions.

I am inspired on every shoot by the wonderful UK photographers I work with – and getting to work with some brilliant editors who have each given me a break, at some point in my career is always remembered and hugely appreciated. I like to build long term relationships with the people I feature – there is never any pressure from me, for them to do future features together, but when it happens it is always very special, as those relationships and the mutual appreciation is precious.

Lows: Learning to accept disappointment in publishing – it is very competitive and sometimes ideas you think will happen for books and features, don’t quite make it. You have to pick yourself up quickly and keep trying, as good things do happen! Always keep your powder dry too, with your ideas. Sometimes waiting an eternity to get paid can be tricky – publishing can at times be a cash flow nightmare, so it is good to have different projects, teams and initiatives happening alongside each other.

What is your relationships like with the photographers you work with? Do you work more as a team or do you get sent projects that you then write for editorial?

I hope to think I have really strong relationships with everyone I work with. We all understand each other and want the best from shoots, so recognise the importance of giving each other space to art direct and have an opinion. Shoots can be intense and time is always short, so being respectful and mindful of each other and the required outcome is so important. Interestingly every photographer I work with shoots very differently – I always find that so fascinating to see. I source most of the features that I work on, but more recently during the virus we have had to be resourceful and I have been writing for some photographers, on shoots they have already completed. I have also started collaborating with international photographers whose work appeals. I love the international influence that brings. Basically it is all a moving feast! I like to keep things fresh and as publishing changes it is good to keep evolving.

Do you feel the published world of interior and architecture has changed and where do you see it heading in the future?

I think the world of publishing is changing enormously. Magazines are becoming leaner, teams smaller, budgets tighter and online ever present. The great titles are surviving and developing and there are some great new editors in the mix right now, who are shaking up some of the traditional titles and unleashing new exciting content. I think after the Covid situation we will see more changes as advertising gets cut back, so it will be interesting to watch what happens. The exciting news is that there are also lots of beautiful independent titles emerging: beautiful imagery, challenging subject matters and coverage of unknown talent within the interiors world. I am a huge fan of supporting emerging talent, and seeing fresh design names grace the pages of magazines is really good to see.

I think there will always be a place for print, but the budget has to remain, in order to attract the good writers and stylists. If work is submitted for free or budgets are not there, then the quality will become like wallpaper and publishing will change for the worse. There is nothing better than the promise of a new magazine or book – crisp pages waiting to be unfurled. I am probably old fashioned like that but for me printed material creates an intimacy and connection, that online media never quite reaches.

I love the contacts that are being made though, with online sources such as Instagram and Pinterest. I have made brilliant connections via these creative tools and love the connectivity and conversations that take place. I think you cut to the chase very quickly with people that you connect with and who inspire through genuine creativity. Social media used positively is a wonderful collaborative tool.

Everyone is at different stages of their careers, do you have any advice for someone just starting out or wanting to move onto the next stage?

The best advice I was ever given, was that you can be whatever you want to be, if you believe you can. I have always remembered that and followed my heart. I recommend anyone doing the same – the years go so quickly, if opportunities or ideas present themselves jump at the chance. The more you experience in the early years of your career, the more you will grow and find out what it is that makes you tick. Do what you love, keep evolving and it will never feel like work. Also recognising what you are not so good at, is equally important. Collaboration is powerful and matching skills and people is a wonderful thing, when the combination of talent is complementary.

I also think it is invaluable to seek the advice of mentors. I have a few, very dear people who have given me advice and remained important influences. You have to ask people for help and advice - 99% of the time, in my experience, people are happy to offer that. Be eager, committed, show that you are willing to work hard and from the bottom up and listen – it does help and is so important. I started from nowhere, with no contacts that could open doors, so know how it feels to get a break.

I am always happy to chat to young aspiring writers and stylists and offer advice – it is important to give back and help them get started. Do approach others in a considered fashion though – you would be amazed at the number of letters I get asking what I can do to help them, with no proactive thoughts of their own. Seeking help has to be sincere, well thought out and polite – knowing that someone is committed, follows up on requests of help, understands the importance of going the extra mile and genuinely wants to work hard is important. If I see people being proactive it feeds the cycle of nurturing talent.

Finally, I also think self-worth is really important. You have to believe in yourself and your own dreams, if you want anyone else to - but always with a sense of humility.

All images supplied by Ali Heath, with credits to individual photographers.

www.aliheath.co.uk @aliheath_uk