FOR YEARS, MOST INTERIOR PHOTOGRAPHY felt stale and bereft of life. Designers prioritized very clean spaces devoid of personal objects, leading to project photos that could feel… sterile. Fortunately, the past few years have seen an uptick in designers treating shoots like a magazine might–by hiring stylists to add a sense of authenticity and warmth, as if people actually live in the home. As a result, interior stylists have begun to make a name for themselves. One in particular is Colin King. King’s career has catapulted in recent years, thanks to collaborations with high-profile designers and photographers–projects that have landed in every major shelter publication–and the launch of his own coffee table book in 2023, Arranging Things (Rizzoli). King expertly styled our cover story for this issue, and he was kind enough to chat with us about his creative process and his tips for styling the perfect shot.

How do you first approach a space? Does your approach differ according to designer aesthetics?

I always begin by listening—to the architecture, the light, the silences in the room. Every space has its own rhythm, and I try to tune into that before doing anything. While I’m always sensitive to a designer’s language and materiality, my approach is rooted in restraint. Whether it’s a Vincent Van Duysen interior or something more maximalist, I aim to honor what’s already there, editing rather than adding.

How did you approach our Vincent Van Duysen collection shoot?

Vincent’s work speaks in hushed tones—there’s an inherent discipline to his designs that I deeply admire. For this shoot, I wanted the styling to feel almost invisible, as though the objects had quietly found their place over time. It was about amplifying his sensibility through small gestures: a branch casting a shadow, a book left slightly ajar, a material juxtaposition that catches the eye but doesn’t shout.

Do you typically “add” a lot to a shot or work with what has been provided? How do you discern if a shot is too busy?

I try to work with what’s there first. I’ll remove more than I add—sometimes all it takes is turning an object slightly or changing the axis of view. A shot feels too busy to me when it stops breathing. You can sense it—when the eye has nowhere to rest, or when the composition starts to feel like performance rather than presence.

Where do you find inspiration?

Inspiration is everywhere, if you’re paying attention. Living in New York, I’m constantly moved by the city’s quiet moments—sunlight on a wall, the shape of something left behind. I often return to museums like The Met or the Noguchi Museum, where the placement of objects feels like choreography.

But more than anything, I find inspiration in community. I’m in constant dialogue with artists, designers, florists, dancers—people who see the world differently. Supporting other creatives isn’t just meaningful; it keeps the creative ecosystem alive. We learn from each other, often in ways that are unspoken but deeply felt.

What is the one thing you wish designers knew about styling?

That negative space is just as powerful as the object itself. Styling isn’t about filling every corner—it’s about creating tension, intimacy, and rhythm within a space.

The eye needs somewhere to rest. Often, the instinct is to add, but I’ve found the most compelling moments come from restraint. It’s in what you choose to leave out that a space starts to feel intentional, lived-in, and emotionally resonant.

Explore the Collections

Styled by Collin King