Holding the Story Tightly: Inside Christy’s World of Hospitality Design

‍“I’ll shut my eyes and almost create a 3D model of the space in my head. It helps shut out distractions—technology and everything else —and just really envision what the space could be.”

Zaylan: Where is home to you?

Christy: My actual home or home of my heart?
The Hill Country in Texas is home. That’ll always be home. But I feel like Italy is my home in my heart.

Zaylan: Is that from travel experiences or do you have family there?

Christy: No family—just travel.

Zaylan:  And Hill Country—is that near Austin?

Christy: Yeah, around the San Antonio and Austin area.

Zaylan: It must’ve been wild watching Austin explode over the past decade.

Christy: Nuts. Absolute insanity.

Zaylan: This one’s been the hardest question for most people—we know you all travel constantly—but what’s your favourite hotel you’ve stayed at?

Christy: Oof, that’s tough. But I’d say the Montage in Cabo. From an experience perspective, it was incredible. We had a casita overlooking the ocean, an outdoor shower, and the service—impeccable. Just a clutch experience.

Zaylan: Nice. And maybe this is the same answer, but has any hotel or space left a lasting design impression on you?

Christy: …Apparently not!
I pick up little glimpses—details here and there—but I wouldn’t say one had a significant impact. I’ve just seen so many hotels.

Zaylan: What about a favourite travel destination?

Christy: I’ve got so many, but Italy—I can always go back there.

Zaylan: Anywhere specific? Have you been to Lake Como?

Christy: I have! Just for like 12 hours, but it was magical.

Zaylan: Wow, that’s been climbing to the top of my bucket list lately.

Christy: You should go.

Zaylan: Dream destination—somewhere you haven’t been yet?

Christy: I’d love to explore the beautiful beaches over in Southeast Asia—Thailand, the Maldives. I haven’t spent any time in that part of the world, so it’d be amazing to get over there.

Zaylan: Have you done any projects over there?  

Christy: Not yet!

Zaylan: Let's chat about design.  What’s your favourite part of the design process?

Christy: Honestly, I enjoy most of the process—which is great. But I think space planning is my favourite, especially for new-construction hotels. Really getting into the logical flow of the guest experience, putting myself in their shoes—how they'll interact with the spaces, thinking through all the different uses of the space and the backgrounds. That high-level brainstorming is really exciting to me.

Zaylan: Do you do that in your imagination, or do you have a method?

Christy: In my imagination, mostly. I sketch out ideas until one starts to settle. But my favourite inspiration space is outside—especially Aruba, but really anywhere near the beach or water. I’ll shut my eyes and almost create a 3D model of the space in my head. It helps shut out distractions—technology and everything else —and just really envision what the space could be.

Zaylan: Very cool. Is there any artist, architect, or designer whose work you’ve admired or drawn inspiration from over the years?

Christy: No. I think there is a collection of artists, architects, designers… There's inspiration out there that naturally influences us, but there's not really one person that I've ever looked up to from a stylistic perspective. I think because every one of our outlets into properties is so different.

I think where I try to focus is like not having a specific style that's relevant to me but making sure that we're doing whatever is right for the property.  

Zaylan: That leads well into this—are there any materials or design elements you find yourself using again and again, even though the projects are all different?

Christy: I think where I see the most consistency is in detailing. Joinery details, clean and contemporary ways to transition between materials and finishes. That’s where my design vocabulary shows up most consistently—in the details.

Zaylan: Last one from me before I hand it over to Gaby—what does hospitality mean to you?

Christy: I think hospitality is an attitude. It’s a behaviour, whether you’re in a hotel or at home. It’s about welcoming people into an environment that isn’t naturally theirs but making them feel like they belong—like they can treat it as their own.

Zaylan: And can design help do that? Is that part of the goal—to create a space that feels welcoming?

Christy: Yes, absolutely. We can only do so much with design—as much as I’d like to think we can control everything! But it’s really up to operations and the people interacting with guests every day to carry that through. Our role is to give them a space that feels welcoming from the start.

"My tagline for the team is: Hold the story tightly and your design loosely."

Gaby: All right! So Christy, we’re going to get into background and early career now. First—what initially drew you to pursue a career in design?

Christy: My dad was a home designer, so I was around the industry from the time I was little. It was never really a question—I always knew I wanted to go into some field related to architecture and design. In high school, I took both an architecture class and a design class, and that’s when I narrowed my path to interiors. I’ve been studying it ever since.

Gaby: What are the top one or two most significant lessons you’ve learned in your 15 years of hospitality design?

Christy: There’s always something new to learn. Just when you think you’ve got it down, something surprises you—and reminds you that you don’t know it all. And honestly, if something can go wrong, it probably will at some point in the process.

Gaby: Ha so true!  And can you share a moment or experience from your travels that shaped your design philosophy?

Christy: I can’t pinpoint a single moment, but international travel overall has had a big impact. My mom taught me when I was young—wherever you go, walk into hotels and see what they’re doing. So I’ve always studied hotels wherever I travel, especially in Europe. They’re way ahead of the U.S. in terms of design.

That’s really influenced me—things like layout, scale, proportion in furniture, and especially materiality. Their machinery is more advanced too—like with porcelain tiles or wood panelling. There’s a lot we can learn from that market. Also, experiencing how construction varies across cultures—projects in India, traveling through Africa—really shaped my understanding of how buildings come together differently around the world.

Gaby: That is really interesting!  And how has your perspective evolved as you've taken on larger, more complex hospitality projects?

Christy: When you’re a young designer, you’re deep in the weeds—the nitty gritty details—and it’s hard to zoom out and see the big picture. But over time, with bigger projects and more experience, you start to shift. You see the entire project from a higher level.

Especially with these long timelines—three, four years out—you have to break things down into manageable, bite-sized pieces. It’s about organizing information in a logical order and understanding the full arc of a large resort or complex property. That ability to pull up and see the whole project has really developed over my career.

Gaby:  Is there a project from your early career that still resonates with you today? What made it memorable?

Christy: One that stands out is AC Bourbon—which is actually how I met Chris. It was the first AC Hotel brought to the U.S. from Spain. I got to design the very first one here in America.

As a young designer, my team was pretty hands-off, so a lot of the design thinking came from me. That was exciting. I remember going back and looking at my early sketches compared to the final build—and seeing how it all translated over time was really cool.

They actually renovated it just last year—which, as a designer, you never want to see—but the brand manager from Marriott told me the only reason they redid it was because of wear and tear, not because it was outdated. That was such a great compliment. A decade later, and the design still felt timeless.

Zaylan: Isn’t it every seven years or so they usually do renovations?

Christy: Yep—seven years is typically for soft goods, and 14 years is a full renovation with case goods and everything. But a lot of brands, especially with the shift toward hard surface flooring in guest rooms, are trying to push that timeline out. As budgets get tighter, there's more pressure to extend those cycles.
Not great for our business—but definitely better for the client’s!

Zaylan: Yeah, totally. One thing Chris talks about a lot is storytelling in hospitality. I’ve heard that echoed by other clients in the industry too. How do you tell stories through design when starting a new project?

Christy: We always start with the story. I know a lot of brands are heading in that direction, but where EAG really stands out is that we return to the story throughout the entire process. We don’t just use it to check a box—it’s the heart and soul of the design.

My tagline for the team is: Hold the story tightly and your design loosely. We create the story first. For example, if it’s a food and beverage outlet, we’ll develop the F&B concept before even starting on the design. That way, the design is truly driven by what the space is meant to be.

Same with hotels—brands like Marriott have you look at historical, social, and physical factors to build the narrative. They keep those stories on file, so if we go back to renovate in a few years, we’re not starting from scratch. That story becomes the lifeblood of the design.

Every decision—even down to selecting a fabric—we’ll hold it up and ask: Does this reflect the story on its own, even out of context? If not, it doesn’t belong in the project.

Zaylan: That’s fascinating. How do you use art and artifacts to help tell that story?

Christy: Art is honestly one of the hardest parts of design because it’s so subjective—but it’s also one of the most powerful tools to communicate the story to the guest.

We’ll partner with art consultants or commission custom pieces from artists—all based on the design narrative. It’s a critical part of bringing the story to life in a visual way.

“There’s a lot more transparency now in terms of materials—where they’re sourced, how they're harvested. So we try to work with vendors who have clean factories and follow best practices”

Zaylan: I’ve heard this term recently—biophilic design. That’s a recurring theme in your work, right? What does that mean to you, and how do you blend indoor and outdoor spaces?

Christy: Yeah, biophilic design is kind of the new buzzword, though I think a lot of people use it without really understanding what it means. But at its core, it’s about connecting people to nature—and I definitely think there’s a growing emphasis on that.

For us, it’s about elevating the outdoor experience. So instead of the old, uncomfortable, utilitarian patio furniture, we’re talking about beautiful, upholstered sofas you’d actually want to lounge in—something that feels like your living room but outdoors.

And then bringing that experience inside—reducing the division between interior and exterior. That could mean large operable doors that fully open to connect spaces, or using as much glazing and window area as possible.

We even do things like pushing beds closer to the windows in guest rooms, so you can sit in bed and feel connected to the outside view.

Also, greenery—bringing in as much as the client will allow or can take care of! We prefer live or preserved plants—what we call “once-alive”—over faux ones. Not just for air quality, but for authenticity. You feel the difference.

Zaylan: Gotcha. One of the examples we saw in the portfolio that really stood out was the Carolina Executive Suite at the Westin. Can you talk a bit about that? How did you incorporate the natural beauty of Hilton Head Island into the design of those rooms?

Christy: Yes! Westin as a brand is very grounded in biophilic design—wellness, nature, all of that—so that made it even more important to reflect the surrounding environment.

Hilton Head Island is amazing because of those sea islands with their really unique, snaky marshland patterns. That gave us a rich palette and a clear narrative. We had the calming blues from the ocean, then as you move inland, those beautiful wheat tones from the grasses. So we used natural-feeling materials—burlaps, linens, breezy textures—to emulate that coastal grassland vibe.

And further inland, you get all those pine trees and deep greens. So it gave us a broad yet soft, monochromatic palette—very organic. The shapes of oysters, trees, grasses—all those coastal forms—showed up in our carpet patterns, artwork, and overall design language. The lighting and materials leaned into that vibe too, with burlap, nautical rope, and rattan textures throughout.

Zaylan: Another big buzzword in the industry is sustainability. How does that play into your design work?

Christy: Honestly, that’s a tough one—especially in hospitality. With large guest room projects, the reality is that everything will eventually be ripped out and replaced. So, in my humble (and maybe off-the-record) opinion, sustainability in that context is really challenging.

That said, we do everything we can to emphasize sustainable practices. There’s a lot more transparency now in terms of materials—where they’re sourced, how they're harvested. So we try to work with vendors who have clean factories and follow best practices.

From a guest-facing perspective, it's about things like reducing single-use plastics. Instead of handing out endless water bottles, we push for hydration stations across the property—reusable water, refill options, recycling. Those are practical, meaningful changes we can make.

Zaylan: So you’re not just designing a room, but thinking about the full guest journey—like where and how they access water throughout a property?

Christy: Exactly. It’s about designing experiences, not just spaces.

Gaby: Before I jump into a few more questions—how important is it to use local artists or suppliers in your projects? Is that part of the direction you usually take?

Christy: It depends on the project. For a while, brands were pushing hard for local art, so you’d end up with a bunch of generic city skyline art or topographic maps—which often didn’t connect to the story at all.

For us, the locale is important—but the story is even more important. Sometimes a local artist aligns perfectly with the narrative, and that’s great. But other times, the story calls for something else entirely. The art always needs to be relevant to the design narrative, not just the ZIP code.

“I see our role as designers being the ones who collect all those voices and translate them into one unified vision. We’re the ones who weave everything together”

Gaby: Alright, let’s shift to a few questions about working with EAG. What brought you to Ellis Adams Group, and how has your role as Studio Principal allowed you to influence the company’s vision?

Christy: Like I mentioned earlier, I met Chris a long time ago while working on the AC Bourbon Hotel. From there, he started doing a lot of the bar equipment and bar design on my projects, and we ended up collaborating for nearly 10 years.

What really inspired me was his approach—bringing functionality and operational insight into the design process. He helped me see that design shouldn’t just be beautiful, but also efficient and clean behind the scenes. That mindset really stuck with me.

When I joined Ellis Adams Group, I launched the interior design branch. Since then, it’s been about developing our design program, building standards, and evolving how we approach the work. We didn’t want to be just another design firm. Even though we love design, we want to operate differently—from how we work with clients to how we run things internally. We ask, how can we design better? Be more efficient? And not even run the business like a typical design studio. It’s been an exciting evolution.

Gaby: And how do you embody EAG’s ethos of creating custom experiences that spark curiosity and adventure?

Christy: I think it really goes back to storytelling. What we aim to do is create moments of discovery for guests. From the moment they arrive, we think about their journey—how they’re greeted, what they notice. We never want the story to be right in your face. That’s boring.

Instead, we layer it in subtle, experiential ways. Like an art piece that looks one way from afar, but up close you start noticing tiny details that reflect the story behind the space. That’s where the magic happens.

And beyond the physical space, we also train the operations team on the story. For example, at Union Station—which is an Autograph Collection property we designed—we based the entire concept on its history as a train station. We actually trained the GM, front desk team, and F&B staff on the story so they could share it personally with guests. That personal interaction—that’s what makes the story come alive.

Gaby: That’s amazing. So much thought goes into every element. Was there a particular project at EAG that challenged you to think differently or inspired growth?

Christy: Union Station, hands down. It’s probably my favourite project since I joined EAG. It had a totally unique identity as a train station, but because it was in Nashville, we didn’t have to tie it into the usual “music city” narrative. We could focus on the history of the building itself.

That was such a fun challenge—to dig into the past and create a rich, authentic narrative. It also pushed me creatively because it’s a historic building, which came with a ton of limitations. We had 125 different room types! We ended up designing 8 to 10 different room schemes, including a bunch of specialty rooms with their own little stories.

One room had an upside-down bookcase—a sort of whimsical “train library” hanging from the ceiling. Stuff like that definitely doesn’t make the project more profitable for us—but it makes it memorable for the guest. And that’s the most rewarding part of what we do.

There were plenty of challenges along the way, but it was incredibly exciting and creatively fulfilling.

Gaby: Okay, collaboration is a big part of the design process. How do you work with clients, artists, and the EAG team to bring a cohesive vision to life?

Christy: I think the number one thing we do is listen. Especially with hotel projects, there are so many voices involved—clients, brands, architects, consultants, sometimes branding agencies if we’re not handling that ourselves.

I see our role as designers being the ones who collect all those voices and translate them into one unified vision. We’re the ones who weave everything together.

Gaby: And what do you find most rewarding about working with a company so focused on hospitality and creating meaningful guest experiences?

Christy: I think it’s the fact that we’re always growing—always focused on what’s next. The next project, the next evolution. We stay really in tune with how the industry, culture, and guests are changing.

Chris always talks about the psychology of hospitality, and that’s something we study and use to challenge ourselves. It keeps us from getting stagnant. It pushes us to keep innovating, to always try something new.

“What is surreal, though, is seeing people use the space—seeing guests eat and drink in a bar that used to exist only in your mind. That’s the coolest part.”

Zaylan: Now a few questions on leadership and collaboration—so as a leader at EAG, how do you mentor your team to think creatively while still staying aligned with the client’s vision?

Christy: I always come back to storytelling. I remind our team to hold onto the story—to use it as a filter for their designs. We do a lot of internal self-editing and critiquing before things ever get to the client, so they can see a clear, intentional design narrative.

And from a mentorship standpoint, it’s really important to me that everyone on the team feels like they have a voice—that they’re contributing meaningfully to the design. Especially for junior designers, I want them to feel empowered to present their ideas and take ownership of parts of the project.

Of course, not every idea is going to be the right fit for a particular space, but that doesn’t mean it’s a bad idea. I want people to feel encouraged to share, even if it doesn’t make it into the final design.

Zaylan: Are there any particular values you emphasize when new designers come on board?

Christy: Definitely. Since we all work remotely, the biggest thing is being a self-starter. You have to be able to drive your own day, your own projects. We manage timelines, clients, and expectations pretty independently—so communication becomes even more critical when we’re not in the same office.

Zaylan: Love that. Has there ever been a moment during a collaboration where a client’s input totally shifted the design or led to something unexpected?

Christy: Always.

Zaylan: Yeah?

Christy: Every day.
No, seriously—I think one of the things that makes us different is how we approach the work. A lot of design firms focus on getting the job done, issuing the drawings, and calling it complete. But for us, it's always about doing what’s best for the project in the end.

So even if we’ve issued 100% drawings and something changes—maybe the client realizes the bar isn’t in the right spot—we’re not afraid to go back in, move it, and redo everything else around that if it’s the right call. That’s something that usually scares designers, but we embrace it. We’ll reconnect all the dots and rework the pieces. It’s worth it if it improves the final result.

Zaylan: And these projects usually run pretty long, right? How long do they typically last?

Christy: Yeah, most sit in that two- to three-year range. It depends on whether it's a renovation or new construction. Right now, we’re starting projects that won’t open until 2027.

It’s like entering a relationship with your client—you’re signing up to talk to them every week for the next three to four years. So you better like them!

Zaylan: How do you keep the team inspired and motivated over such long timelines?

Christy: It’s hard.
There are fun, exciting phases—like concept creation, when we’re collaborating and painting the big picture with mood boards and beautiful imagery. But then comes reality—construction admin, shop drawings, value engineering, budgets, timelines—and that part can really deflate your sails.

So I try to remind the team that CA is crucial. It’s when the design finally comes to life. It's our chance to make sure what gets built actually matches what we envisioned.

It’s mentally the most challenging part, for sure. So I just tell them—this is a season. It won’t last forever. Do what you need to do personally to stay motivated—work out, take breaks, travel—whatever helps you catch your breath and reset.

Zaylan: Got it—CA is construction administration?

Christy: Yep. It’s all the nitty-gritty—finish approvals, shop drawings, purchase orders, budgets… paperwork-heavy stuff.

Zaylan: One more before I pass it to Gaby—what does it feel like when you finally see the space? After working on something remotely for years, just staring at it on your screen, what’s that moment like when you walk into it?

Christy: The first time it happened, I walked in and thought, “It looks exactly like it did in my head.”
And that’s great—that’s what we want. But it’s also funny because you’ve been looking at it for three years, so by the time you see it in real life, it actually feels… normal. Familiar.

What is surreal, though, is seeing people use the space—seeing guests eat and drink in a bar that used to exist only in your mind. That’s the coolest part. That’s the real reward.

“We get to help create those spaces where people relax, de-stress, and celebrate. That’s a legacy I’m proud to be part of!”

Gaby: Ok Let’s talk about strategy and vision. When you’re starting a new project, what are the first things you focus on to make sure the design reflects both the client’s goals and the location’s essence?

Christy: Market research is a huge part of that—really understanding the area, the guests, the competition. We also go through what’s called a brand immersion. That’s where we fully dive into the brand language to make sure we’re reflecting its identity and story.

With so many hotel brands now, each one has its own distinct lane. So we really study that. And then it’s about finding the best way to design the guest room for that particular brand and location. There are so many hotel rooms out there—how do we create something truly tailored and experiential? That comes from blending market research, story development, and smart spatial layouts. It’s critical.

Gaby: Love that. And how do you balance functionality with style—especially in high-traffic hospitality spaces?

Christy: Ninety to ten—function first.
One of the things that makes it easier for us is that we’ve got so many operationally-minded people at EAG. All of our designers have been trained in bar equipment layout and workflow. So when we design beautiful bars, we’re also thinking like a bartender—how fast can they make drinks, how efficient is the layout?

It’s not just about aesthetics. It’s about functionality, speed, and maximizing revenue for the client. That mindset informs all our design decisions.

Gaby: How do you stay ahead of trends and make sure your designs stay relevant—but still feel timeless?

Christy: Trends are always changing—and with technology, it’s even faster. Pinterest and Instagram algorithms practically predict what you’ll like next. So part of the challenge is making sure we’re not overly influenced by that stream of images.

Personally, I study European and Australian design closely—they’re typically ahead of the curve. But when it comes to timelessness, the key is: don’t go all-in on trends. We do a lot of mixing—old world with new world, machine-finished materials with things that have patina and texture. That contrast helps the design feel layered, human, and timeless.

Zaylan: Beautiful!  So to wrap us up—what excites you most about the future of hospitality design, and how do you see EAG continuing to push boundaries?

Christy: I think it’s twofold. First, the pace of things is changing. Our design timelines are getting shorter, while lead times for furniture and materials are getting longer. So we have to figure out how to design faster, more completely, and more uniquely.

But beyond that, what really excites me is rethinking the entire design process. Just because something has always been done a certain way—doesn’t mean it still should be. I think there’s huge opportunity for us to lead in that space—both in how we work and in what we ultimately create.

Zaylan: What legacy do you hope your work will leave?

Christy: I’ve actually given this a lot of thought.
It’s exciting to step back and think about the big picture—why we do what we do, especially in hospitality design.

It’s not that anyone will ever connect it back to me personally and say, “Thank you, Christy.” But we get to play a small part in meaningful life moments. Weddings in a ballroom, anniversary dinners in a restaurant—those little memory-making events.

So many of our happiest memories happen during vacations, in hotels. And we get to help create those spaces where people relax, de-stress, and celebrate. That’s a legacy I’m proud to be part of.

Zaylan: Beautiful. If you could design your dream project anywhere in the world, what would it be—and what story would you want it to tell?

Christy: It would definitely be a beach resort.
Something truly designed for everyone—a place for all ages to come together. The first thing that popped into my head was a family reunion. A resort that brings people together, helps them connect and unwind, and just really celebrates being with the people you love.

Zaylan: And last question—we’ve been asking everyone this: For someone younger looking to get into hospitality design, what advice would you give them for building a lasting career?

Christy: Be patient.
Hospitality design is totally unique—it has its own language, and it’s complicated. You have to be patient as you learn the process.

And patient with clients too. We always joke: “Hurry up and wait.” One day, the owner wants it tomorrow… and then you don’t hear back for two years. That’s just part of it.

You also have to be patient with yourself. These projects—especially big resorts—are massive. There are so many layers, so many little design details, and it can be totally overwhelming.

So just take it day by day. Learn as much as you can. And remember—you eat the elephant one bite at a time.

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