Photograph by John Haynes
Interior Designer Ruth Johnson
Ruth Johnson at the studio of her friend, artist Anne Labovitz, in St. Paul. The two met at a mutual client’s home.
Growing up, Ruth Johnson didn’t have to go far to fuel her creative energy. From her vantage point on a stool behind her father and his paintbrushes, she would watch him work. “We listened and sang to show tunes while he painted,” she recalls. The interior designer became enamored with fabrics and trims shopping with her mother, who was a seamstress. Still, Johnson says her design career wasn’t an obvious path, even though it clearly was in her DNA.
Was your father a full-time artist?
My father was a commercial designer, fine artist, and master illustrator. He was never without a pen and would sketch on church programs during services and on napkins while dining. Born in Holland, he was a traveler, and I would accompany him to places of architectural interest when I was a child.
You mentioned your mother was equally influential.
My mom, who is Japanese, made our clothes and all of the draperies in our home. There were frequent trips to the fabric shops that sparked my appreciation for textiles. She reupholstered some vintage furniture for my first apartment. When professional upholsterers eyed the combination of floral cushion tops, striped cushion rises, and leopard-print piping, they were skeptical, but it was fabulous!
But you didn’t start your career in interior design, right?
I worked at KLM Royal Dutch Airlines, and I enjoyed retail, especially as a stylist for men and home furnishings. I have a degree in English lit and women’s studies and seriously considered journalism. But ultimately, I decided to study interior design at a tech school. After that, I worked at Room & Board and was a manager, buyer, and merchandiser for Ligne Roset.
When did you know you wanted to work in design?
While managing Ligne Roset, I contacted builder Streeter & Associates and architect Charles Stinson to ask if I could collaborate with them by furnishing, styling, and curating art for one of their tour homes. Charles walked in after the installation and invited me to work with him. That was in 2000, and I had the privilege of working as his principal interior designer for 12 years before starting my own firm.
You’ve worked on some pretty spectacular residences, including a swanky house on Lake Michigan. What was that like?
That was an adrenaline rush for sure. I had to pinch myself when my client asked me to join him in refreshing this jewel. The cliff house was originally designed in 1969 by architect Harry Weese, who, among other things, designed the D.C. Metro. Over the years, the house had fallen into disrepair. It took a year and a half of careful updates and restoration to make it into a luxurious mid-mod guesthouse. The steel structure has glass walls and teak-wrapped floors and ceilings that are reminiscent of a yacht. There’s also a round sunken seating area with an oculus in the floor with views through the trees to the lake below. It’s very 007.
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Photo by Paul Johnson
An Industrial-Meets-Bohemian Mix in St. Paul's Lowertown
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Photo by Tony Soluri
A Chic Lincoln Park Penthouse in Chicago
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Photo by Tony Soluri
A Chic Lincoln Park Penthouse in Chicago
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Photo by Paul Johnson
A James Bond-esque Lake Michigan Summer House in Wisconsin
Talk about your process. Where do you start?
By studying the architecture, the building’s surroundings, and listening to the clients to understand their dreams, needs, tastes, and lifestyle. Then I start gathering inspiration that bridges these elements.
Are there myths to designing modern?
Two common myths are that modern is cold and trendy. But modern is classic and can be warm. Careful editing and balance of form, function, and materials create a purity of design.
How about when you have clients who like a mix, like the loft in St. Paul?
The Lowertown project has a modern minimalist quality to it. There are heirloom antiques that became a beautiful juxtaposition to the Italian-modern kitchen and furniture. The clients moved from a farm near Stillwater to this loft so there was some editing to be done. He has a modern-minimalist design sense and she has a more bohemian flair. I was the style go-between. Finishes, fixtures, and furniture bridged their styles.
Do you have a dream project on the horizon?
One of my dream projects is a boutique hotel. I have a bit of a hotel obsession. When I travel, I try to visit one or two hotels even if I’m not a guest there. I’ll have a drink in the lounge or ask to see a room. Hotels are full of inspiration because designers can take risks that may not be possible with a residential project.
Design Study
Ruth Johnson treasures illustrations by her father, including this design study he made during art school.
Have you worked some of a hotel into a home?
Yes, one of my clients fell in love with Kelly Wearstler’s interiors at the San Francisco Proper hotel. We had a lot of fun incorporating [Wearstler’s] mixology of patterns into her home.
Who are some of your inspirations today?
Marcel Wanders, the founder of Moooi, is one of them. I heard him speak during the last ICFF [International Contemporary Furniture Fair] in New York. I admire his unapologetic approach to innovative design. Even when I’m working on a more traditional project, it’s always more interesting to add a little rock ’n’ roll to it. Other modern inspirations are Alexander Girard, Cindy Allen [editor of Interior Design magazine], and my daughter and her school.
You mentioned she’s at Perpich, the art high school in Golden Valley.
Yes, she’s a senior there. I’ve had the privilege of experiencing what these young artists are creating through music, art, theater, writing, and dance. They’re putting themselves out there, and their work is powerful.
What’s next for you in 2020?
I’m looking forward to collaborating with some new architects; we have so much design talent here. Also, in my designer’s mind, there’s always that boutique hotel.
