For Jen West, restraint isn’t the goal, character is. We sat down with the Eugene-based interior designer to talk about her richly layered approach to design, where antiques, custom pieces, and bold finishes come together in spaces that feel both elevated and entirely lived in. Her philosophy is simple: start with a timeless foundation, then don’t be afraid to push it.
EM Your projects feel both livable and elevated. How do you strike that balance between beauty and real life?
JW Nobody understands more than me the challenge of living around pretty things with kids and pets. Three kids and so many pets later…. You can’t be rigid. It’s all just stuff, so everyone needs to relax a little bit. The good news is that there are so many ways to be smart about decorating. Perfor- mance fabrics and outdoor fabrics used indoor. We aren’t limited to big brown leather sofas anymore because your kid or dog is Pig Pen. Distressed furniture, cerused finishes, antiques, reclaimed wood tables: These elements are way smarter and more attractive than a Queen Anne Mahogany table requiring a table protector. That isn’t living. The goal is to live in a home and not just a house. My daughter used a sharpie on the back of a thrifted Louis XVI dining chair I splurged to recover in Fortuny when she was about 4. I didn’t even get mad. She could barely even pronounce Fortuny let alone understand its legacy. Oh, well. Life goes on.
EM How would you describe your design style?
JW I like to design spaces using a mix of old/new/high/low. Sounds cliché, I know. I really try to design a space that is classic but current… with a little edge. Trendy doesn’t have longevity but timeless spaces do. Build a classic founda- tion and add some unpredictable elements. I think that is what I am good at… showing people what they didn’t know they wanted. Take risks! Your home should make you happy… and proud.
EM Are there materials, finishes, or details you find yourself repeatedly drawn to, no matter the project?
JW Definitely. I do need to be careful because I sometimes do like to use my favorite elements again and again. I need to use them in fresh ways. Lots of my clients are friends, and I can’t repeat exact combos or I’d probably get fired. I want it to look natural, not decorated! It’s harder than you think. I love Asian antiques, good British fabrics, lacquer anything, a fabric printed lamp- shade, unlacquered brass hard- ware, high gloss paint. I always try to throw in a bone inlay item. I designed my own pieces, made in India, because I couldn’t quite find what I wanted. A cute little small drinks table, a cachepot, a tray, and my fave are my mirrors. They aren’t cookie-cutter, and I love them. I guess I just want the house to feel authentic. I don’t know how to explain it, but I know how to get there.
EM What’s a behind-the-scenes part of your job that people would be surprised to learn takes up a lot of your time?
JW Design is a lot of desk work. Purchase orders, work orders, tracking, tracking… did I say tracking? Lots of details. I am so fortunate that I have been doing this for 20 years because the learning curve is giant. So many ways to mess up! TUMS!
EM How do you decide when a space needs a bold moment versus when it needs restraint?
JW Bold moment? Or three. Let’s have fun. That’s why you called me.
EM How does working in Eugene and Springfield influence your approach compared to designing in larger or trend-driven markets?
JW I do a lot of custom work. Custom upholstery, carpentry, finishing, seamstress work. I really depend on local vendors and craftsman on nearly every single project. It’s also really rewarding to brainstorm with these artists. They are now my friends. I can design it, and I love that part the most, but I cannot build it. Helpless in that department. Extra bonus: one brings me warm sourdough bread.
EM Have you ever been pushed on a project?
JW One of my favorite projects was for a now-good friend. I can be “more is more” all day long, but she was, like, MORE PLUS MORE PLUS MORE. No brakes in sight. British wallpaper with mini cities popping out of oranges, scalloped millwork, aubergine high gloss paint, a custom jewel-toned Oushak rug woven in India, sconces hung at different heights down a hallway, etc. The electrician thought I was nuts. Sign me up again. Might need a helmet next time.
EM Is there a local project you’re especially proud of—not because it was the biggest or flashiest, but because it truly fit the client and the space?
JW Designing Elizabeth’s Restaurant and Wine Bar at Oakway was a lot of fun. The goal was to make it a little more feminine, and I think we accomplished that. I know some people freaked out when we painted some of the Stanford bleachers that lined the space, but we needed to tone all of the wood down some. Un-dude it a bit. I am very happy with all of the green woodwork in there with the stained wood now. It feels balanced. Painters gotta paint. Plus, it goes good with wine.
EM Looking ahead, what kinds of projects or spaces are you most excited to design next?
JW I am working on more projects in Bend and Portland, and they both have their own aesthetics. In Bend, incorporating that mountain jam in an unpredictable way is the best. Making mountain modern cozy in a primary bedroom by using a custom Moroccan rug, a curved silk mohair bed, and a velvet tiger chaise. Or a favorite dining table made by Foci, incorporating my client’s ranch brand in brass into the top. Delivered over the pass during a snowstorm. Naturally.
