In Home Is Where The Heart Is, Hallmark Channel’s first-ever interior design series, Olivia Westbrook brings more than luxury expertise to the screen: she brings heart. In this exclusive interview, she opens up about balancing aesthetics with memory, advocating for design integrity on set, and how her own experience with loss shaped the soul of the series. Read on for more:
Design and television format
DNN: Home Is Where The Heart Is stands apart from other design shows in its emotional register—it’s as much about memory as it is about materials. As a designer trained in construction and luxury interiors, how did you adapt your process to accommodate the storytelling needs of television?
Westbrook: Honestly, I didn’t have to adapt my process all that much, because my design philosophy has always been rooted in understanding my clients on a personal level. I discover how they want the space to function, what colors they love (or don’t love), whether they entertain, have pets, and just get a general idea for how they live.
What made this experience different is that we delved deeper into the emotional aspects that shape the family’s connection to their home. Unlike my typical projects, where clients are purchasing or building new homes, this show focuses on uncovering special relationships with inherited homes or those tied to family members that have passed away.
I found myself digging into old photo albums, listening to stories about a father’s favorite pair of cowboy boots or the songs a family member used to play on the piano. These moments became the inspiration behind every design decision. So the storytelling wasn’t something I had to add for TV because it was already there.
What changed was how visible it became to the audience. It gave people a chance to see that good design isn’t just about aesthetics; it’s about soul. And that’s what makes this show so special. We’re not just creating beautiful rooms, we’re helping people reclaim the spirit of home.
DNN: Many designers are wary of the “TV version” of design, where aesthetic decisions can be rushed or simplified for the camera. How did you protect the integrity of your work while still meeting production timelines and narrative beats?
Westbrook: This was very important to me and I wanted to ensure that I could take pride in putting my name behind the work from the beginning. I was very involved in the design process for each episode, which allowed me to maintain the integrity of my work by ensuring that everything met high standards.
I stayed hands-on throughout the entire process. Even while filming an episode, I was still reviewing pieces from the art department. I literally had my computer on set so I could ensure that the furniture dimensions for installations were correct.
I kept my AutoCAD program open on set and was actively designing while we were filming. I had constant conversations with the contractors about design details. I was very particular about everything being just right because, at the end of the day, my face was on camera, representing the work I put out into the world.
I also knew how special these homes were to the homeowners, so I took it upon myself to go the extra mile to ensure their homes were in good hands.
Built to last
DNN: The show hinges on homes inherited or filled with family history. How do you approach legacy as a design material? And how do you balance sentiment with the demands of form, function and longevity?
Westbrook: One of my favorite aspects of the show was discovering creative ways to honor each family’s legacy through design. We weren’t just decorating a home, we were preserving memories and giving them a place to live on and be celebrated.
We transformed sentimental treasures into meaningful décor, such as displaying a grandmother’s china as wall art, framing handwritten family recipes, and repurposing cherished objects like bells or cowboy boots. We also incorporated beloved family quotes into custom artwork, turning words into a visual hug.
One example I loved: we turned old sheet music into custom coasters as a way to honor a family member’s favorite songs. It’s a small thing, but it brought memory into everyday life and that’s what great design should do.
However, while interweaving family stories into my design, I still rely on core design principles. Balance, harmony, and functionality are always at the foundation of my work. I make sure the furniture fits how the family actually lives, and the layout needs to serve them today, not just look good on camera.
Design with emotional weight
DNN: You’re working with emotional clients, often processing grief, memory, or complicated family dynamics. What skills from your private practice helped you navigate those moments on set?
Westbrook: Working with emotionally charged clients is a significant part of my everyday job. I have experience dealing with real-life family situations, so I was able to navigate those moments on set. Designing homes is very personal.
I find myself in the midst of significant life events such as marriages, divorces, new babies, family beginnings, and health scares. It’s essential to approach these situations with sensitivity and care.
Navigating these dynamics took a lot of practice over my 20-year career, but I’ve discovered that those skills are invaluable when facing similar challenges on the show.
I’ve also had my own journey with grief. I lost my mom, who was my best friend, and that experience shifted the way I show up for others. So when a client on the show shared a memory that brought on tears, I could sit with them, not as a designer rushing toward the next decision, but as a human who could relate to how they are feeling.
It’s part of the reason I believe design can be healing. It’s not just about making a home beautiful; it’s about honoring the people who’ve lived in it and those cherished memories.
Designing under pressure
DNN: In traditional practice, we often work in private, with time to iterate and edit. Television demands immediate results and visible transformation. Did you find that pressure creatively stimulating or at odds with your natural pace?
Westbrook: It was both stimulating and challenging. On one hand, it pulled me out of my comfort zone; designing 12 spaces in 10 days was intense! On the other hand, the pressure unlocked a level of creativity that I didn’t know I had. It was a classic case of “sink or swim,” and I made the choice to swim!
There were moments on set when, due to time constraints, we couldn’t find the materials we wanted for our chosen projects, which were included in our concept boards. We had to pivot quickly, and that’s where my 20 years of experience played a crucial role in helping me navigate those challenges.
In my design business, things often don’t go as planned, and we have to figure out our next steps quickly. The same situation occurs on set, but it happens at warp speed and more frequently. I must say, this environment forced us to dig deep for creative solutions, and most of the time, the outcomes were even better than our original design plans. It pushed us to think outside the box.
As designers, we tend to feel comfortable with what we already know, but being placed in these challenging situations compelled me to push the boundaries of my creativity. It was incredibly hard, but ultimately, it was worth it.
Advocating for your design decisions
DNN: You’ve long collaborated with architects and builders. Did the production structure on set replicate that collaborative energy, or did you find yourself advocating more than usual for certain design decisions?
Westbrook: There were definitely design decisions I was willing to advocate for during the production. While filming a TV show requires letting go of some control, which can be difficult for designers who tend to be perfectionists, it’s important to pick and choose your battles.
There were times when I went along with certain decisions, but I also made sure to speak up when it mattered. On set, things moved quickly, and I often found myself spread thin between different tasks. When it’s install day for my personal clients, I am always present and a major part of all the details such as hanging drapery.
In one instance when we were filming, I was shooting a scene outside while drapery was being hung inside and it was accidentally hung on the window trim. I insisted that it needed to be changed. Ultimately, it’s about choosing your battles while also learning to let go of some control. And in the TV world I had to let go of control more than I’m used to in real life.
DNN: Viewers see the polished final reveal, but professionals know the process is far messier. Can you share a behind-the-scenes moment where something went wrong—and how you solved it?
Westbrook: In one episode, right before we filmed the reveal, a crew member accidentally knocked over a bottle of red Gatorade on a light-colored rug. We only had minutes before the family arrived to see their new space.
Having had experiences with similar situations during my own installations and at home with two kids, I was able to clean the stain fairly quickly. With some carpet cleaner, a cleaning brush, and a lot of elbow grease, I found myself on all fours, feverishly scrubbing the stain just before the cameras rolled.
In another episode I specified white grout for floor tile in a kitchen remodel. I went away to film another scene and when I returned to the kitchen the tile installers were laying down gray grout.
As you can imagine, I completely freaked out because it did not look great at all. Production would’ve preferred I settle for the gray grout to keep our schedule but I was persistent they change it to white as originally specified. So the installers had to scrape out the gray grout with their blades and replace it with the correct color.
That was a situation where the outcome was non negotiable for me. It was important to the aesthetic of that kitchen to get the grout color right and I stood strong on that.
When rebuilding is personal
DNN: You’ve spoken about the personal resonance of the show, having recently lost your own childhood home. Did that personal history shift your design instincts or deepen your connection to the spaces?
Westbrook: Yes, that personal experience helped me to connect with the show’s mission on a deep level.
My siblings and I were faced with the decision to sell our childhood home. Although we would have loved to keep it in our family, it simply wasn’t in the cards for us at the time.
I once heard a wise man say that if you desire something, give it to someone else. Working with these families to help transform the homes that hold so many memories while also honoring their loved ones was my way of doing just that – giving them what I had longed for.
It was a beautiful process – a healing one at that. Family history, legacy, and lineage are very important, and this extends far beyond the physical structure of a house. My childhood home, filled with love and warmth, was a sanctuary where I created memories with my mom who is no longer with me. It was a privilege to help these families celebrate their history and also breathe new life into the spaces where they will create lasting memories.
Designing to bring joy
DNN: We often talk about “client-centered design” in residential work. On the show, your “clients” are also the audience. How did that dual responsibility shape your creative decision-making?
Westbrook: It was important for us to create spaces that brought joy to the homeowners we worked with, as well as to the viewers at home. We intentionally used bold colors, vibrant patterns, and fun design elements that made a strong impact in the space and looked great on TV.
I wanted both the families we designed for and the audiences watching to be smiling from ear to ear when they saw the reveal. Joy is at the heart of our show, and our design choices reflect that.
Hallmark channel’s foray into design television
DNN: Hallmark is venturing into new territory with design programming. What kind of conversations did you have early on about tone, visual language, and how far you could push the envelope?
Westbrook: From the very beginning, we knew this wasn’t just another home renovation show. Hallmark has such a strong identity rooted in heart, warmth, and storytelling, so our conversations early on centered around how to weave that into every design moment.
We talked a lot about tone and how to honor the legacy of these homes without losing sight of the magic and nostalgia that people expect from Hallmark. Visually, I wanted to push the envelope just enough to bring something fresh and exciting to the screen, while still staying true to that comforting Hallmark aesthetic.
It was all about striking that balance with bold colors and unexpected design choices in a way that felt intentional and emotionally grounded. This show gave me the opportunity to go deeper than just beautiful interiors. It let me create spaces that honor the stories of each family we worked with. That’s the heart of the show. And honestly, that’s what makes it feel like such a perfect fit for Hallmark.
DNN: For designers reading this who are interested in entering media—what’s the one thing you wish you’d known before stepping in front of the camera?
Westbrook: I wish I would’ve understood the intensity behind a production schedule, as it would’ve helped me manage my expectations. There’s always a tension when real life doesn’t meet your expectations, and when you are tossed into the whirlwind of television production as an on-camera personality, you can’t be tense because it shows on camera.
So what I would tell myself or another designer interested in TV, is be willing to go with the flow. Things will not go as planned, and you just have to learn how to roll with it. Otherwise you will drive yourself crazy.
I would also tell them that collaboration is a huge part of making the design successful, which means that you do have to rely on other team members to help you realize the vision and that requires letting go of control. You don’t know until you’re in it. It’s almost like me explaining parenthood to somebody that doesn’t have kids – the real understanding comes from living it.
DNN: Has this experience recalibrated your long-term vision for your firm? Do you see broadcast as a new platform for design education, brand extension, or something more emotional?
Westbrook: Yes, I am excited and eager to see where this opportunity takes me. I’m hopeful for a Season 2, and I’m open to exploring other platforms, whether that’s through television, my artwork, merchandising, or other avenues.
From a business perspective, I think it’s imperative to the success of my design firm to have multiple ways to receive revenue and honestly, I am interested in a lot of things beyond interior design. I loved the process of putting together a television show, I love creating artwork, and I can see myself exploring both of those avenues more in the future.
DNN: What are the systems or habits you’ve built to maintain excellence in both realms—client work and media work—without compromising either?
Westbrook: I consistently strive to push the boundaries of my work, both on and off screen, to provide the best for my clients. I trust my instincts when it comes to my work and decision-making.
With over 20 years of experience in the business, I’ve worked with a wide variety of clients, and I leverage that experience on the show. I have a team, and my senior designer is my right hand person and is integral in keeping the systems of my design practice running while I’m on set. It’s important to have epeople that you trust who can step in when you need the help.
I also prioritize my mental well being through my meditation practice, creating artwork in my down time, and truly being present during my days off with my family. Those are the ways I refuel between running a design business and filming the show.
DNN: If there’s a Season 2, what do you hope to do differently—creatively or logistically?
Westbrook: If we’re blessed with a Season 2 of Home Is Where The Heart Is, one of my biggest hopes is simply more time! The entire design process, from the ideation to reveal, took about six weeks total. While that’s the nature of TV, having a little extra breathing room would open the door for even more creativity and execution.
I’m especially excited by the idea of incorporating more of my own custom artwork in future episodes. In one of the homes this season, I created a custom piece that really resonated with the family, and I’d love to do more of that in Season 2.
Designing deeper
DNN: Lastly, in a profession often seen as surface-driven, this show puts feeling first. What would you say to fellow designers about the value of leading with emotion, even in the most high-end or high-pressure projects?
Westbrook: A beautiful home is more than great design; it’s about heart, personality, and a little bit of fun. To my fellow designers, I would say this: leading with emotion doesn’t take away from the luxury or sophistication of a space, it enhances it. Bringing peace of mind and a place where our clients feel a sense of belonging is the greatest gift we as designers can give.
I believe designers can shift their mindset from being purely creators to becoming service-driven professionals. When you come into the mindset of how can I be of service, your priorities realign. It’s no longer solely about the creative act of interior design, it’s about drawing out our clients’ stories.
I always tell my clients, “At the end of the day when this project is over, I’m leaving, but you have to live here. So this space needs to be a place where you feel comfortable, where you find joy, and where you feel at peace.” By asking, “How can I help clients show up as their best selves?” you will end up with a richer project and a far more fulfilling experience for everyone involved.
