“In PR, all you have is your reputation. We’re known to editors to promote high-quality design. If we lower our standards, then our credibility is compromised. It doesn’t matter how large a PR budget a potential client has. Some money is just too expensive.”

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Julie D. Taylor is personally involved with all Taylor & Company clients. She focuses specifically on image management, strategic media planning, and media relations. Prior to establishing Taylor & Company, she was the Director of Public Relations and Communications at Pacific Design Center.

Julie is a long-time editorial veteran, with a variety of publishing credits, including senior editor positions at design and marketing publications in New York City.

Taylor & Company is a dynamic, full-service public relations, marketing, and communications firm in Los Angeles. Founded in 1994 by Julie D. Taylor, Taylor & Company creates and implements proactive public relations programs for professionals, manufacturers, institutions, and organizations in architecture, design, building, and engineering involved in the betterment of the built environment.

 

MO: What initially attracted you to the PR industry?

Julie: As a magazine editor for several years, I worked with many PR professionals. I considered writing a brochure on how to effectively communicate with editors. Instead, I kept those “secrets” for my own firm. It wasn’t so much PR that drove my decision, but the world of design. Not a designer myself, I looked at how my skill set could further the design professions. Having been an editor and writer for years—and looking for a change—communications and PR were the perfect fit. I’m admittedly not one who can promote just anything. I need to love and really believe in what I’m promoting.

MO: Why did you choose to focus on representing the architecture, building and design industries?

Julie: Architecture is the most lasting, pervasive, and influential of the arts. Yet architects don’t always get the credit they deserve. My personal background is in art history and fine arts, so creative expression has always been a passion. What I love about architecture and design is that it presents art in a business context. The balance between the two is intriguing, and those who balance them successfully are fascinating people. Designers are smart and creative—what a wonderful combination!

MO: Have you ever had to turn a potential client down?

Julie: Even from the very beginning when I was starting up, I would turn down clients that did not fit my criteria. To work with Taylor & Company, clients must be talented, have quality work we can promote and believe in, be good people, and be able to pay us. We interview clients as much as they interview us. In PR, all you have is your reputation. We’re known to editors to promote high-quality design. If we lower our standards, then our credibility is compromised. It doesn’t matter how large a PR budget a potential client has. Some money is just too expensive.

MO: What are some of the specific challenges of working within the architecture and design industries?

Julie: Getting the architects credit where it’s due. Even though architecture and design are impossible to avoid every moment of our lives, the art and practice of it is often overlooked by media and the public at large. Every time I see an article or photo about a building with no mention of the architect, I wince (even if it’s not our client!). It’s hard to imagine a book or movie review that doesn’t mention the author or director.

MO: How have you managed to have the firm survive through various economic cycles while staying true to your root principles?

Julie: There is never a question about compromising our principles. It just doesn’t happen. We always need to be excited about the work. I’ve never taken a client “just for the money”. It just doesn’t work for me—and ultimately doesn’t work for the client. Being a small office, we are flexible and nimble enough to adapt. As a business owner, there are sometimes very tough decisions to make—particularly in having to downsize. The biggest dips in client fees occurred after 9/11 and at the beginning of the current recession/depression. In both cases, nearly 50% of our billings were cut. We adapted. When clients requested a reduction in their fees, we agreed, yet had to be very clear that there would be an equal reduction in services. Our clients continued to receive value for what they paid. We have also started offering a greater variety of services in our proposals so clients can chose which program best suits their needs. In addition to media relations, we offer image management, website consultation and writing, marketing communications, awards submissions, and speaking engagement bookings.

MO: What trends in architecture have really excited you and does that excitement easily translate to the PR and marketing you do for a client?

Julie: We keep abreast of trends and directions in both design trends and business practices to be a better advisor and sounding board for our clients. Trends do come and go, but rather than jump on the current bandwagon, we strive to promote our clients for the long run.

We started working early on with one of the foremost European architecture firms that was ahead of the curve in terms of green design. This gave us not only a great education in sustainable design, but an early specialty in it. However, we also needed to promote the designs on all merits—not only their sustainability issues, as we could foresee how environmentalism in design would soon become standard and not stand out as much anymore. If we pegged the client as only “green designers” we would do them a disservice.

Currently in the practice of architecture and design, there has been a greater emphasis on collaboration and multi-disciplinary practices. Sometimes firms collaborate with each other, or within their own firms. The trend is moving away from the singular auteur-driven firm. This has resulted in some of our clients wanting to reposition themselves as more team-based. This positions the firm for longevity, so clients are not tied to a single individual. It is also an excellent way to attract really creative people to come work for them—it’s better for company morale when credit is shared.