The Return of Etiquette with Heather Wiese

The Bell’Invito story starts in late 2004, when Heather Wiese found herself disillusioned by the cost and inefficiency of fine printing. Wanting to see her illustrations come to life with the texture of letterpress and engraving, she sought to employ local Craftsman period time offered a view into an industry in need of change and new perspective. Within months, by mere happened chance, Heather uncovered a family heirloom press covered in dust, in a small town where a still functioning family printing business had stored old equipment dating back to the late 1800s. Having limited knowledge of the craft and a hunger for solving this new industry dilemma, she decided to fire up the press and see if she could create something for herself. And the rest as they say, is history. 

The founder of Bell’Invito, Heather Wiese is known for a style that is playful, eloquently distinct and sincere period from the exception of bell invito the former fashion art director sought to create products that blend her love for trips abroad and learning about the cultures that create the magic. As the beating heart of belle and Vito, Heather Weiss has serendipitously welcomed the role of an etiquette ambassador. She enjoys educating the masses on the empowering nature of understanding social protocols, deciding when to employ tradition and when to trail blaze, and helping individuals of all ages gained confidence through applying social intelligence. Her desire is to empower others to live beautifully and create their own happiness through awareness.


Connect with Heather:
IG: @bellinvito @heather_g_wiese
Website: https://www.bellinvito.com/


Save 15% site wide at www.houseofblum.com with promo code beat15! Or you can use this link- https://houseofblum.com/discount/beat15!

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Connect with Krissa Rossbund. https://www.instagram.com/krissa_rossbund/ 
Connect with Liz Lidgett https://www.instagram.com/lizlidgett/ Episode Website https://www.blvdbeat.com/about 

Episode Transcript

Speaker 1 (00:08):
Welcome to boulevard Beat, a podcast where life and style intersect.
I'm designer Megan Bloom along with my co hosts, editor
Chris the Rossbund and gallery owner Liz Legit. This podcast
focuses on the daily highlights instead of the hustle, interviews
with taste makers, and personal conversations on how to highlight
achievable style. You can stroll one street at a time.
Boulevard Beat proves the one you should take.

Speaker 2 (00:37):
Today.

Speaker 1 (00:37):
We are welcomed by Heather Weiss, the founder of Bell
and Vito. Heather is known for a style that is playful,
eloqantly distinct and sincere period from the exception of Bell
and Veto, The former fashion art director sought to create
products that blend her love for trips abroad and learning
about the cultures that create the magic. As the beating
heart of Bell and Veto, Heather has serendipitously welcomed to

(00:59):
the role of an etique ambassador. She enjoys educating the
masses on the empowering nature of understanding social protocols, deciding
when to employ tradition and when to trailblaze, and helping
individuals of all ages gained confidence through applying social intelligence.
Her desire is to empower others to live beautifully and
create their own happiness through awareness. Well, welcome, Heather. We're

(01:21):
excited to start this conversation and chat with you today.

Speaker 2 (01:24):
Thank you, I'm excited to be here.

Speaker 1 (01:25):
Well, we're always going to start this podcast by asking
our guests about the street that they grew up on.
What is your story, Oh, I grew up in the
suburbs of Houston. I grew up on that street until
I was probably about fourteen years old.

Speaker 2 (01:37):
And I remember moving in at two, which is not
a memory you should have, but it was just such
a weird thing. I actually think I remember some parts
of that. What I liked about the street is it
was pretty and everybody took care of it, and they
took care of each other, and you know, they looked
out for each other. Everybody was very kind. I remember that.

Speaker 1 (01:54):
That's a great way to grow up and just start
your foundation for life. Creativity is such an important part
of what we talk about here. What's your earliest memory
of creativity and how did you inform your trajectory to
where you are now.

Speaker 2 (02:06):
This is going to be funny, or maybe it's just
funny to me, but I revered scientist. I thought anybody
that was a doctor or you know, veterinarian. And I
went through a phase of wanting to be a marine
biologist because you know, dolphins are fun, you know. So
the creativity really inside me was about learning, and I
would love learning. Science and art always came naturally. I

(02:27):
had a lot of exposure to scientists. My only exposure
to artists were like the art teacher or you know,
the art instructor that kind of came in and subbed,
and I always kind of thought they were a little
off kilter. I didn't really get them. And art and
creativity were kind of I drew a parallel to people
who were honestly like a little unstable or you know,
couldn't make a good living. It wasn't something that I

(02:49):
wanted to pursue. But the act of creating and doing
like drawing really well came so naturally to me that
I fought it off for a while. And I was
in my second year of college and I was sitting
with my dad and we were talking about I'm really
struggling with chemistry. I could do biology, I could do
things that you could learn and memorize and regurgitate all

(03:09):
day long, but when it came to equations and things,
my focus was just shattered, like I just couldn't figure
out chemistry. And I knew that I had to go
a lot further than just chemistry if I was going
to pursue that career. And he said, why don't you
think about maybe something like graphic design. Well, had we
not been in a restaurant, I probably would have thrown
something at him. I was so mad that he implied

(03:30):
that I should have a career in something artistic. I thought,
what you want me to do? Be a starving artist
for the rest of my life? Why would you even
recommend that? He said, You know, he just kind of
laughed at me, like you don't even know what you're
talking about. As you know, all college students who know
everything know what they're talking about. He said, why don't
you talk to this person in that person and gave
me kind of some direction into people who were in

(03:51):
advertising and had made a career of being creative and
doing what came naturally to me. And I found my
niche thankfully, and that and it was a lot easier
for me to, you know, go through art history and
when I had drawing classes, and you know, it was
being creative. And I loved the supplemental creativity that you

(04:11):
had to do in college, Like there was a pottery
class that I could not get enough of. I think
I probably could have easily turned to that, you know,
if I didn't do art direction, which is what I
came out of the gate with. But I really really
tried to avoid it for so long.

Speaker 3 (04:24):
That's funny how we have those ideas in our heads
about you know, what an artist is and what creativity is,
because I like to say, I mean, you have to
be creative sometimes as a doctor or a veterinarian, you
don't always know what's going to come about. So I
think that everybody has that creative gene looming in their

(04:45):
body somewhere. It just maybe becomes more active for some
people more than others.

Speaker 2 (04:51):
I think you're right. I think a lot of people
think that you have to fall in line in one
side or the other. You hear a right brain, left brain,
or I can't do you know, if I can't see it,
then I have no creativity. And I'm thinking now, I mean,
you've got the creativity comes in all different forms, and
I love that I've got a little bit of both.
I think you're right. Everybody has two different proportions, a

(05:13):
little bit of both, and to tap into that on
both sides is fulfilling.

Speaker 3 (05:16):
I think the word creativity is oftentimes interchanged with artists.
Maybe not in a sentence, but in people's minds. They
immediately translate the word creativity to an artist, a fine artist,
somebody who can paint or sculpt or draw. And I
think that's where the misconceptions are. But unfortunately, those misconceptions,

(05:39):
to your point, are implanted in us at a very
early age. And I think when people are at that
time where they're figuring out what they want to major
in in college and what sort of career they want
to pursue, they think to themselves, oh, well, I can't paint,
so I'm not creative.

Speaker 2 (05:55):
Right?

Speaker 3 (05:55):
Could you expand a little on where that creativity has
taken you now Tacas to Bell and Veto and everything
that's happened for Heather Wee in between college and now
with this incredible company.

Speaker 2 (06:08):
You know, life took a lot of curves and threw
me a couple of curve balls. I didn't anticipate, didn't
appreciate at the time, and now, you know, have grown
past it and have learned a lot. But I started
out my very first job was at I guess it
was a subsidiary a shoot off of the Richards Group,
which is a big advertising firm here in Dallas. Learned
so much, you know, that was my fresh approach into

(06:30):
the life of It was mad men there. I mean,
it was advertising, and it was late nights, and it
was you know, you could get cut if you weren't
the winning pitch to whatever brand you were creating for.
And it was cutthroat and it was fast paced, and
it was exhilarating and exhausting and as such a good
learning time. And then I jumped from there to MEM

(06:51):
and Marcus and like, what girl doesn't think that that
would be fun to work at MEM and Marcus, And
I thought that I had landed like the best job
in the world. And I stayed there for four years
and I had so much fun. I appreciate everybody that
I worked with who put up with, you know, a
young I call them puppies on the team because they
were very cute and full of energy, and people love
to watch what the puppies are doing. But they're making

(07:11):
messes everywhere constantly that I'm sure so many people cleaned
up after me, and I appreciate those people to this day.
But I stayed there and did photo shoots kind of
back in a time that is just a lost era
of putting together shoots and telling these big stories via
pictures and a catalog and are than even Marcus Catalog
wasn't just any catalog. It won awards and it was more.

(07:33):
They called it a magalog. It had an editorial in it,
and being part of that team was huge. And so
when things started changing and going digital is right when
I was kind of at the point where I was like, Okay,
I'm hitting my four year mark. I'm getting a little restless.
In four years because of everything changing, I hadn't seen
anybody get promoted. I hadn't seen any upward movement. It

(07:57):
just was seeing more cuts than anything else. And I
was thinking, should I try to get some experience somewhere else?
But should I do? And my husband at the time
was doing grad school and so he was, you know,
five days a week at work, and he was doing
classes at night, and I wasn't seeing him at all,
and somebody kind of tapped me on the shoulder and said,
come do an acting class. And I said, okay, that

(08:18):
sounds fun. It just sounded fun to just do something
creative that was performing and acting and it wasn't like
sitting in front of a computer drawing or something. And
so I did it, and then I did another one
with that friend and then we got tapped on the
shoulder again and said, hey, we're taking some people out.
You don't have to pay for anything. We're just taking
some people out to California. Do you want to come
with us and we'll just you know, we'll set you
up with an agent. And so I did that for

(08:40):
a month. I asked my husband and said that would
that be okay? I mean, you're never here anyway, and
you've got some travel coming up. Could I just go
hang out there for a month, Like could you come
up on weekends? And he was like, yeah, go do that.
So I did and I had a blast. So to
do that, I had to leave nemas I could no
longer sort of dabble in it while I was at
work trying to figure out what I was doing. So
I had left that job and I had gone to

(09:02):
LA and I had just been an extra and everything
that would take me and worked way too many hours
in the day and it was so fun. And I
called my ex husband now. But at the time my
husband said, would you ever move to la Like this
was really fun? I'm getting decent money out here and
I'm not even I'm just like showing up on sets
doing barely anything. We kind of himmed and had it
didn't work out, I came back here. His family had

(09:24):
a press had they still have a printing company that
was about forty five minutes off of the main road
driving from Dallas to Little Rock. And it's in a
town called Delight, Dlight. If I say Delight, I say
it wrong. I get corrected every time. Dlight, Arkansas. And
they had a printing company and there's so much land

(09:45):
and there was you know, it costs so little that
when the printing company that was started in the late
eighteen hundreds needed to be updated, they just, you know,
move it next door, leave all the old equipment right
there and move it, you know, to the pasture next
door and build a new facility with you know, the
new printing presses and whatnot. So all these old printing
presses were sitting in an old building collecting dust, but

(10:05):
it still had electricity. And I had at the very
end of my Kneeme and Marcus wrap up. I had
when I knew I was going to put in my
resignation and leave and try something else. I lined up
the last couple of photographers that were my favorites to
work with. I was like, oh, I just want to
work with these people one more time, you know, one
more shoot, And Victor Schrager was one of them. I
don't know if you all are familiar with his work,

(10:25):
and he'd worked with Martha Stewart on some projects, and
he said, you know, you're such a good graphic designer
and a good illustrator. Have you ever thought about doing
letter press? And of course I didn't know what he
was talking about, but I revered him so highly that
I instantly found out. I went, oh, yeah, no, sure,

(10:46):
you know, acted like I knew what I was doing.
And then I looked it up and he put me
in touch with somebody who did letterpress, and then I
found out who kind of the cool people were that
Martha Stewart had found these artisans that were sort of
rigging old presses to do the pressure work of printing
and pushing it in into this like cottony pillowy paper

(11:06):
and it just had this beautiful, yummy texture, and it
wasn't something that had been in the market before. So
I found a press in my ex husband's storage of
this old printing company, and we asked his uncle if
they would let me use it, just let me tinker
around on it. And I thought, well, maybe I can
sell some cards while I'm looking for a job. And

(11:27):
they wouldn't let They wouldn't show me how to work
the press. They showed Scott how to work the press,
because men work the press and one but it was
funny of you know, my ex husband has lots of talents,
but anything mechanical really wasn't one of them. And so
once they left the room and lesson to tinker with

(11:47):
the machine, I was like, move, I know how to
You can't use it the way it was made. You
have to rig it and you have to sort of
rework certain areas of the press in order to get
the texture on this paper. So over a period of
a few months, it was like, hey, let's go to
Delight and spend the weekend with the grandparents, and I
all sneak out and like learn the press. And so

(12:08):
I did that for probably about six months and built
up a little bit of business and then had to
ask if I could borrow that press. I asked if
I could buy it, know that would press would never
leave the family, but they would loan it to me
and I could bring it down to Dallas. So that
was my foray and just setting up Bell and Vito today.

(12:29):
It was in four hundred square feet in the basement
that used to be an old bank and the old
Sears and Robot building in Dallas, and I just had
to print whenever I could sometimes, and then I had
kind of a separate job on the side, and I
just had to kind of make them both work until
I could build up Bell and Vito into what it
is today, which is a large jump from where we started.

(12:52):
But we started still have the press, we still do
letter press. We combined a lot of other print methods,
and then we grew into a couple of different things
which I'll go into later. But that was where it
all started, was just problem solving and trying to figure
something out and trying to do something creative. And I
got to kind of incorporate the part of me that

(13:14):
was almost the science part of me. Kind of that part,
I think is where I really latched on because it
wasn't just making a pretty design, having somebody else execute
it and then handing it over. I had to make
sure the execution was figured it out, and then when
I figured it out for myself, I could do it
for other people.

Speaker 1 (13:29):
And Heather, can you tell us a little bit more
about belle Veto and what the company is.

Speaker 2 (13:33):
Yes. Once I figured out I had a little bit
of a company, had to come up with the name
and you know, do all the company things. Bell and
Vito started out. It was called Bell and Vito Letterpress
and that's what we did that. We just did letter
press printing. And what letter press printing is for people
who don't know. In a nutshell, when you create a design,
you create a plate and you put a plate into

(13:56):
a very old press. They don't make new letter press machines.
You can't like go out and buy one that was
created ten years ago that's all nice and shiny and
up to date. So you find adventurage press. It's been
restored by somebody at some point and modified just a
little bit where you get pressure. That's applied with one
color of ink at a time, So every color that

(14:17):
you put on a card has to have its own plate,
and it gets set up in the machine and all
the cards go through and get that color, kind of
like silk screening, and then if you have another color,
a second color, you repeat the process on the same cards.
And I ended up sort of using the term plate
based printing because one of the things people don't understand
about letterpress, just as a consumer for the most part,

(14:38):
is you can't put metallic color down because the ink
absorbs into this cotton paper and it doesn't stay shiny,
even if it came out of the can a little
bit shiny. So then you can there's a contraption you
can use foils, so you can if you want gold
in addition to your letterpress, you would put foil on there.
And then that was kind of a learning curve. It's
a different plate, it's a little bit of a different process.

(15:00):
You can use the same machine. When we added to that,
it was like the next logical step for us was
if we're using foil plates and we're using letter press plates,
why wouldn't we do engraving too. It's a completely different process.
It's a completely different machine. It's a different, very opposite setup.
But the artisans who can do one can learn the other,

(15:20):
and they can stort of cross train and it becomes
a more viable industry for that little printing company because
you can serve us more of the higher end product.
All of these things lend themselves to be very high
end product. This isn't something that you're going to find
mass produce usually. When we did that, it became the
natural progression to learn how to do like edge painting

(15:41):
on the cards and bubbling in pretty shapes, and it
just it sort of grew into a very high end
niche place that we would offer product to people for
very special occasions, marking milestone birthdays and weddings and Christmas
cards that were very precious, that kind of thing. And
then once we were doing it for Bell and Veto

(16:03):
and we own the factory and the proprietary methods for
doing this, and that I was getting knocked off, like
our designs that we were doing, other people were just
kind of knocking that off and trying to piece it
together from other places. And I was like, I was
that designer once. I mean, it's not you don't love
it when somebody knocks off your design, But I'm more
of a mindset of if somebody has knocked me off,

(16:23):
it's time for me to move forward. I mean, it
doesn't do any good to get mad about it. So
I decided, you don't have to sneak around. If you
like our work, use us to print your work. Like
we might as well all be in this together, because
there's not a ton of people who do what we
do really, so Bell and Vito became a place where
we do our own printing and for our own brand,

(16:44):
but we do a private label for a lot of
our competitors and for a lot of other high end
brands who want this specialty printing on this very nice
paper with the edging and you know, all the bells
and whistles that make it really special. And it's challenging
and it's a labor of love and it's wonderful. And
with belle Veto, I wanted the brand to grow beyond
just paper. So I have an agent over in Italy

(17:05):
who helped me find some really amazing factories that designed
for and produce for all the major labels exactly like
what we do here in printing. They're doing with leathers,
and so we incorporated some lifestyle products and we're and
you know, we're testing to see what works and what doesn't.
We tried some candles and we went that wasn't really

(17:27):
our thing, so we kind of sold through those and
then when I found this leather producer, I'm just I'm
in love with the people, the mother and the daughter,
the company. The products have been beyond beautiful. We're so
happy with them, and we're at a couple of really
great companies who have been supportive, and it's just been
a really nice growth to this brand. So now I'm
kind of going in two directions. I have a manufacturing

(17:49):
facility and then we have a brand, and we're growing
both of those things.

Speaker 3 (17:53):
That's so exciting. It's fun to watch businesses grow, and
certainly when they take a different path and start doing
so something completely new, that's always exciting. Heather, We're going
to go back to the stationary part of it for
just a moment, because where there is stationary, there is etiquette.
And look, I think that people are generally really well intended.

(18:16):
They say please and thank you, they hold doors. Those
are sort of the niceties that are no brainers. Then
there are ideas such as what is the correct placement
of the soup spoon, and those sorts of elements can
kind of be like, well, who cares where the soup
spoon is as long as I get one, But they
do matter. I want to share a quote that I

(18:37):
saw from you on one of your own Instagram posts
stating there's a misconception that etiquette is right and other
behavior is wrong. Could you expand upon that?

Speaker 2 (18:47):
Please? Yes. I think the reason that we don't have
more people subscribing to etiquette and when market studies have
been done, the word etiquette has a negative connotation to
way more people than a positive one. If you don't
do it this way, you're wrong. If you don't know
how to do it, then you have done something wrong

(19:09):
or your lack of knowledge is wrong. And we've made
this term of etiquette unattainable really, which is sad, because
there is etiquette society. Etiquette is what you're talking about,
knowing where to put the spoon and which glasses yours,
and things that came down from generation after generation, justifiably
who have tried out the versions that were wrong and

(19:31):
come to the conclusions that were best practices. And then
that became society etiquette. And sure there's a little bit
of well, we do it this way, and don't you're
not one of us if you don't do it this way.
But really, for the most part, most of etiquette is
knowing how to present yourself in a way that makes
other people feel like they can put their confidence in you,

(19:53):
or their trust in you, or that you are a
reliable source of information or whatever your goal is. So
what I meant by that quote is there is no
right and wrong. There are just consequences. There's your actions
and the consequences that are going to happen as a
result of your actions. So when you look at it
that way, why not go in completely prepared for whatever situation.

(20:15):
If the tables were turned and somebody came to your
house and you, everybody, all of your friends knew that.
You know, you're a home where everybody takes off their shoes,
and maybe you had a child with a lot of
you know, medical issues, so bringing things from the outside
into your floors where your baby's crawling around is really
a problem for you. And you have this information, and
your close friends do, and your cousins do, but somebody

(20:37):
else walks in and doesn't know that were they wrong? No,
But now they feel wrong because they're already back, you know,
into three rooms of your house and they've got their
shoes on. They just realized everybody else has their shoes off,
and they didn't, you know, take a moment to look around.
My point is there's so many subcultures and then everybody

(20:57):
kind of knows what's going on in the room. And
if you barge in without the emotional intelligence component to
have a little bit of humility of I'm not in
my space anymore, I'm in your space. Are there guidelines
to follow? Are there things that make this work for
all of us even better? You know, whether you're walking
into an office, all offices have a certain amount of
protocol that they follow, whether it's written protocol that everyone follows,

(21:20):
or whether it's really specific to their industry. You know,
social circles have it, your family has it. Something that
comes up in my family, just to be completely transparent,
is my sister her partner is mixed race. So then
you've got like you've got, you've got two completely different
cultures that handle holidays differently, that handle family gatherings differently,

(21:42):
and to act like one is right and one is
wrong is missing the point. The point is I'm coming
into your home, I'm coming into your culture. What do
I need to know to make everything go smoothly? And
then when you come into a situation where the roles
are reversed, you would hope that person also brings that
kind of grace to the situation when they when they come.

(22:03):
So I think that's where people that don't understand etiquette
miss the whole opportunity that is right there in front
of them by just knowing a little bit of it.

Speaker 3 (22:13):
It's funny because there are so many words. I mean,
we've already talked about the word creativity and how there
is you know, perhaps some vocabulary lessons to be learned
from that, and maybe it's just opening the mind of
what creativity can be. And the same is really true
with etiquette. I think it has a negative, agreed, a
negative connotation, and maybe if people can think of it

(22:34):
in a different way, such as the way that you've
just articulated it, which was very lovely, they wouldn't be
so intimidated by it, or it wouldn't be looked upon
as a sort of a snobbery thing because I think
that happens.

Speaker 2 (22:46):
You know, It's funny. I've sat with marketing team after
marketing team in the past twenty years. No one can
figure out what to replace it with. Because when people
know they need to know what a rule is, they
google etiquette, they look for you know, or they you know.
So at most, well, how do I do this or
how do I say that? But there's not a word,
you know, protocol sounds more formal. We have been through

(23:07):
so many lists, and I think I have resigned to
just champion the word etiquette and help people re understand.
Like you just said that it's an opportunity and not
some sort of like anvil that's going to weigh you
down and make you feel bad about yourself all the
time around your neck. It's an opportunity to shine. It's
very empowering, and it is a differentiator because so many

(23:31):
people still aren't there yet. I do love the evolution
that's happening, and I do think there's a huge movement
toward having some social graces. I'm not saying there's a
huge movement toward everybody knowing exactly you know, how to
set a formal table, but I think there is a
movement toward people understanding and appreciating what etiquette brings to

(23:53):
every situation that they're in, even casual.

Speaker 1 (23:55):
I like when you said emotional intelligence for people to
be comfortable. I think that's just a really easy way
to understand making people comfortable in situations.

Speaker 2 (24:04):
And we all want that so badly because we are
so casual, and because as a society over the past
five years, as Americans, it's the whole world. But as Americans,
we've been through a lot, and people just seek comfort,
and they're What Smiths understood is there is a lot
of comfort in just tiny bits of knowledge that make
you more able to navigate social situations seamlessly. I don't know.

(24:28):
I think it's it. I'm obviously such a huge ambassador
for the concept. I think I think it's I have
seen it be life changing. I think that's why I'm
so passionate about it. I have seen kids with terrible
backgrounds that have not been taught to shake a hand
or look someone in the eye, or articulate something well,
even their name. And you teach them with kindness and

(24:49):
with love and with fun. You teach them just those
three things eye contact, handshake, and articulating their name well
and being ready to spell it if it's something that
people might not be accustomed to hearing all the time,
like if you can imagine yourself or get yourself into
that situation, Like the life changing nature of just that

(25:10):
little bit is kind of overwhelming. It's beautiful.

Speaker 3 (25:13):
Confidence is such an important part of life, and I
think that those three elements that you've just named are
certainly a recipe to to start that confidence in somebody,
especially a child. So, Heather, you sort of segued perfectly
into our next question. We do have a society that
is incredibly laid back and has become very very casual,

(25:35):
but there does seem to be a renewed interest in
etiquette or how to behave in social situations. What are
your opinions behind this uptick? Because I think there was
a Netflix show a few years ago. I don't know
that it lasted very long. There are a lot of podcasts.
I think that people are googling. There are courses you
can take that sort of aren't just reserved for business

(25:58):
people or cotillions, but at the mass level. So I
think that there is is this renewed interest. What do
you attribute that to? Are we as humans hungry to
do the right thing. Sometimes I think we're hungry to
do the wrong thing intentionally, those of us who've ever
been mischievous one time or another. But what do you

(26:19):
think this comes.

Speaker 2 (26:20):
From human nature? I think you're absolutely spot on. I
think we are hungry for comfort. I think we want
social stability. I think we want social ease. And I
think that we finally figure out as a society at
younger and younger ages. I think there is sort of

(26:40):
like a psychological, you know, evolution that we that we
do go through. I subscribe to that theory. As a culture,
we figure things out sort of earlier and earlier in life.
And I think, you know, with this digital revolution, you've
got like my god daughters who are like late teens,
early twenties, you know, in or exchange memes that have

(27:01):
to do with like how someone's behaving. And when you've
got little bits of information that are easy to digest
coming from your peers at lightning speed, you may go, oh,
I didn't know I needed to know that, or yeah,
so and so acted like that, and I never want
to act like that. So, you know, these little tiny
tidbits of behavioral information which we all got from interacting together,
you know, in sports teams, in the locker room and

(27:23):
the fall aways at school, and they still get that
a little bit, but it's magnified right by the fact
that you've got your device in front of you all
the time. And then it just like someone makes a
cute meme and canba and it's saying about how someone
should behave and all of a sudden you've had something
fire in your brain that's like, oh my gosh, I
need to learn something or I just learned something, and

(27:43):
that just creates this ripple effect of people going, well,
what is the right way? Well, you know, you hear
it a couple of times, and you have a good idea,
you keep hearing it, and then it's like, well, who
said that, and why especially what you're talking about. If
you're more of mischievous nature, you're not such a follower, Well,
why do I have to act like that? I don't
always like the way she acts.

Speaker 3 (28:02):
You know.

Speaker 2 (28:03):
There's just there's a lot of figuring it out that's
going on, and I think the parents of that generation
are going, well, we're going to tell you how to
do it, because we did it all wrong the first time.
So now let me tell you how to they'll tell
you what not to do and how to do it right.
And then I think you've got young people who are
again seeing the benefits of that as they mature at

(28:24):
a younger age. I felt like I didn't really see
and learn the benefits of being exposed to and learning
social etiquette until I was probably in my late twenties,
just because I wasn't exposed to a lot of situations.
I was sort of relegated to the kid pack, the
kid table, you know, didn't have to have the same manners,

(28:44):
even at like the formal parties and whatnot. My parents
didn't really incorporate me into that part of their social lives.
I was always doing something else while they were doing
those kinds of things. But as parents have changed their
parenting style, you might have a sixteen year old at
formal dinner sitting next to you, And I think kids
are being exposed to things in different levels of society

(29:06):
at a lot younger age, and so I think that
there's like this universal craving for well, what's right and
who says? And why do I follow this and not that?
And why don't I just do what feels right, you know,
because etiquette that's a big differentiator between etiquette manners. Like
manners are obviously they're learned, but the etiquette is sort
of the next level of education that comes from a

(29:29):
higher level of experience that shows that you not only
understand where you are, but you have a respect for
it and you can be trusted in that situation to
behave properly.

Speaker 1 (29:40):
Would you say there's anything specific as people are learning
and getting more comfortable with things that they're asking you specifically.

Speaker 2 (29:47):
I hear a lot of young people because we were
so casual and because we had this past five years
of what's going on in our society is completely changed,
and you know, interactions have changed and all that. There's
a lot of young people that are entering a workplace
that are frustrated because they don't feel seen and they
don't feel valued. But the people that are making the

(30:09):
decisions for them, whether it's promotions or accolades or you know,
projects opportunities or financially with a salary, are not seeing
what they need to see as the experienced delts you
know a level or two or three or four up
because kids weren't taught how to dress and you know professionally.
They weren't taught how to behave professionally. It was just like,

(30:32):
you know, your worth is great, no matter what, what
you bring to the table is great. Everybody should love
you the way you are. You shouldn't have to conform
to anybody. And then the real world hits and it's like,
oh no, we're all playing here on the same soccer field,
and everybody kind of does have a certain baseline of rules.
If you want to be taken seriously, we don't have
to follow them. And it goes back to what we
talked about earlier. You just won't be taken as seriously.

(30:55):
And half the time we won't tell you. We just
won't take you that seriously. And that's really where, you know,
it gets to be frustrating for people because they're looking
around going, well, she got this, and I didn't get that,
or I didn't get the same thing, and I worked
just as hard. Well she might have worked just as hard,
or maybe not even as hard, but she dressed differently,
she spoke differently, she carried herself differently, and that may

(31:18):
have been the decision maker.

Speaker 3 (31:19):
Heather talk a little bit about our digital world that
has brought up all sorts of new behavior, some not
so good. So talk about maybe the positive and negative
sides of our digital existence now that didn't exist twenty
five years ago, and how that works with the etiquette.

Speaker 2 (31:42):
I love the opportunities that it creates, getting the word
out I guess if you will, and having such quick
responses to it, and it's sparking conversations. That's the good
part of it. I mean, the opportunity that's there when
it's used right. The downside is it is hard to
figure out. And I always try to tell people this
from the beginning. Check your source, like we were talking about,

(32:05):
you know, Emily Post and they have a really great podcast.
They've obviously got a ton of reference material in the
Post Institute. I think you know, knowing who your sources are,
knowing who kind of has the pedigree to be the
source and does the research and backs up what their
opinions are with actual data and other experts. I think

(32:26):
that's really important. And I think in the digital world
we were really sloppy about it for a while. When
everybody first came out, everyone was an expert. But now
that we've heard everyone's an expert so much, people really
are starting to go, well, wait, what are they talking about?
Where did they get that opinion from? Why should I
listen to that? And I think that's a really beautiful
part of the evolution as well. I mean, people arguing

(32:46):
on digital is insane, and it's, you know, another one
of those things that people are finally slowly getting sick of.
I mean we all had to sort of put up
with it for a while, and now every I think
more people subscribe to the fact that if you want
to look like that, that's fine, but just realize what
you're doing to yourself. That's a reputation that's out.

Speaker 1 (33:03):
There forever within all that digital Do you have any
pet peeves specifically?

Speaker 2 (33:07):
I do? I do? I do? I think, you know,
the arguing is one of them. You know, people that
will just get online and argue back and forth with
each other, just firing comments. I have some grammar pet peeves.
I think a lot of people. And I've even made
grammar mistakes before because I'm just typing too fast, So
I have I have more grace for those. But when
people make them over and over again or just don't
you clearly don't check any of their work, I'm like, Okay,

(33:29):
come on. But when somebody corrects someone publicly in a
comment as opposed to a DM. To me, when I
see people do that, it's kind of this same. I
guess it goes along the same alignes of maybe you
know someone who's willing to have an argument back and forth,
but if you really want to correct someone's information. I
lose a ton of respect when I see somebody correct

(33:49):
in comments. I gain a lot of respect when I
see somebody correct their own work. Maybe they were corrected
in the DM or they just figured it out later
and then they make a change. I think that's fine,
We're all going to make mistakes. But I lose a
lot of respect for people, or you put somebody sort
of in a certain mental category when they're just like
I just wanted to let you know, and it's like
right there in front of everybody else, oh right, and

(34:10):
you're wrong. Thank you for we all got it.

Speaker 3 (34:15):
It's so funny because you know, when you get together
with friends or family, Google has presented a problem because
no longer can you just say I remember that movie
in nineteen ninety nine. Pretty soon uncle, somebody's actually that
was from two thousand.

Speaker 2 (34:34):
And it's like, really, yes, exactly why does that matter?

Speaker 3 (34:39):
But it's Google has given everybody this little moment if
I can out smart you, even though I didn't really
know this information Google and.

Speaker 2 (34:48):
To going back to other things, you know, I think
this goes hand in hand. Maybe this isn't like the
digital information that you were asking, but where and when
to have those devices, even the smart watch. You know,
there's nothing worse than when I'm having a conversation with somebody,
or we're in a business meeting, or you know, I
have taken my time to be present, and especially in

(35:11):
a business situation, and someone's notifications are going off on
their smart watch and there's a pause and they have
to look. Then they do something, and you know, even
if they're ignoring it, they're just sort of taking a
mental note that is so disrespectful. People have sort of
varying degrees on whether they'll put up with it or not,
but largely I've never heard anybody go, oh, yeah, it
doesn't bother me at all. I've never heard anyone say

(35:32):
that in private. Everyone talks about how it bothers somebody.
Yet so many people, well meaning I know great people
that do, but it's like, how do you not know
that you have got to silence and turn off your notifications,
or at least have the self control to not look
at them when you are present with somebody else in
any situation.

Speaker 3 (35:51):
I think that's another global pandemic looking at their devices, right.

Speaker 2 (35:55):
It is, it is, It absolutely is, and it is
something I think we're going to have to get. You
already have the etiquine experts that I tap into and
know about, you know, talking about no cell phones at
the table and all that kind of stuff, and then
people go, well, what about you know, men using QR codes?
And there's always a what about? With etiquette. That's the thing,
and you have to understand what the point is in
order to follow the actual rule, because life happens and

(36:17):
you have to be able to navigate and pivot and
move around and generally stay. I guess with the point,
which is be present.

Speaker 1 (36:24):
Well, and it's just so tempting to look at so
not having it there's the better answer, right, We're all
tempted by it.

Speaker 3 (36:30):
Well, Heather, we talked a little bit about the negatives
of digital but again hearkening back to a question or
a comment I made earlier, I do think that generally speaking,
people are very well intended. I noticed that there tends
to be an intense pressure for certain parts of etiquette.

(36:51):
And I think to all of the events that are
going on, there's always a goodie bag. You go to
somebody's home, you always take something, they come to your home,
veyo is something, and I think, of course those are
always lovely gestures, but I worry sometimes, especially with a
younger generation, that they always expect something, or they expect

(37:13):
to buy something, and maybe gone are those times where
you just knock on your neighbor's door and say, hey,
could you help me do this? Could you help me
get this into my house? Or may I borrow some
sugar or some eggs or whatever the situation may be
where you just do something because you care about something,
and it's the kind thing to do, it's the friendly
human thing to do, and you don't always need to

(37:36):
give something, and you don't always need to take something.
How do we get out of that or do we
need to get out of it? And could you kind
of explain maybe some rules and regulations for that. I
think that social media has definitely affected this, and dare
I say, not trying to put a gender label on it,

(37:58):
but I do think that women get caught up in this,
and it's the pictures that go on Instagram. They'll look
what I bought for all of my guests and anyway,
I'll let you take over.

Speaker 2 (38:08):
Yeah, yeah, And it is a lot of pressure. I
call it pressure giving, honestly, Like that's kind of my
little phrase for it, where it's like ostentatious, over the
top behavior that is meant to pump up your own ego.
And I don't mean that as a slam on people
who like to do things lavishly, who like I've done
those things before, But I think when you are the

(38:30):
person that always arrives at someone's house with a hostess
gift that was one hundred bucks, you're missing the mark.
Like when you arrive at someone's home, yes, bring a
hostess gift. It is a small thank you gift. And
if it has to say more about you as the giver,
then it does about the fact that you just appreciate
what someone did for you. Then we have the messaging backwards.

(38:52):
How do we do two things? One alleviate the pressure
to say thank you to every little thing, even when
it's I mean, thank you is enough to go above
and beyond to give a thank you gift or to
write a thinking note for somebody who was just living
their life in a kind way. I think just being
grateful in that moment is plenty and it's lovely. And

(39:14):
you know, I had to borrow yard equipment from my
next door neighbor the other day and said thank you
so much, and you know, we see each other and
it's a it's an easy casual relationship, and that was enough.
I didn't feel like, you know, if I it was
something I would have used gas, then I would have
put a full gas tank back in it. But I
don't think I would have brought over a house plant

(39:35):
and you know, a big bread or something. You know,
it's just I think going over and above, and you're
compensating for an insecurity or feeling like you're not enough,
then I think you kind of have to catch yourself
in that feeling and realize then you probably are doing
too much. You probably are, and that that puts pressure
back on the person that you gave it to, Like
when does it stop? Do they have to do that
next time? The next time that you could just reciprocate

(39:57):
the kindness, Now do they have to go above and
beyond it gets a little ridiculous. There's sort of an
old etiquette stand by that you don't write a thank
you note for a thank you gift, so you know,
it can't just keep going all the time. And I
think the other side of it, that's kind of the
nastier side of it. But I guess is worth addressing
is if somebody is really giving for the sake of

(40:20):
being looked back at, as opposed to for the sake
of being grateful. Like I'm giving you this really big,
expensive gift and I know you could never give it
back to me because we have different spending abilities, but
I'm going to give it to you anyway because I
want you to have it. That's tricky. I mean if
you're talking about a very very close relationship, like I
might do that for my god daughter or my niece,

(40:43):
but I'm not going to do it for Jenny, you
know down the street who's I don't know that well,
that would just make me feel bad. So I think
there is a lot of emotional intelligence that has to
go and a lot of self awareness that has to go,
and why are you doing?

Speaker 1 (40:55):
That's a really good reminder just to be a little
more self aware in those situations and what's appropriate. So
that's fun to share. Heather, what are some of your
favorite projects or events that you've worked on over the
years that have been especially memorable within your business.

Speaker 4 (41:09):
I get to do some really cool, beautiful wedding invitations
and commemorate. I mean it's not always just weddings like commemorative.
There's just been some really really cool projects. It's hard
to narrow it down.

Speaker 2 (41:21):
I will say, I mean a couple. A couple come
to mind, and it was just an honor to be
part of the whole project because you know, it was
the invitation and that was you know, at the Beverly
and it was or it was the one that was
at the met you know, these huge projects and when
you are creating the introduction and that thing that people
keep because it was such a beautiful event, it's really special.

(41:44):
I cannot express my gratitude. I don't know even more
than that. But and I've met some really wonderful people.
I've met some the etiquette person and me, it's just
like name dropping is so not okay that I would
love to tell you a lot of names, but it
just doesn't feel right doing it. And I one thing
that I can say all of these projects that are
flooding my brain have in common are the people that

(42:07):
I was doing it with, because we've done some very big, intense,
prestigious invitations that were not pleasant and I didn't love
how they turned out. That was what the client wanted,
and the client wasn't easy to work with, and the
end result was just kind of like, well, that's what
they wanted. So the ones that stick out in my
mind really have to do with clients that are intelligent

(42:28):
enough about buying art or commissioning an artist to do
something that they know when to give a little bit
of direction, this is what I want, this is what
I love, this is what I don't want to look like.
And then they go, but you are the artist, and
we know you're good at what you're doing, so take
it away, and you know, let us present the designs,
let us guide a little bit, because in specialty printing,
something that you see in your head and you've never

(42:50):
seen before, well there's probably a reason it cannot be executed.
And the way that you sink or if you do,
then it's a nightmare and it doesn't look right and
inks bleed or paper something funny or ripples or you know,
there's just there's bad things that can happen. You have
to know a lot of how materials play and don't
play well together when you're in my particular industry. But
there there was a couple that was a celebrity and

(43:13):
he has since passed away unfortunately, but doing their wedding
and doing his birthday party and then like sitting in
his living room and you know, watching his cat eat
off of his plate at the kitchen table. Like you,
when you're at the front end of these relationships that
grow out of just being there for somebody and listening
to them pour their heart out into this huge milestone

(43:33):
event that they're hosting that you're creating invitations for, you
just become intimately familiar with all the details, especially when
i'm you know, dealing with Okay, we have to word
this and we want everybody kind of at this level
wants the etiquette to be right, the messaging to be right. Well,
then you kind of get to know all the ins
and outs of the awkward family situations because that is

(43:54):
kind of part of how we're wording it all correctly
and making sure everybody's happy or as happy as they
possibly can be. So I don't know. I think we
did a big wedding at the met you know, a
year or two ago, and we got to do some
really beautiful things. Executing a planner's you know, creation and
being at the front end of that is always really fun.
There's a calligrapher that I work with out of Alabama

(44:15):
and she has some her name is jan through It,
and we work with a lot of calligraphers and there's
I'm doing a disservice by not mentioning all of them,
but hers is just exceptional and something with Jan Jane
if you're listening all of you so much, she is
just the nicest human being and she's a professional. So
when something goes wrong, she's part of the team creating

(44:36):
the solution, as opposed to just, well, how are you
going to fix it and make it right for me?
You know? I mean, she's just working with people that
are on your team or working with whether it's a
client or a planner or a cligrapher or somebody else.
Those are the projects that stick out and make you
want to keep doing this over and over again, and
like pray for another wonderful client like that.

Speaker 1 (44:54):
It's so fun hearing about some of those more interesting
high end projects. But as we know you are producing
at the high end level, stationary doesn't have to be pricey.
It's an attainable luxury to buy a set of note
cards and stylish writing instruments. Tell us a simple setup
for those who want to reboot the practice of writing notes,
especially thank you notes.

Speaker 2 (45:14):
We are doing we Belle and Veto is doing things
at a very luxury level. But you can go to Walmart, Target,
you can go to the dollar store and probably find
a box of note cards that doesn't have a shiny finish.
I'll direct you away from that. If you can just
find a box of note cards that have i would
say a map finish where it doesn't look the paper
doesn't look shiny, and get yourself a rollerball pin just

(45:38):
from the pin section and use black ink. Usually that's
just I mean, if you want to talk about the
basics and you can never go wrong, you don't want
to talk about anything nuanced, get that, and when somebody
has made an extra effort for you, kind of going
back to what Chris was saying before, when somebody has
made an extra effort, they have written a letter of

(46:00):
commendation for you. They have hosted you in their home,
and they have bought or paid for or cooked the meal.
They've you know, done something more than just that handed
you a cup of sugar that you can borrow, you know,
something more than just neighborly, more than just pull the
door open for you. And they've really kind of made
an effort make one back. And it is such a
small effort to ride out in three lines one thank

(46:22):
you so much for say what they did or gave
you to how you felt about it. I really appreciate
it made me feel included. I really appreciate what you did.
It made me feel so special. I loved, you know,
I loved the warm feeling of being in your house.
Like there's a million different things, but like tell them
how it made you feel. That's probably the best gift
you can give back in that note, and then wrap

(46:43):
it up with something that you know, I'm looking forward
to talking to you again, or I just really wanted
to put this in your hand, or you know, just
wrap it up with a clean sentence, put it in
the mail. And you've really really done a lot for
your reputation, for your dependability. It just says a lot
about you when you have this practice.

Speaker 3 (47:05):
It doesn't the dopamine level go up when you go
to the mailbox and you see a note card that's.

Speaker 2 (47:09):
Hand written, not junk mail. You know, it's funny that
you said that I was talking to I was doing
a talk with kids about thank you notes, and I
was trying to figure out what is the best way
to teach kids to write thank you notes and to
make them like it instead of like you're not going
to get you know, make it a punishable offense and
you're not going to get to do this till you
finish your thank you notes after your birthday party. And

(47:31):
I thought, I really need to get some expertise on this,
so I asked a bunch of different people. And my
favorite answer, and the one that I cling to the most,
was from my sister in law, who is a principal
at an elementary school for a while, and she said
that she would always have the child receive one first,
like the parents would send something in the mail and

(47:51):
let the child get it. And now that they've had
that feeling and they're attached to that feeling, let's do
this for somebody else. So smart, It was just she
was because once they feel it, it becomes about them
giving something instead of them having to do something that
they feel negative feelings about, sitting down, getting a pen out,
you know, being still for a minute, not doing what
they want.

Speaker 3 (48:11):
That so wise and it's probably important too and makes
a difference if they're part of the experience, if they
can choose the thank you know cards or that, if
they can create them themselves, if they can be a
part of how they want their stationary to look.

Speaker 2 (48:25):
Yes, it is such a personal thing and it really
is part of your wardrobe. You know, you choose your bag,
you choose your shoes, you choose the clothes that you're
going to put on for the occasion that you're going to.
Your stationary is the same. It says just as much
about you as what you're wearing.

Speaker 1 (48:42):
Heather, that's a perfect segue into the next question. We
know that stationary has been the root of your business,
but you've evolved into more lifestyle and we've gotten to
see some more fashionable things lately. Tell us about the
handbags and anything new that's on the horizon with your
lifestyle brand.

Speaker 2 (48:59):
Oh, it is so fun. I think there's some collaborations
on the horizon. We'll see we're still knock on wood.
I don't want to change anything on that. We have
ventured into the world of leather goods. So where it
started was things that go with the paper goods that
we already produced. You know, your passport and luggage tag
and you know, we make a lot of cards that

(49:20):
people like to use and their luggage tags and handing
out and all kinds of things. And a journal cover
because people love to, you know, write in their journals
and they want to change out the journal that goes
on the inside, but they want to keep that beautiful
leather piece that travels with them ever where they go.
So it started with those kinds of things and then
it was okay, we've got this resource at our fingertips

(49:43):
and we've got an opportunity to kind of grow this
brand into something. So bell and vito is the Italian
phrase for beautiful invitation. It's bella, which is beautiful, and
then in vito is the word for invitation, and when
you put these two together, became bell and vito with
that apostrophe after the bell. So that's kind of, you know,
where we started with invitations, and we've reconfigured our whole

(50:06):
thought process with Bell and Vito is an invitation for
you to live beautifully with us every day. And we
want to work with factories and with people that are
like minded in how they treat their employees, how they
approach finding their materials, how they feel responsible to the
creative process, in it being not overpriced. I mean, we

(50:27):
are selling luxury, and we're selling kind of the top
and there's a lot of people that you know in luxury.
You hear, oh, well, you must be very proud of that. Like, well,
the margin that's left over for us is very small.
This is not a get rich industry. So I mean
we are really taking care of the people that produce.
I make sure that we provide health insurance. We make

(50:48):
sure that we only use the best quality products, the
best quality or the best materials, the best craftsmanship, the
best living environment. You know. It just it's really important
to me that if you're going to buy a lunch,
you're supporting a community as well as getting something that
you take home. And Bell and Veto grew into these.
I did a tote, I did a handbag that just

(51:10):
launched in New York during fashion Week, which was lovely,
And I did you know a clutch. I mean basically,
I want to take you throughout your day and give
you things to wear and carry and use that are
a reflection of your your values and not just your
aesthetics and you know your taste level, but your values
and how you want the people that create those things

(51:31):
to live.

Speaker 3 (51:33):
Heather, You've offered so many suggestions today about elevating our
lives and elevating ourselves, and that's really what this podcast
is all about. That's why we launched it. So what
are some little luxuries that you incorporate into your daily life,
those little moments that make your day special.

Speaker 2 (51:48):
I love my morning routine. I love my luxuries are.
I get to go into a room that I've curated
with all the things that I'm a visual person, so
all the things that I see that just bring me
peace and happiness. And I go in there with my dog,
who I'm trying to keep quiet right now, down at
my feet, but she keeps kind of whining, like, mom,
why is the door close? She and I go into

(52:11):
our little room and I've got like one of two
places I go with my espresso. I'm very particular about
my coffee, and I just have my little routine and
I meditate and I just start my day on a
positive note, really really grateful for everything that I'm looking
at and the moment that I have before the chaos

(52:31):
and all that, and long walks with her and a
really good glass of wine and sitting and gabbing with
you know, a friend and catching up after a fulfilling
day at work. That's I'm just so genuinely grateful for
all of that. That and you know, I've got healthy
parents and I've got a wonderful family, and like, those

(52:52):
are the luxuries to me that are that are just
day and day out.

Speaker 3 (52:56):
And our final question, the word boulevard is the main
part of our title, and so we ask everybody We're
going to go back to the first question. We talked
a bit about where you grew up, But what does
the perfect boulevard look like to you?

Speaker 2 (53:11):
Now?

Speaker 3 (53:11):
What does that encompass?

Speaker 2 (53:14):
I mean when you say that again, I'm such a
visual person. I'm picturing this sort of like maybe scaled up,
but small town feel where people are walking, there's shops
that have lots of outdoor seating and indoors, you know,
I mean, it's just it's that sort of small town
USA vibe where everything feels not overly manicured, but very

(53:39):
taken care of. And I'm picturing some houses, but I'm
picturing some little shops. And then there's no billboards and
there's no wires, and there's no signs. There's just trees
and plants, and you know the hydranges that grow on
the East coast that are like gigantic, That's what I'm picturing.
I'm just sort of strolling down the street and there's
other people on the street and it's just popular, and

(54:00):
there's Hello's and there's familiarity to all of it. That's
so lovely.

Speaker 3 (54:05):
Well, Heather, you have been a wealth of information today.

Speaker 2 (54:09):
You have.

Speaker 3 (54:09):
There have been so many sound bites that Megan and
I have both written down. We love hearing about all
of this. I will tell you that I don't know
how many years ago, within the last five years, I
bought a little card from you, and it was a
Wi Fi card. I love it to this day, and
my pass code for my wife I is turn your

(54:31):
device off exclamation point.

Speaker 2 (54:34):
I love it.

Speaker 3 (54:36):
Now the whole world knows what my wife.

Speaker 2 (54:38):
I love that. That's so great.

Speaker 3 (54:41):
So I think of you because I have those in
my guest rooms. But thank you so much for your time.
I know that this is going to be a popular episode.
It's a topic that so many people want to know
more about, and we're just so grateful for you.

Speaker 2 (54:54):
Well, thank you. I'm so grateful to get to just
talk with you ladies, and I hope to do it again.
This was really fun. Wait to hear the episodes that
you're carrying out with and all the topics you're going
to discuss, because I know they're going to be very interesting.
I can't wait, really, truly.

Speaker 1 (55:10):
Thank you for listening to this week's episode of Boulevard Beat.
If you enjoyed this episode, please follow along and leave
a review on Apple Podcasts, Spotify, or wherever you listen
so you never miss an episode, And of course, follow
your hosts on Instagram at Megan bloom Interiors, at CHRISA. Rossbund,
and at Liz Legit. We'll be back next week as
we take a stroll down another boulevard