Teak has quickly become a standout success, and hopefully remains a New York mainstay. Could you describe your background and what led to you starting your business?

Thank you for the kind words! I grew up in Western Pennsylvania, about 90 minutes from Pittsburgh. Although I didn’t initially know much about architecture or interior design, I had the Frank Lloyd Wright-designed Fallingwater within driving distance of my university. While studying to become an art teacher, I worked as a tour guide there for three years, which ignited my passion for design.

After earning my K-12 Art Education degree, I taught high school art for four years, focusing primarily on freshmen and sophomores and exploring art and architecture with them. Seeking to broaden my horizons, I moved to New York City in 2017 to pursue a master’s degree in Art Business at Sotheby’s Institute of Art. My goal was to work in furniture and design, which set me apart from my 100 classmates.

During my time at Sotheby’s, I interned at the Collective Design Art Fair and took on various restaurant jobs, including a position at SoHo House, where I admired the exceptional design. In my final semester, I had the opportunity to study in London, where I attended classes just two to three days a week. I set a personal goal to visit ten European countries, including Iceland, Sweden, Denmark, and Norway—where I felt the most at home.

Upon returning to NYC, I wanted to style my apartment in a Scandinavian aesthetic but struggled to find retailers offering authentic Nordic products. Before launching Teak, I worked as a Trade Specialist at 1stDibs and as the Retail Education Manager at FLOS. Like many during the pandemic, I contemplated starting my own business. Recognizing the lack of retailers focused on Scandinavian design, I began compiling a wishlist of brands I wanted to carry.

In 2022, I took the leap and joined a woman-owned pop-up in NoHo, Manhattan. Our 60-square-foot space opened in March 2022, and I’m thrilled to see how Teak has grown since then!

Teak has gone through multiple stages as a business from conception to now, including a few different pop ups along the way. Could you walk us through these different phases of growth and what stage Teak is in now?

When I first started, I conducted extensive market research both online and in person. My role at FLOS involved traveling across the U.S. to train various sales teams on how to effectively sell luxury products. This experience taught me a great deal about storytelling and the nuances of the luxury market. I had the opportunity to analyze and visit nearly 100 retailers from Seattle to San Diego, Miami to Boston, and everywhere in between. Thanks to FLOS, I gained invaluable hands-on market research experience with design-focused stores.

By the end of 2021, I had settled on the name “Teak New York” and registered it with the state. It was during this time that I met Kim Feng, the owner of Little Market NYC, who was launching a new woman-owned, women-run pop-up on Broadway in NoHo. I began reaching out to around 20 brands that intrigued me, allowing me to test various items and gather insights on what shoppers were looking for. Our 60-square-foot space was constantly evolving based on customer feedback and trends.

The pop-up ran from March 2022 to February 2023, which was a strategic choice for a new business. Securing a commercial lease would have been difficult without a proven concept. In April 2023, I discovered our first storefront at 42 West Street, signed a one-year lease, and opened Teak New York in Greenpoint that June. The warm reception we received from the NYC community was incredible—our sales soared, and we began to see a loyal customer base forming.

By the fall, it became clear that we would need a larger space to accommodate our growth. I had my eye on 34 Norman Ave, which featured multiple billboards for Frank Lloyd Wright-focused Airbnbs. I took that as a sign that this space was meant for us.

What were some key learnings from your pop-up experiences that have contributed to the store’s success today?

That year in the pop-up space was one of the most exhilarating experiences of my life. While I was still working full-time at FLOS during the week, I dedicated my weekends to the Little Market NYC, connecting with potential customers directly. I had one full-time and one part-time employee assisting me Monday through Friday, which helped manage the workload.

To purchase inventory, I went into $80,000 in credit card debt, taking out about seven credit cards because of my strong credit score. While I don’t recommend this approach to others, I managed to pay off that debt after a few months in our first storefront. This experience taught me invaluable lessons about inventory purchasing, visual merchandising, customer service, and the many aspects of launching a business.

Everything I learned during those 365 days in the pop-up directly influenced my operations at 42 West. Balancing the demands of a small space while maintaining my role at FLOS was quite the juggling act, but I was confident in my ability to make it work. Although Teak didn’t turn a profit during the pop-up phase—and I found myself accumulating more debt—I was determined to prove that we could drive sales, and we succeeded in doing just that.

What is the ethos behind Teak’s curation process? What criteria do you focus on when deciding which vendors to work with and which pieces to stock?

One of my core principles in curation is that I must see each item in person before featuring it online or in our store. Craftsmanship is incredibly important to me, a value shaped by my appreciation for mid-century Danish furniture and my experiences with Frank Lloyd Wright. I’ve observed the rise of fast fashion and, consequently, fast furniture, which I’ve never supported.

In Scandinavian culture, there’s a distinct approach to furniture purchasing. People save up to invest in pieces they love and cherish, often intending to pass them down to future generations. I want to educate Americans about this mindset and emphasize the importance of investing in furniture that will last for many years, if not generations.

When seeking brands to collaborate with, I focus on those from Scandinavia—specifically Iceland, Norway, Denmark, Sweden, and Finland. They must exhibit excellent craftsmanship and prioritize functionality alongside design. I’m particularly drawn to mid-century designs that are still being produced today, as they embody timeless quality and aesthetic appeal.

With your goal of bringing Scandinavian design philosophy and aesthetics to America, how does Teak build upon the familiarity and knowledge people have about Scandinavian furniture, particularly with IKEA’s existing global influence?

Many people associate Scandinavian furniture primarily with Swedish IKEA or Danish mid-century designs. In fact, this is also where the name “Teak” originated; I started collecting vintage teak wood pieces after returning from Europe. My goal is to expand beyond these common perceptions.

During my college years and my 20s, I loved visiting the IKEA in Pittsburgh and selecting everything I wanted at a reasonable price. However, as I matured, I became more discerning, seeking out home goods from various sources to develop my own aesthetic. I envision my target audience as those who have shopped at IKEA and appreciate that style but are looking for items with superior materials and craftsmanship.

I’m a strong proponent of mixing vintage and contemporary furniture within the same space. For fans of Danish mid-century design, my offerings reflect the clean lines and materials they already love. While IKEA has played a significant role in popularizing Swedish design, I also appreciate their recent collaborations with designers and the revival of classic pieces.

I’m grateful to IKEA for paving the way for Teak’s existence. Without their influence, I believe the conversation around Scandinavian design would have stagnated since the 1970s. Now, I have the opportunity to introduce contemporary Scandinavian products to American homes, creating a bridge between the two styles.