You have surely paused at least once while scrolling through a feed filled with beautiful, Pinterest-worthy interiors — spaces that appear harmonious, thoughtfully designed, and perfectly styled. But behind every such space lies much more than just a good idea. It is precisely this often invisible side of the profession that the Business Know-How course addresses, as part of the Tu žive ljudi Masterclass program.
Its author, interior designer and founder of the Tu žive ljudi studio, Maja Mihovilović, came to realise early on through her own entrepreneurial experience that talent and a sense for space are not enough if they are not supported by a clear business structure.
In anticipation of the new Masterclass, which will take place on 20 March 2026 in Zagreb, we caught up with this inspiring interior designer between plans and on-site work to talk about the realities of running a studio, the pitfalls that await designers, and the business side of design.
When did you first realise that talent and creativity are not enough to run a successful design studio?
Interior design is a decision to turn one’s love for aesthetics and space into a profession — just as it was for me. A sense of aesthetics and the ability to design functional spaces form the foundation without which it is difficult to speak of design at all. But once that foundation is in place, an entirely new chapter opens — one in which it is no longer only about creativity, but about how to position your studio on the market. This is precisely the part that many creatives find the most challenging, and they often feel lost — unsure where to begin, how to break down business processes, or how to systematise key documents, even though these steps are crucial for successful business operations. I remember my own beginnings very well. I, too, went through mistakes born out of inexperience, learned the hard way, and step by step built solid foundations for my business. Today, thanks to that experience, I want to help others go through that journey faster and more easily than I did. Through my education programs, I strive to show young designers how to avoid beginner mistakes and how to establish stable foundations from the very start, on which their talent can grow with confidence.
How did your entrepreneurial journey begin?
I actually entered entrepreneurship quite organically, somewhat headfirst. Like many stories that begin with love and passion, mine started in a personal sphere — I first worked on projects for myself, for our two apartments, and through a complete renovation that my husband and I coordinated ourselves, I learned what it means to carry an idea from the first sketch to a finished space. When those around me recognised that I truly enjoyed it and that the renovations were successful, the first inquiries from friends and acquaintances began to come in — and that is how I opened my own business. I have always had a sense that I was ready and brave enough to work independently. I knew that I would have to learn some things the hard way, but also that this would allow me to build a business aligned with my own values and vision of work.
However, as fulfilling as that decision was, in the beginning I did not really know what awaited me — what private entrepreneurship truly entails, how much knowledge is required for a studio to function, and how much an entrepreneur must, above all, work on themselves. Because of this lack of experience, my first two years in business followed the most difficult, yet also the most common model — trial and error. I was ready to invest in business consulting, just as I had previously invested in education in design, drawing, and other aspects of interior design, but at the time there was simply nothing on the market specialised for this niche. There were general programs useful for small entrepreneurs, but there were no answers to the specific challenges and pressing questions within my field.
When you look back on your professional journey, what do you consider to be the greatest lesson you have learned so far as an entrepreneur?
I am continually fascinated by how closely survival in private business is intertwined with working on oneself. Nothing in life has pushed me forward or compelled me to question myself — my patterns, reactions, emotions, and decisions — as much as entrepreneurship has, except, of course, motherhood, which continues to shape me every day. Beyond these lessons in personal growth, what still surprises and inspires me just as much is the power and validity of listening to one’s own intuition in business. Whether it is about choosing clients, introducing new business models, accepting or passing on certain opportunities, or recognising whether a project is a blessing or a test — that inner voice has always proven to be my best compass. Whenever I ignored it, the path was more difficult and exhausting, and when I listened to it, things seemed to fall into place almost on their own. Making decisions purely on a rational basis can often be limiting, because there is no universal formula — each of us has a unique professional path. What works for someone else in the same field may not work for you, and vice versa. Intuition may not be a scientific method, but it is something I would wholeheartedly advise every entrepreneur to trust whenever they are faced with an important decision.
Entrepreneurship in the creative industries often involves both risk and uncertainty. How did you cope with moments of insecurity?
At the beginning — very poorly, or rather, not at all. A fortunate aspect of my business was that, from the very start of the studio, there was never a shortage of work, not even during the pandemic. People were spending more time at home, which encouraged them to begin renovations and improve their living spaces. From the outset, I chose a specific model — developing design projects alongside an additional service of execution and furnishing, following the “turnkey” principle, which even today is offered by only a small number of studios on the market. This offering gave me a significant advantage, but despite that, out of fear that inquiries might stop, I began at one point to take on too much work at once. That subconscious thought — that as an entrepreneur you are solely responsible for securing your income and that work must not stop — can easily become a trap that pushes you into a constant struggle with deadlines and doubts: will you manage to complete everything on time, and will clients ultimately be satisfied? When I found myself in such situations, with too little experience and an overwhelming sense of responsibility, I would sometimes be overcome by panic, leading to complete paralysis. I remember waking up in the middle of the night, anxiously wondering whether I had communicated an important detail to the contractors or ordered a crucial piece of equipment on time. But over time, and with growing experience, that panic was replaced by a sense of inner confidence. I learned to trust the process and knew that everything would work out in the end — even when circumstances did not seem ideal. Today, I believe these lessons cannot be avoided; they are a kind of “trial by fire” that every entrepreneur must go through in order to build the strength and calm that come with experience.
What are the most common challenges young designers face when starting their own studio?
Through conversations with young designers who occasionally reach out to me for advice or consultations, I have noticed that they are most often concerned with very concrete and practical questions. They often do not know how to clearly define the scope of work — for example, what is included in a conceptual design versus an execution project. They also frequently face uncertainties regarding the legal framework of their business, pricing their services and communicating those prices to clients, as well as how to present themselves professionally to suppliers or define realistic timelines.
Full story
In your early days, you mentioned having a lot of creative energy, but also many business uncertainties. Can you share a specific moment when you realised that without structure, there is no sustainable studio?
Absolutely — I still remember that moment very clearly, because it brought me an important lesson. It happened in the first year of running my studio, and it was something I could have easily avoided had I followed basic business protocols. A client approached me through a recommendation, and we agreed on a project involving the design and furnishing of his luxury property. Since the collaboration was arranged through a mutual acquaintance, I did not require a signed contract — partly out of discomfort, and partly out of fear that insisting on formalities might be perceived as a lack of trust. When the project was completed, the client refused to pay a significant portion of the agreed and delivered service. The collaboration ended in a court settlement, and I came out of that experience fully aware of how important it is to clearly define the terms of cooperation from the very beginning. Not only did I lose a portion of the income I had counted on, but the situation also taught me how essential it is to protect both your work and your business. That experience became my most important reminder that professionalism is not just a concept, but a necessity. I realised that a sustainable studio cannot exist without clearly defined processes and protocols — and that they must be applied consistently, no matter how uncomfortable or “impolite” it may sometimes feel to insist on them.
How much does your background in communication studies, in addition to design, help you in your work?
Interior design is a profession in which the most important thing is — understanding people. We do not design empty spaces that will remain unused; we shape functional and comfortable environments, both private and commercial, where people want to spend time, where they feel good, and which are designed in accordance with their habits, personality, and energy. That is why open communication between the designer and the client is essential — it allows all wishes to be clearly defined, expressed, and truly heard.
Communication is equally important in every other phase of a project — from regular updates on project development and work progress, through defining execution details and coordinating contractors, to collaborating with partners and managing stressful situations. All of this requires well-developed communication skills.
In the end, it is precisely this open and honest exchange that builds trust — that invisible fabric on which not only successful projects are created, but also spaces that become meaningful to people, spaces in which they feel as though they have always belonged.
What can participants expect from the Business Know-How Masterclass — what are the key topics and knowledge they will take away?
Through the course, all key topics that form the foundation of a successful studio business will be covered — from the first steps in defining collaboration with clients, such as setting service pricing, contract content and business terms, and recognising “red flag” and “green flag” clients, through planning, developing, and managing projects (including creating client questionnaires, budgeting, structuring project documentation, and overseeing execution), all the way to finalising collaborations and maintaining strong relationships with partners. Special emphasis will also be placed on the importance of communication skills, which are the foundation of every successful project. After the masterclass, participants will have a clear understanding of how to systematise their business processes and which documents to build them on, what the main pitfalls in business are, and how to create stable, high-quality relationships with all project stakeholders.
How important is communication with clients and contractors throughout the entire process, and in what way does the course help within that dynamic?
Through the course, participants will learn which channels to use and how to communicate with clients in order to build collaboration based on trust, while also clearly establishing and maintaining professional boundaries. Through concrete examples, the course will also address communication challenges in stressful situations or potential disputes, as well as how to adapt communication to all parties involved in the execution of a project — from clients and contractors to suppliers and partners.
It seems that one of the key values of the masterclass is precisely a sense of security and trust in business. How does this concretely translate into the day-to-day work of a designer?
Security, trust, and a clearly defined professional framework make a designer’s day-to-day work significantly easier and more efficient. For example, clearly defined pricing, contracts, terms of business, and a structured collaboration process give clients a sense of security and help shape their expectations, which automatically reduces the likelihood of misunderstandings and conflicts. When a client feels that the designer has control over the project and leads the process with clarity and confidence, they are far more likely to place their trust in them — and with that trust comes a smoother and more successful execution of the project. The same applies to relationships with partners, which should always be built on mutual trust and respect. Even when stressful situations arise — and they will, whether due to delays, complaints, or unforeseen circumstances — they can be resolved much more easily if an open and high-quality relationship has been established in advance, and if both sides respect professional standards. In a field that is inherently dynamic and demanding, the goal is to develop business mechanisms that prevent or at least minimise stress — because ultimately, it is the clarity of relationships and mutual trust that make the difference between an average project and one that exceeds everyone’s expectations.
Who is the Business Know-How Masterclass primarily intended for?
The Business Know-How Masterclass focuses on behind-the-scenes processes and key business documents that ensure the sustainability and stability of a studio. It is intended for designers at the beginning of their careers, as well as for all entrepreneurs in the creative industries who want to further professionalise their business and build strong foundations for long-term growth. That is precisely why this program is especially important to me — because it brings together everything I have learned over the years and transforms it into knowledge that can make the journey easier for others.
You have also announced an online version of the course. How important is it for business knowledge to be accessible to a wider community of designers?
In terms of the desire and need to professionalise the field, and to clearly define — both declaratively and in practice — the professional framework of doing business, I consider this kind of education extremely important. Beyond contributing to the professionalisation of interior design as a discipline, on a very personal and everyday level, it is my strong wish to support young designers at the beginning of their journeys — to show them that they are not alone, that everyone has once been “in the same boat,” and that they can talk about it openly and with confidence. By gaining knowledge of business processes, they will learn how to avoid the most common mistakes that many beginners make — mistakes I have gone through myself. If my experience can help them navigate their path with less uncertainty and greater confidence, then this program has fulfilled its purpose.
Where do you find inspiration for your work?
Above all, I am inspired by people — their stories, personalities, and the way they perceive the world. I always return to them, because spaces never exist on their own; they are an extension of the people who live and work in them, an expression of their creativity, character, and individuality. They reflect a natural desire for a space to evoke a certain emotion and to make them feel good within it. That is why, in every project, I strive to sense the client’s energy and understand what kind of space would be ideal for those particular people. I find inspiration for aesthetics and functional solutions everywhere — in travel, in professional magazines, by following the industry on social media, but also in passing, unexpected places that surprise and inspire me in the moment.
What would you say to young designers who dream of having their own studio, but are held back by a fear of entrepreneurship from taking the first step?
You will never be completely ready — and that is perfectly okay. Close your eyes and take the leap, because everything you need you will learn and figure out along the way. Entrepreneurship is a journey of growth with every step, and the first one is always the hardest — but once you take it, everything else becomes easier.
If you had to sum it up in one sentence — what is the greatest value of Business Know-How for every interior designer?
Business Know-How is an opportunity for designers to become familiar with the fundamental principles of running a studio — without which market survival is hard to imagine, especially today in the context of rapidly growing competition. It is knowledge that brings clarity, confidence, and stability, enabling creativity to develop on solid foundations.
Applications for the new Business Masterclass on 20 March 2026 are now open, and you can apply at info@tuziveljudi.hr.