Let’s start at the beginning. Where were you born, and where did you grow up?
I was born in Bahrain and lived in the Canary Islands. We moved to the U.S. when I was five. Mom was a cultural anthropologist, and my dad was a geologist, head of the exploration group for a Caltex affiliate.
What does DJ stand for?
It is the initials of my maiden name: Deborah James. My married name is Carey.
Was your first professional interest in journalism or design?
It wasn’t a love for either! I studied anthropology and geography, following in my parents’ footsteps. I had decided to major in anthropology, but my mother and all her colleagues advised me not to pursue a career in it. Following in my sister’s footsteps, I enrolled in the Katharine Gibbs program for college graduates. The school got me a job at Conde Nast.
How did you get hired there?
I interviewed with the late editor Lou Gropp (House & Garden Guides) three times, and he didn’t hire me! But he suggested that I try Annette Johnson, the executive editor at House & Garden, and I started working for her in 1979. My role was making monthly presentations to the sales staff about upcoming features in the magazine, so that they could use the information to sell advertisements. I was allowed in the art department and got to know the features editors. In my zeal to organize images, I discovered a few boxes of film that had been missing and the news caught the ear of Alexander Liberman, editorial director of Conde Nast. The images ended up being used for a special anniversary issue. This experience cemented my understanding of the importance of imagery.
What else from your childhood contributed to your editorial eye?
My dad was also a painter and photographer. When I was a teenager, my dad and I would go out and take photos together. We would shoot the same landscape and then compare which was the better shot and why. These sessions really trained me to find the most interesting composition.
What else prepared you to be a design editor?
To be a decorating editor without a background in design left me feeling that I was a fake, so I went to NYSID to get a certificate at night to learn the history and the important elements of design.
Every issue of CTC&G offers page after page of design deliciousness. Do you personally prefer the modern or the traditional? What is the vibe of your home?
A real mix! I love color, and you know it the minute you step into my house. I love pattern on pattern, color, texture. Red and yellow is abundant in my house. I collect Americana, tramp art, quilts. I spent a lot of time with a Southern quilt expert, and from her I learned so much and started collecting red and white quilts. The whimsical, childlike graphic quality of quilts enchants me. I would be hard pressed to live in a gray environment.
You are the Editorial Director for all the C&G magazines, as well as the Editor in Chief of CTC&G. Do you ever find yourself befuddled as to where you are geographically design-wise?
I would never be befuddled, because each area has a sense of place.
You’ve been with C&G now 20 years. What’s a favorite cover?
My favorite CTC&G cover is November 2015. I have always been drawn to makers, and this cover and feature connects us to the process of how a beautiful rug is made from beginning to end.
What is your vision of the future of C&G?
Honestly, I’ve always wanted to make the pages three-dimensional, and with AI that really might be possible in the near future. When you photograph or talk about a space there are often things that we have to leave out, as we have only limited space.
Do you find the time to read other design publications?
Yes, I am obsessed with everything that’s out there, and I need to understand my competition. World of Interiors and Cabana are my top favorites.
If you weren’t an editor, what would you be?
An anthropologist. It is still in my blood!
What’s your personal credo?
Work hard and be curious.