Transparency in the Lighting Sales Channel: Insights from New York City
This is the fourth “Transparency” discussion that I am aware of. The first was held at the IALD Enlighten Americas Conference in Palm Springs in 2022. The second was held in Banff in 2023, the third was the EA Conference in 2024 in San Diego, and the fourth was held last week in New York. The current panel discussion was titled “Transparency in the Sales Channel: An Interactive Discussion,” hosted by the IESNYC and the IALD New York City Section. The event brought together a diverse and insightful group of industry professionals, including panelists Alexis Arnoldi of CBBLD, Mitchell Bloomberg of International Lights, Nancy Stathes of Specialty Lighting, and Steven Rosen of Available Light, who served as moderator. As soon as I heard about this session, I knew I had to attend and cover it in person.
Setting the Stage: Collaboration, Challenges, and a Call for Transparency
Steven opened the evening with both humor and heart. First, he thanked Michiru Tanaka and Jessie Grillo, co-chairs of the IESNYC Programs Committee. Reflecting on artist Bruce Munro, Steven said, “Art and life are spirit, and they lead us on a journey. I bet many of you have the same story when you talk about light. What we do is incredibly special—and we move people all the time.”
Steven reminded the audience that while the evening would dive into the complexities of the lighting channel—roles, responsibilities, and often-conflicting motivations—everyone in the room shared a common goal: to finish the job with integrity and impact. “Like a reality show, alliances are formed and broken. But tonight, we’re going to be better than that. We’re here to identify issues and listen to each other and ourselves.”
The audience was mainly composed of lighting designers and manufacturers, with a few representatives, a few distributors, no contractors, and one architect. “It’s not about finger-pointing,” Steven clarified. “It’s about surfacing what’s working—and what isn’t—so we can all do better.”
Gratitude was extended to the IALD, the NYC Section, and the FIT Interior Design Department for hosting the event. If lighting is a collaborative art, this session served as a reminder that its success depends just as much on how we work together as what we create.
Steven pointed out that the AIA/Deltek Architecture Billings Index posted a score of 44.1 in March 2025, marking a decline in 27 of the past 30 months. Throughout the evening, he referred to various surveys he had distributed. Although the audience was New York-centric, he cautioned that the survey results were nationwide.
The Role of Lighting Designers
Alexis opened by explaining the role lighting designers play in the project lifecycle. “Our job is to develop a design that fulfills the client’s vision,” he said. “Eventually, we produce a set of design documents, but unfortunately, we often end up fighting just to get what we specified onto the project. That’s because our ultimate goal is to see our vision realized.” Alexis emphasized that, unlike others in the sales channel, lighting designers typically don’t have a financial stake in which products get purchased. “Everyone else on the team—manufacturers, reps, and distributors—depends on making a sale,” he said. “But lighting designers are usually the only party whose livelihood isn’t tied to that outcome.”
Alexis pointed out that while lighting designers value collaboration, many hesitate to share their designs too early. “Especially outside of New York City, some designers hesitate to release drawings because they fear someone might share their designs prematurely,” he explained. “That can lead to substitution packages being submitted before the design is finalized. And that erodes trust in the process.”
Alexis also discussed the growing influence of owners’ representatives. “They’ve been around for a while, but we’re seeing them more and more,” he said. “Sometimes they focus on protecting the owner’s interest. Other times, their contracts prioritize schedule or budget over design integrity. And that can push a project off course.”
Steven asked the audience who creates the most roadblocks: designers, manufacturers, distributors, contractors, or owners’ representatives. Only a few flags went up at first, as the audience voted with flags that the owner’s reps were the most significant roadblocks. After a few more questions, the crowd warmed up—and then fired up!
Role of the Rep
Steven suggested that successful manufacturers’ representatives might need a “bit of a control freak” mentality. He then turned to Mitchell Bloomberg, the manufacturer’s representative on the panel, and asked if it was acceptable for designers, architects, and engineers to contact manufacturers directly. Mitchell responded with confidence in specifiers, emphasizing that a rep’s primary role is to serve the lighting designer. Reflecting on his experience, Mitchell pointed to the significant technological changes within the industry and the time constraints that often push designers to contact manufacturers directly. With a touch of humor, he added, “If you’re specifying my product, you can go to the manufacturer all day long.”
Mitchell stressed the growing importance of budget considerations, comparing the volatility of material costs—especially aluminum—to fluctuations in the stock market. He urged manufacturers to stay sharply aware of the budget constraints designers face, particularly when projects involve multiple phases.
Addressing a common industry perception, Mitchell acknowledged, “Reps are often seen as the villain,” but quickly added that distributors and contractors also have the ability to strategically manipulate financial advantages. He posed a fundamental question: “Who should control pricing?” and noted that while specification control often prevails in New York City, different rules apply elsewhere.
Interestingly, as I reflect on the discussion, I realize I never heard the word “overage” mentioned once. It may have been implied, but I don’t recall anyone saying the word aloud.
Credit Where Credit is Due
When designers were asked whether they preferred their reps always to receive credit, most raised their flags. In a lighthearted moment, Mitchell thanked the audience “on behalf of my kids and grandkids.” However, not everyone supported the idea that reps should always get credit. Alexis voiced concerns about that perspective.
He described how he often modifies his specifications, which leads to extensive conversations with various reps. “It usually results in me having lots and lots of conversations about a lot of fixtures,” he said. “Before you know it, I’ve probably discussed the entire fixture schedule with a variety of them,” Alexis emphasized the importance of ensuring that reps who invest time and effort into a project receive recognition. Maintaining their involvement also helps ensure that specifications are implemented accurately. “It’s selfish, but if the rep is invested, they will help fight for the product.”
Nancy Stathes ponders a question from Moderator Steven Rosen.
Credit in Other Territories
When the conversation turned to giving rep credit in the “ship to” territory, Nancy introduced a policy I had not heard before. “We do not process purchase orders unless we know the job name, location, and the specifier,” she said. She asked the specification manufacturers in the audience if they followed the same policy. When I turned around, I saw only a few flags raised.
A lighting designer in the audience raised a critical point, asking, “Isn’t it in the interest of the rep to change my specification to a fixture within their line card?” She explained that she often specifies products across multiple reps, creating incentives for substitutions. The group engaged in a lively discussion about this challenge. Some suggested that lighting designers send their specifications to reps in advance of the bid process. Several supported the idea. However, one designer pushed back, saying, “I have a fixture schedule with multiple fixtures across multiple reps. Which rep should I share it with?”
That same designer later clarified her approach. She selects fixtures based on quality, price, and architectural detailing. “I’m not going to go and tailor my lighting fixture schedule to a specific rep line,” she said.
Strong Rep Relationships in New York, Greater Challenges Beyond
Alexis emphasized that his firm has built strong, respectful relationships with rep agencies in the New York City area. “We’ve been fortunate,” he said. “If I specify one agency for three products and another agency for four others, they don’t try to break each other’s spec. There’s a clear understanding and mutual respect.”
However, Alexis explained that dynamics shift dramatically outside New York. “In other territories, it becomes a lot more difficult,” he said. “A rep sees a fixture schedule during the bid phase, but doesn’t know me. I don’t matter to them—and that makes it harder to maintain control over what gets installed.” He also pointed out that regional differences in line cards make it even harder to match fixtures perfectly.
Sean Lafferty of Chelsea Lighting, a distributor, emphasized the importance of distributors adhering to lighting specifications. “There are definitely distributors who see a spec and immediately think, ‘How can I blow this up and replace it with my preferred factories?’” he said. “We see it all the time.” Sean noted that this approach often backfires. “It blows up in their face when they send over a package, and the answer they get is simply, ‘No.’”
He stressed that New York lighting designers hold significant influence over project outcomes. “Frankly, when we look at a job, we don’t even consider value engineering unless the general contractor tells us we must hit a budget,” Sean said. Even then, he explained, Chelsea Lighting collaborates with designers. “We reach out to the designer, we ask questions about intent, and we work with reps to find suitable alternatives that still meet the vision.”
Respect the Spec
To further demonstrate their commitment, Chelsea Lighting filed a trademark: Protect the Spec. Respect the Spec. “It’s been part of our marketing over the last few months,” Sean said. “Not everybody does it—and we believe it sets us apart.”
Following Sean’s remarks, Talial Kaplan of ULE Group strongly agreed. “I concur a hundred percent with everything Sean said,” she said. Turning to the designers in the room, she added, “You do matter to us—big time.”
Talial explained that good distributors clearly understand their role. “Our job is to bring your vision to reality,” she said. “We’re not the creative ones—you are. We’re just lucky to help make it happen.” She emphasized that respectful distributors always communicate with designers before suggesting any substitutions.
She emphasized the importance of transparency, mutual respect, and early communication—foundations essential for preserving the designer’s vision and delivering successful projects.
The Complexities of Multi-Name Specifications
When asked about multi-name specifications and how they sometimes create confusion, Mitchell responded, “It depends. Sometimes the first name listed reflects the true design intent. Other times, it’s alphabetical. Context matters.”
Talial stressed the importance of early outreach. “When we see multiple names, the first thing we do is call the designer,” she said. “We want to understand what’s truly intended before proceeding.”
Budgets: A Persistent Challenge
An audience member raised the issue of budgets, noting that pricing expectations are often misaligned from the start. “Lighting often gets purchased last,” Nancy said. “By then, budgets are blown, and the design team is forced into last-minute compromises.”
Several designers shared frustrations about early-stage budget pricing becoming obsolete by the time contracts are finalized. Fixtures quoted at $200 early on might balloon to $500 by installation. Nancy encouraged designers to stay proactive. “If you see massive price inflation, call your rep or distributor immediately,” she said. “Early communication can protect your spec and your credibility.” One designer suggested including target prices in specifications for critical fixtures to help anchor budget expectations from the outset.
Conclusion: Collaboration Over Competition
As the evening wrapped up, Steven emphasized that while motivations differ across the sales channel, mutual respect and clear communication are essential for project success. “We all want the same thing,” Steven said. “A finished project that honors the original design vision.”
The discussion underscored a key takeaway: transparency isn’t just a nice-to-have—it’s the foundation for preserving design intent and delivering successful projects, from conception to completion. Steven concluded, “We all want the same thing: a finished project that honors the original design vision.”