WASHINGTON, D.C.—The White House's holiday decor is quite the undertaking: It requires more than 300 dedicated volunteers from across the country, working a full week to decorate inside and outside the historic site. In total, there are 83 Christmas trees, 9,810 feet of ribbon, more than 28,125 ornaments, and over 165,075 holiday lights—all used to transform the space for an expected 100,000 visitors during the holiday season.
For this year's design—which was unveiled Dec. 2—first lady Jill Biden chose a “Season of Peace and Light” theme. Each area had a different look and feel evoking the concept, with over a dozen companies each taking the lead on a different room—all overseen by Bryan Rafanelli, chief creative officer of Rafanelli Events (who also planned granddaughter Naomi Biden's White House wedding in 2022).
Josh TierneyPhoto: Courtesy of BMF
BizBash recently caught up with Josh Tierney—BMF's head of strategy who was closely involved in the project—to learn more about the creative process, the biggest challenges they faced, and the lessons learned they'll take into future events.
How did BMF become involved with the White House's holiday look?
"The White House Executive Residence team reached out to BMF, asking if we’d be interested in collaborating on their holiday decorations. We were excited, but we’re not traditional decorators. BMF is a creative marketing agency, but we saw this as an incredible opportunity to activate one of the world’s most iconic brands: the United States of America. Once we framed it in those terms, we couldn’t say no. We submitted a proposal, and it all started from there. Celebrating BMF’s 20th anniversary year, this felt like the perfect capstone—an extraordinary honor."
The Cross Hall of the White House, pictured on Dec. 1, 2024.Photo: Official White House Photo by Erin ScottTell me about the creative process. How did Dr. Biden’s vision of “A Season of Peace and Light” influence your design choices?
"The process was incredibly rewarding. From the start, we worked closely with the Executive Residence team—particularly John Botello, White House Executive Residence creative director, and Madeline Marquez, holiday project manager. It was an evolving process, like any creative project, with plenty of twists, turns, and surprises. Being an election year added a layer of complexity, as politics inevitably influence everything in Washington, even the holiday decor. Messaging and tonality were crucial.For the Cross Hall, we focused on the dove, a universal symbol of peace. We experimented with numerous designs, from origami to different paper colors and weights. Ultimately, we crafted several variations of doves in flight, all custom-designed by BMF’s in-house studio, die-cut in ivory stock. These doves were suspended from a custom truss structure that was clad in mirror, creating a stunning visual effect that blended with the room’s architectural elements. We aimed for an awe-inspiring yet simple design, befitting the grandeur of the room.
The China Room, which houses state china from every administration, offered a chance to honor the unifying act of breaking bread together. Inspired by the peaceful, patient act of baking bread, we styled it like an old-fashioned country kitchen, full of antique baskets, kitchen tools, copper cake molds, and cookie cutters. The existing crimson red felt-lined china cabinets influenced our choice of a dark, almost Ralph Lauren green for the scenic installation, evoking a timeless American.
John Botello and I were inspired by [White House Rose Garden designer] Bunny Mellon’s basket collection, so we went thrifting and even organized a basket drive. We had to be resourceful, working within budget constraints. We also collected pine cones from the Catskill Mountains, bringing natural American elements into the room. The room was filled with greenery—red berries, magnolia leaves, white pine, and balsam fir—along with plenty of bread. The bread wreaths were specially ordered from a baker in New York City and shellacked for durability. Every detail was thoughtfully considered." 
The China Room of the White House, pictured on Dec. 1, 2024.Photo: Official White House Photo by Katie Ricks
How did you ensure that your designs aligned with the historic significance of the spaces?
"When we approach any space, we listen to it. Spaces, especially iconic ones like the White House, reveal what they want to be when you pay attention. The White House is a museum, a National Historic Landmark, a residence for the first family, an office building, and an event space, all in one.In such a space, we don’t aim to compete with its inherent grandeur; we aim to complement it. The Cross Hall, which connects the main rooms, is a key thoroughfare and features portraits of former presidents, including the iconic JFK portrait by Aaron Shikler. Given its prominence, we were deliberate in ensuring the design felt understated yet elegant to respect the space’s gravitas. The house itself already exudes a sense of awe, so our task was to enhance that while remaining true to Dr. Biden’s vision."
What were some of the logistical challenges you faced working in such a significant and secure location?
"Working at the White House is a master class in planning and logistics. The Secret Service, the National Park Service, and curators all play roles. The house is a living museum. The operational complexity was immense; every detail needed to be meticulously coordinated.One memorable moment: At one point, a volunteer in a panic cried, 'There’s been an accident in the China Room!' My mind immediately raced to the worst-case scenarios, like something happening to the Lincoln china or damaging a priceless antique painting. We rushed over, only to find that a few inexpensive dollar store ornaments had shattered. It was a reminder of the high stakes and attention to detail that come with such a significant project." 
The Cross Hall of the White House, pictured on Dec. 1, 2024.Photo: Official White House Photo by Katie Ricks
What was it like coordinating with the other vendors on the project?
"Collaboration with other vendors, including Bryan Rafanelli—a friend of the first lady—was fantastic. He acted as a creative guide through the process. Working with other designers is always a great learning experience. But the White House decorating process takes on a life of its own. Something magical happens. With 300 volunteers involved, it becomes something much bigger than any one individual, even the first lady. Our fabrication partners, MC², were crucial in bringing our vision to life."What has been the response to the holiday decor, both from the White House and the public? How do you measure the success of such a high-profile project?
"The response has been overwhelming. Several prestigious outlets, including Architectural Digest, Vogue, and Town & Country, chose to feature photos of our rooms in their retrospectives on White House holiday decor. To be featured alongside Jackie Kennedy’s iconic holiday decorations is incredibly validating. Of course, Dr. Biden and the White House were thrilled. Dr. Biden was gracious and appreciative, and we’ve since developed a wonderful relationship with the Executive Residence team, who are creative, inspiring, and collaborative.For BMF, this recognition speaks volumes. Our other clients see this as a mark of excellence—if we’re good enough for the White House, we’re certainly good enough for their brands." 
Volunteers who helped decorate the White House for the holiday season, pictured on Nov. 30, 2024, at the South Portico.Photo: Official White House Photo by Katie Ricks
Reflecting on this experience, what were some key lessons your team learned? How will this project influence BMF's approach to future projects?
"The experience reinforced the importance of meticulous planning and precision. The White House is part of the executive branch of government, and there’s a military-like precision in how events are planned and executed. There’s a clear chain of command, and the level of coordination required is unparalleled. Working on a project of this scale is like running a tight ship—every detail matters. What better training is there than working at the White House? It was an absolute master class in execution."Any personal takeaways you want to share?
"In such politically polarized times, traditions like holiday decorating can be deeply unifying. The White House's Executive Residence team doesn’t change with every administration, and the volunteers come from all over the country, from diverse backgrounds. What’s amazing is that no one talks politics. This tradition transcends administrations. The White House is truly the People’s House, and this project showed me how such traditions can bring Americans together at a time when unity is more important than ever."In addition to BMF, Rafanelli Events, and MC², creative teams involved in the White House decor included Birch Event Design, Cheree Berry Paper & Design, East Olivia, Frost Chicago, Glitterville Studios, HMR Designs, Kehoe Designs, Mot Designs, Patch NYC, Red Bliss Design, Silver Lining Design Group, and 4 Wall Entertainment.
