"No. I regret some of the days I treated the work as more important than the people waiting for me after it. The drawings are part of my history, but I don't need to make them my future."
Victoria felt a familiar urge to persuade him. She could list the opportunities, the resources, the impact his advice might have across the company. She could write a contract so flexible that most designers would accept it with gratitude before finishing the first page. But something about Daniel's settled expression warned her that another argument would turn generosity into pressure.
"All right," she said after a moment. "I won't ask again."
He looked up, surprised. "Thank you."
"The archive credit still matters, though. Not because I'm trying to hire you, but because people deserve to know who did the work. If the records support it, I'd like to restore the names of the whole original team."
Daniel considered that. "That I'd like. Leonard would laugh himself sick to see his name on a museum label. He always complained that the drawing department got thanked while the people who made the prototypes got splinters."
Victoria smiled. "Then we'll make sure everyone is included."
Over the next month, Sterling Living's design and legal teams reviewed the records. The company confirmed that it held the commercial rights to the Arden Collection and that the original designers had been paid under their contracts. There was no secret lawsuit waiting to be filed, no theft disguised in the old paperwork. What had disappeared was recognition, buried beneath a succession of acquisitions and rebranding decisions that treated individual contributions as less important than the logo attached to the final product.
Victoria directed the archive team to credit the designers and craftspeople wherever the records could support it, beginning with an exhibition about the company's earliest lines. The Arden collection's revised description named Daniel Brooks as a contributing designer alongside his colleagues, with a note about the collaborative nature of the work. It was a modest correction, more precise than dramatic, and Daniel approved the description after insisting that Leonard Wade and the production team receive equal attention.
One morning a young designer named Emma Park arrived at Daniel's workshop with Victoria's permission. Emma had helped locate the original drawings, and her excitement was so obvious that she stumbled over her introduction. She was twenty-six and had joined Sterling Living because she loved the possibility that functional objects could also feel personal. Corporate design meetings had left her increasingly unsure whether that ideal still existed.
"I just wanted to meet someone who made the Arden cabinet," Emma said, holding a notebook in both hands. "I grew up with one in my parents' apartment. The drawers still work."
Daniel grinned. "That's Leonard's fault. He made me change the tolerances three times until they worked properly in humid weather."
Emma laughed, then asked how he decided when a design was finished. Daniel thought about the question while he ran a cloth over the repaired teacher's desk. "When adding another feature would make it harder for the person using it," he said. "That's usually a good place to stop."