Drapery & Design P ROFE SSION A L Volume 2013, Issue 3 Drapery & Design Professional Volume 2013, Issue 3 S er v ing the C u s tom Home F u r n i shi n g s Indu s tr y si nce 1993 1 Table of Contents Drapery & Design PROFESSIONAL Magazine A publication of the Custom Home Furnishings Academy 12 16 Learn Share Share 23 Learn Creating Customer Banishing the Bay A Day in the Client Presentations Samplers that Close Window Blues Workroom life: Creating Digital Work Orders Storyboards and More the Sale Laurie Medford is the customer engagement manager for Rowley Company. Before joining Rowley Company, Laurie owned Centsible Creations, a professional design, fabrication and installation company for both wholesale and retail customers. Laurie is an instructor for Custom Home Furnishings Academy and is a member of WCAA and WFCP. 4 20 Anita Boetsma has been involved in the interior design and window treatment business for more than 26 years. Anita has taught at the Custom Home Furnishings Academy. She writes for several industry publications as well as presenting seminars and webinars. Anita is currently the director of education for Helser Brothers. Drapery & Design Professional Volume 2013, Issue 3 Beth Hodges, owner of Beth Hodges Soft Furnishings, a wholesale workroom servicing high-end designers both locally and around the country. Beth is a Certified Window Treatment Consultant, Certified Workroom Professional, Window Fashions Certified Professional Expert and the Past President of the Window Coverings Association of America. Contact Beth at beth@ bethhodges.com. Merlyn Corcoran consults for Minutes Matter Solutions as the company’s Studio coach and webinar host, and serves as the unofficial “mother hen” of the CHF Forum. After owning and operating a retail workroom for 26 years in Massachusetts, Merlyn and her husband Bourke retired to California where they are enjoying their four grandchildren and the sunshine. Volume 2013 Issue 3 26 Share Client Presentations Establishing a Relationship and Process Karen Howland-Walker owns KH Window Fashions, Inc., a full service interior design business founded in 1995 and providing in-home design services, custom window treatments, bedding, upholstery and decorative accents. KH Window Fashions, Inc. is a Showcase Priority Dealer for Hunter Douglas window coverings and a member of the WCAA. 30 Learn Client Presentations Digital Drawings — Seeing Is Believing Ann K. Johnson has owned her home-based wholesale/ retail workroom since 1992. She is the author of two books on drawing swag patterns: The Professional Workroom Handbook of Swags, Volumes 1 & 2. Ann is a specialty instructor at the CHF Academy, and a representative for Evan Marsh Designs, creators of creators of dreamDraper and Quick Quote. 36 Share The Downton Abbey Effect: Manor Style Revisited Judi Turner has been owner/designer for Domicil Design in Dover, NH since 1992. Starting business in Germany, global inspiration continues to be an interest and influence. Domicil Design is a resource for clients looking for custom treatments, slipcovers, DIY supplies and soft furnishings. Judi is the current president of the WCAA Virtual Chapter. 40 Learn Specialty Embellishments Part Three: Flat Flanges Donna Cash operates a workroom in Flowery Branch, Ga. She’s a 20year veteran of the window coverings industry and has an associate degree from the Art Institute of Atlanta. She’s a WFCP Associate, and a member of WCAA, DraperyPro and the Designers Workroom Council in Georgia. Donna is the pillow and bedding instructor at CHFA and also a certified yoga instructor. Drapery & Design Professional Volume 2013, Issue 3 5 Also in this issue: 10. Ask The Experts 39. CHFA 2013 Class Schedule 52. Meet a Drapery & Design PROFESSIONAL: Cindy LeBlanc 45 48 Share Prosper 50 Share 55 Learn Sales Tools And the Winner Is ... Pull Cords vs. Round Table Skirts: for Designers WCAA Award-Winning Push Buttons Simple Welt Cord Roger Magalhaes owns Shades IN Place Inc., specializing in window treatment installation and sales. He has been trained by CHF Academy and certified by Hunter Douglas, Somfy and Norman Shutters. Roger is known for his attention to detail and superior customer service. He is a member of WCAA, WAOA and the CHF Forum and can be contacted at roger@ shadesinplace.com or visit www.ShadesInPlace.com Susan Woodcock is editor-in-chief of Drapery & Design Professional magazine. She was Brand Experience Manager for Rowley Company 2009-2012 and owned Tavern Hill, a custom workroom from 1988 - 2009. Susan has been featured in a series of CHF Academy educational videos and has been published in many books and magazines. She is an instructor for CHF Academy, a member of the WCAA and a WFCP Expert. Chapters of 2012 Lesa Berryhill designs and fabricates fine soft furnishings for the home in her Exclusive to the Trade workroom, Berryhill Drapery Designs. Lesa’s background in the Fashion Apparel and Custom Upholstery industries lend a unique perspective to each project. Couture details and hand finishing define her designs. For a closer look into Lesa’s creative journey please visit http//berryhilldrapery. blogspot.com 6 Kelli Chitty is the owner of Interiors by Kelli, an award-winning design studio specializing in custom window treatments and soft furnishings. Her work has been featured in Design NJ magazine, and at national industry conferences. Kelli was appointed to the board of the WCAA Central New Jersey chapter in 2008, and is currently serving as immediate past president. She also serves on the board of directors for the WCAA National organization. Drapery & Design Professional Volume 2013, Issue 3 Scan the QR Drapery & Design code to receive PROFESSIONAL your master index list. a publication of the Custom Home Furnishings Academy Editor-in-Chief Network Manager Susan Woodcock [email protected] Graphic Design Steven Nance Graphic Design Copy Editor Jo Moore Drapery & Design PROFESSIONAL is a bimonthly trade publication specifically for those who sell, design or create custom window treatments, upholstery, slipcovers and related services. Contributions from readers are welcomed. We look for articles that teach new techniques, inspire readers to tackle new projects, and inform readers of current trends in fabrication and design. To request submission guidelines or a media kit email [email protected] Magazine Advisory Board Karen Barnes, Liz Hawkes, Greg Mohr, Judy Peters, Susan Scholl, Chrystal Younger CHF Academy 300 South Polk Street Pineville, N.C. 28134 Phone: 704-333-4636 Fax: 704-333-4639 Cover Photo Credit: Designer - Karen Howland-Walker KH Window Fashions, Inc. Photographer - Scot Erb Erb Photograhy Drapery & Design Professional Volume 2013, Issue 3 7 Client Presentations Establishing a Relationship and Process By Karen Howland-Walker Northborough, Mass. After Before H ave you ever walked into a room and wished you could just move it ― as perfectly as it is ― directly into your home? When it comes to interior design, many believe that’s an ideal way to counter the alternative of agonizing over design choices ― only to panic after they’ve committed, sure that every decision they made will be the wrong one. For many of my clients, the start of their interior design project begins with the turned-down corner of a page in a glossy home magazine, or the magnificent 26 Drapery & Design Professional Volume 2013, Issue 3 pinning and postings of impeccably appointed rooms shared on social networking sites like Houzz and Pinterest. These seemingly perfect photographs, however, just aren’t as easy to duplicate by themselves when the realities of space, budget constraints and the availability of specific materials come into play. So, it’s very early on when they’re at the juncture in the interior design process when homeowners realize they can either gamble on the hope that the outcome The rend will be favorable, or hire a professional interior designer to create for them their own success story waiting to be touted on the pages of perfection. dering There’s no question that interior designers follow a process from the moment a potential client contacts them to the day of installation. But all too often, while clients excitedly await the much-anticipated completion of their project, interior designers struggle with endless appointments and repetitive inquiries to get clients to commit to the start of the process. The consequence of extra steps to the start include lost time with other clients or opportunities, and providing your prospect with your valuable ideas only to have them decline when it comes time to sign on the dotted line. While the creative process is never one to be rushed, I’ve successfully streamlined the steps needed to transform costly customer indecisiveness into the excitement of a new project. Step 1: Qualify the Opportunity The benefits of advertising and networking are effective if you’re getting calls from new clients, but success will elude you if you can’t close the sale without upsetting the balance of investment on return. A costeffective means of determining client potential is to first qualify the opportunity in a phone consultation. With introductions aside, your client will want to discuss her project, even jumping directly to her preferences for color and style, and the purported timeline. But, unlike the rest of the design process, this is your time to explain your terms and policies to assess whether she’s truly ready. Among the questions to ask are the three most telling: • Have you ever used custom design services before? • Will there be decision-makers other than you involved? • Do you have a budget in mind? (Note: Decide whether this is a fair estimate given your expertise.) Having a prepared Q&A specific to your interior design process will allow you to invest your time in the clients who match your criteria, and will serve to politely assist those who aren’t to take the additional steps needed to prepare for custom interior design services. Step 2: Make the Assessment The first new-client meeting ― or the assessment ― is not one to take lightly. It should be the single-most important appointment you’ll have with your client that precedes the commitment to signing an interior design contract with you. The rendering As an interior designer, use this time to educate your client on new materials, concepts and design trends, as well as to find out whether she has any preferences for color or design philosophy (e.g., using only eco-friendly products). By the end of this home assessment, your client should acknowledge that the convenience of having in-home shopping (for interior designers who offer that) and the time savings of having a professional presort through hours of sample selections, and the assurance that nothing is overlooked and that final products are measured to custom fit windows, furnishings and room dimensions is enough for any discerning prospect to determine the return is worth the investment. Step 3: Start Designing There is a moment of insecurity when do-it-yourself designers put their perception of good taste to the test, and lose sight of the fact that the only judge of perfection when it comes to their home is their own. That’s why it’s important when I return to the studio with room dimensions and notes about their dos and don’ts of color, that I use the most important piece of information I’ve observed about my client ― and it’s not as much dependent upon what I’ve seen, as it is what I’ve heard. The subtle references my clients make when revealing a favored spot in the room or showing me There is the standard course of gathering information such as discussing how the space will be used; taking proper window measurements; noting obstacles like stairways, vents and railings; and understanding the layout and architecture of the home, rooms, windows or spaces to be designed. Shooting photographs, opening windows and doors, and even moving furniture to see what lies in hidden spaces are the time-consuming details needed to go back to your office to re-create the space from a new yet still functional perspective. A closer look at the pillows Drapery & Design Professional Volume 2013, Issue 3 27 an accessory or pattern that evokes a cherished memory are what turn the design process into a design experience. It’s with this knowledge of who they are that I’m able to select fabric and trim, and create designs specifically for them. Of course, if they could, they’d have a crystal ball to show just how picture-perfect every texture, color, fabric and detail will turn out. There’s a reason why the Internet is flooded with photographs of beautiful rooms and why it seems as if everyone has an eye for good design. With the introduction of 3D computer-generated virtual designs, professional interior designers can allay their clients’ fears and reduce, if not eliminate, the cause for uncertainty. It’s true that the availability of virtual design is the answer to many and essential to the evolution of the interior design process. A photograph of the choices you make, from color and swatch to layout and shape, can easily be seen and scrutinized beforehand. Computer-aided design greatly reduces the margin for error and provides for the luxury of a beneficial, virtual “do-over”. Step 4: Make the Presentation Once I’ve made the selections that are right for my client, I use the second onsite visit to present three virtual design renderings, complete with fabric options and details for each. Bringing all of the samples to the appointment with me, I’ll use this time to educate my client on fabric and lining choices, as well as hardware and trim options. By holding samples in the actual windows, clients can more fully appreciate just how the room will look when all of the selections are made. Using the “before” and “after” photos created with digital technology, I can unveil my creativity to my client before the last piece of furniture is placed or the last drapery hung. For even the most traditional worrier, seeing the before and after photos created with virtual technology, and being able to touch and see the samples is enough for them to commit to the down payment. The reality is that while the virtual world of the interior design process evolves, the interior design experience remains genuine. Success doesn’t solely lie in the proof of an approved choice as seen in a photo, or on the pages of a magazine. Designs, fabrics, colors, textures and the tools you provide to your clients will be shared across the industry, but the most important difference you can make to your client is an enjoyable design experience that will last long past the next great “pin” of the day. " 28 Drapery & Design Professional Volume 2013, Issue 3 Overall photo of entryway Detail of drapery skirt Drapery & Design Professional Volume 2013, Issue 3 29
© Copyright 2024