1. Rooms which adjoin, the rugs and carpets of which must be harmonious in color and design to achieve most pleasing results. Such are hall and living room; living room and sunroom; or2. Those which essentially are units in themselves, in which great expression of individuality in color and design is permissible. Such are library, bedrooms, and nursery.
1. Rooms which adjoin, the rugs and carpets of which must be harmonious in color and design to achieve most pleasing results. Such are hall and living room; living room and sunroom; or
2. Those which essentially are units in themselves, in which great expression of individuality in color and design is permissible. Such are library, bedrooms, and nursery.
The adjoining room.—The most common of house plans provide a central entrance hall, with rooms opening on either side, and stairway rising from it. This plan gives an air of spaciousness and, obviously, because two or more rooms are visible at once, calls for most harmonious floor treatment throughout. Rugs and carpets are extremely important in such a scheme. Properly chosen, they create a feeling of unity and pleasing color harmony. Lacking that unity and harmony, the result is far from pleasing, and may be a decidedly disturbing feature.
Use of identical fabrics.—Adjoining rooms may be covered with the same fabric, alike in color and pattern. Wall-to-wall carpeting or identical rugs of correct size achieve the pleasing result of unity and harmony secured by alikeness.
Use of fabrics harmonious but not identical in color.—Variation is pleasing as well as likeness; covering hall, for instance, in a strong color, and adjoining rooms in colors which harmonize through likeness or in the complementary ranges. This is, of course, more complicated, but an effect not difficult to achieve.
Combining plain and figured fabrics.—The use of a figured pattern in one room, and in the adjoining room a plain fabric which picks up and repeats the dominant color in the ground color or in the figures of the pattern produces a lively result, pleasing and effective.
Stair carpeting is important in the decorative picture. Stairs properly carpeted are soft under foot, safer, quiet, more comfortable. They supply a fine note in the decorative scheme. The stair carpet should repeat the dominant color of the hall or room from which they ascend.
For other rooms.—Rooms which may be considered as units in themselves permit of more individual treatment, an expression of the likes of the occupant or occupants. This group includes bedrooms which, statistics show, are the most sparely and poorly carpeted of rooms. Suggestions that consideration be given to bedroom floor coverings will appeal to a large percentage of customers.
During the showing of merchandise and discussion of the problems involved in the selection of the specific floor covering the customer comes to buy, remarks will often indicate the need for rugs or carpet for other rooms.
Into selling in recent years has come a most efficient method of proving just how a specific rug or carpet will look in combination with other furnishing elements. This is the ensemble or group method, for the word "ensemble" means an assembling or grouping.
Whether it be the simplest kind of ensemble, displaying only the rug or carpet, with lengths of drapery and upholstery fabrics, and built by the salesman before the eyes of the customer; or the most complete and elaborate form, the model room, the ensemble method has these outstanding advantages:
1.It develops interest.—The mere physical operation of building the simpler display before the customer, arouses interest because it involves action. Selection of items and addition of each element in the group adds to the interest.2.It carries conviction.—Conversation as to combinations of colors and designs, and resulting effects are interesting, but an ensemble display of actual merchandise in the colors and designs actually available, visualizes the accomplished effect for those who cannot visualize them mentally. And few can.3.It concentrates attentionupon the specific rug or carpet, narrows down the possibilities of choice and tends to hasten decisions.4.It stimulates actionand tends to close the sale by spot-lighting the specific fabrics favorably as the basis for achieving the desired beauty of color, design, and harmony which is the objective of the customer. It presents the solution to a specific problem in terms of actual merchandise. The same factors operate in pointing out the pleasing effects achieved in model rooms.
1.It develops interest.—The mere physical operation of building the simpler display before the customer, arouses interest because it involves action. Selection of items and addition of each element in the group adds to the interest.
2.It carries conviction.—Conversation as to combinations of colors and designs, and resulting effects are interesting, but an ensemble display of actual merchandise in the colors and designs actually available, visualizes the accomplished effect for those who cannot visualize them mentally. And few can.
3.It concentrates attentionupon the specific rug or carpet, narrows down the possibilities of choice and tends to hasten decisions.
4.It stimulates actionand tends to close the sale by spot-lighting the specific fabrics favorably as the basis for achieving the desired beauty of color, design, and harmony which is the objective of the customer. It presents the solution to a specific problem in terms of actual merchandise. The same factors operate in pointing out the pleasing effects achieved in model rooms.
American Furniture Mart Photograph.Figure 36.—Living room grouping of upholstered and occasional pieces. Among the interesting details are the low relief carving on the apron of the upholstered chair, the black iron-type drawer pulls, the carving on the base of the desk, and the neatly turned desk chair. The hooked multicolor Axminster rug is worked in shades of beige, red, blue, and green. The brass, double-candle desk lamp is a practical accessory.
American Furniture Mart Photograph.Figure 36.—Living room grouping of upholstered and occasional pieces. Among the interesting details are the low relief carving on the apron of the upholstered chair, the black iron-type drawer pulls, the carving on the base of the desk, and the neatly turned desk chair. The hooked multicolor Axminster rug is worked in shades of beige, red, blue, and green. The brass, double-candle desk lamp is a practical accessory.
American Furniture Mart Photograph.
Figure 36.—Living room grouping of upholstered and occasional pieces. Among the interesting details are the low relief carving on the apron of the upholstered chair, the black iron-type drawer pulls, the carving on the base of the desk, and the neatly turned desk chair. The hooked multicolor Axminster rug is worked in shades of beige, red, blue, and green. The brass, double-candle desk lamp is a practical accessory.
Ensemble selling presupposes a knowledge of the way in which available materials may be used effectively. Various pleasing schemes should be worked out with the basic rug and carpet stock colors and designs as the foundation of the schemes. Lengths of drapery and upholstery fabrics and wall coverings suitable for use with each basic rug or carpet color may be selected to provide effective and pleasing results.
Ensemble units may be built over an easel which displays a standard-sized carpet sample; or may use a sample rug with a chair, table, or lamp, the drapery and other fabrics being thrown over the chair. The object is to bring the various elements together effectively so the customer may see them. The ensemble is to prove that these other factors will harmonize satisfactorily with the floor covering.
In the selection of elements for ensemble units, whether temporary or permanent, the advice of the decorating department of the store, if one exists, will be invaluable. Many manufacturers of rugs and carpets have established decorating services, the benefit of which is available to store as well as to consumer. Such services are much publicized, extremely popular, and influential with the public and widely used by consumers. Store and sales force alike will be wise to know what such potent sales influences are advising.
Another source of such data is the editorial pages of magazines, many of which publish decorative schemes in color. These influence the thinking and buying of many readers.
Let it be emphasized again that the ensemble, potent as is its influence should be employed only when the sale is not possible otherwise. And only after the possibilities of one grouping have been exhausted should another one be built. The customer must not be confused by much, but rather enlightened by a little.
1. Under what conditions would it be good salesmanship to change arrangement of a suite on the display floor, or to bring in rug, draperies, table runner, glass, or silver as a means to closing a sale?
2. What technical information does a good salesman need to use in demonstrating concealed values in upholstered furniture?
3. How do you demonstrate values in floor coverings?
4. What procedure do you follow in seeking to produce the largest volume of sales from paid-up, inactive accounts?
5. What ideas or procedures are said to be most irritating to those who examine your stock as potential customers?
6. The high school graduating class this year is furnishing a faculty room as a gift to the school. Exactly what would you do to make the sale for your company?
7. What tests would you apply to demonstrate that a given new home reflects harmony in the home furnishings?
8. What are profitable uses for floor plans?
9. If a well-dressed woman, not known to you, asked to be shown an oriental rug, how would you go about it to make a sale?
10. Suppose you were showing inlaid linoleum to an elderly woman, that finally you found a pattern to please her, and that upon learning your price she stated positively that she could buy the same pattern much cheaper at Blank's. What would you say or do?
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Burrows, Thelma M.Successful Home Furnishing.Manual Arts Press, Peoria, Ill. 1938.
Burrows, Thelma M.Successful Home Furnishing.Manual Arts Press, Peoria, Ill. 1938.
Davis, M. J."Principles of Window Curtaining."Farmers Bulletin No. 1516, United States Department of Agriculture, Washington, D. C.Fales, Winnifred.What's New in Home Decorating.Dodd, Mead & Co., Inc., New York, N. Y. 1936.
Davis, M. J."Principles of Window Curtaining."Farmers Bulletin No. 1516, United States Department of Agriculture, Washington, D. C.
Fales, Winnifred.What's New in Home Decorating.Dodd, Mead & Co., Inc., New York, N. Y. 1936.
Faraday, Cornelia Bateman.The Dean Hicks Co., Grand Rapids, Mich. 1929.
Faraday, Cornelia Bateman.The Dean Hicks Co., Grand Rapids, Mich. 1929.
Hempstead, L.The Selling Points of Drapery and Upholstery Fabrics.Fairchild Publications Co., New York, N. Y. 1931.Institute of Carpet Manufacturers of America, Inc., New York, N. Y. 1937.
Hempstead, L.The Selling Points of Drapery and Upholstery Fabrics.Fairchild Publications Co., New York, N. Y. 1931.
Institute of Carpet Manufacturers of America, Inc., New York, N. Y. 1937.
Jackson, AliceandBettina.The Study of Interior Decoration.Doubleday, Doran & Co., Inc., Garden City, N. Y.Kelsey, Clark.Furniture: Its Selection and Use.National Committee on Wood Utilization, United States Department of Commerce. Superintendent of Documents, United States Government Printing Office, Washington, D. C. 1931.
Jackson, AliceandBettina.The Study of Interior Decoration.Doubleday, Doran & Co., Inc., Garden City, N. Y.
Kelsey, Clark.Furniture: Its Selection and Use.National Committee on Wood Utilization, United States Department of Commerce. Superintendent of Documents, United States Government Printing Office, Washington, D. C. 1931.
Knauff, Carl G. B.Refreshing the Home.McGraw-Hill Book Co., Inc., New York, N. Y., 1938.
Knauff, Carl G. B.Refreshing the Home.McGraw-Hill Book Co., Inc., New York, N. Y., 1938.
Koues, Helen.How to Beautify Your Home.Good Housekeeping, New York, N. Y. 1930.
Koues, Helen.How to Beautify Your Home.Good Housekeeping, New York, N. Y. 1930.
National Retail Dry Goods Association, New York, N. Y.
National Retail Dry Goods Association, New York, N. Y.
Priestman, Mabel Tuke.Art and Economy in Home Decoration.John Lane (The Bodley Head, Ltd., London).
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FOOTNOTES:[21]Stipulation 2851 of the Federal Trade Commission, Washington, released June 24, 1940, requires a respondent firm to agree to cease using the words "Persian," "Chinese," "oriental," "Kashmir," "Mandalay," "Baghdad," "Baristan," "Persiatana," "India," or other distinctively oriental appellation in connection with any rug which does not contain all the inherent qualities and properties of an oriental rug; unless, if properly used to describe the design or pattern only, such words of oriental appellation shall be immediately accompanied by a word such as "design" or "pattern" printed in equally conspicuous type, so as to indicate clearly that only the form delineated on the surface of the rug is a likeness of the type named; for example, "Persian design," "Chinese pattern."The respondent corporation also agreed to discontinue use of the word "guaranteed" unless clear disclosure is made of exactly what is offered by way of security; as for example, refund of purchase price.[22]For an illustrated technical account of chenille manufacture, see Encyclopedia Britannica, 14th edition; vol. 4: Carpet manufacture.[23]For an illustrated explanation of the Wilton and other techniques, see the Encyclopedia Britannica, place cited. The name Wilton comes from the old English town, an early seat of carpet making.[24]Ideas reproduced from "Rugs and Carpets of America," pp. 41-42, The Floor Covering Advertising Club, New York, N. Y.[25]Rugs and Carpets of America, pp. 57-58, Floor Covering Advertising Club, New York, N. Y. (1940.)[26]Reproduced by permission of Floor Covering Advertising Club, Institute of Carpet Manufacturers: Rugs and Carpets of America, p. 55.
[21]Stipulation 2851 of the Federal Trade Commission, Washington, released June 24, 1940, requires a respondent firm to agree to cease using the words "Persian," "Chinese," "oriental," "Kashmir," "Mandalay," "Baghdad," "Baristan," "Persiatana," "India," or other distinctively oriental appellation in connection with any rug which does not contain all the inherent qualities and properties of an oriental rug; unless, if properly used to describe the design or pattern only, such words of oriental appellation shall be immediately accompanied by a word such as "design" or "pattern" printed in equally conspicuous type, so as to indicate clearly that only the form delineated on the surface of the rug is a likeness of the type named; for example, "Persian design," "Chinese pattern."The respondent corporation also agreed to discontinue use of the word "guaranteed" unless clear disclosure is made of exactly what is offered by way of security; as for example, refund of purchase price.
[21]Stipulation 2851 of the Federal Trade Commission, Washington, released June 24, 1940, requires a respondent firm to agree to cease using the words "Persian," "Chinese," "oriental," "Kashmir," "Mandalay," "Baghdad," "Baristan," "Persiatana," "India," or other distinctively oriental appellation in connection with any rug which does not contain all the inherent qualities and properties of an oriental rug; unless, if properly used to describe the design or pattern only, such words of oriental appellation shall be immediately accompanied by a word such as "design" or "pattern" printed in equally conspicuous type, so as to indicate clearly that only the form delineated on the surface of the rug is a likeness of the type named; for example, "Persian design," "Chinese pattern."
The respondent corporation also agreed to discontinue use of the word "guaranteed" unless clear disclosure is made of exactly what is offered by way of security; as for example, refund of purchase price.
[22]For an illustrated technical account of chenille manufacture, see Encyclopedia Britannica, 14th edition; vol. 4: Carpet manufacture.
[22]For an illustrated technical account of chenille manufacture, see Encyclopedia Britannica, 14th edition; vol. 4: Carpet manufacture.
[23]For an illustrated explanation of the Wilton and other techniques, see the Encyclopedia Britannica, place cited. The name Wilton comes from the old English town, an early seat of carpet making.
[23]For an illustrated explanation of the Wilton and other techniques, see the Encyclopedia Britannica, place cited. The name Wilton comes from the old English town, an early seat of carpet making.
[24]Ideas reproduced from "Rugs and Carpets of America," pp. 41-42, The Floor Covering Advertising Club, New York, N. Y.
[24]Ideas reproduced from "Rugs and Carpets of America," pp. 41-42, The Floor Covering Advertising Club, New York, N. Y.
[25]Rugs and Carpets of America, pp. 57-58, Floor Covering Advertising Club, New York, N. Y. (1940.)
[25]Rugs and Carpets of America, pp. 57-58, Floor Covering Advertising Club, New York, N. Y. (1940.)
[26]Reproduced by permission of Floor Covering Advertising Club, Institute of Carpet Manufacturers: Rugs and Carpets of America, p. 55.
[26]Reproduced by permission of Floor Covering Advertising Club, Institute of Carpet Manufacturers: Rugs and Carpets of America, p. 55.