PROFESSIONAL Drapery & Design Volume 2013, Issue 3

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
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Table of Contents
Drapery & Design PROFESSIONAL Magazine
A publication of the Custom Home Furnishings Academy
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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.
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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
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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.
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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.
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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.
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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
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Also in this issue:
10. Ask The Experts
39. CHFA 2013 Class Schedule
52. Meet a Drapery & Design PROFESSIONAL: Cindy LeBlanc
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48
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Prosper
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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
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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
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PROFESSIONAL
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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
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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
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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
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Volume 2013, Issue 3
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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. "
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Volume 2013, Issue 3
Overall photo of entryway
Detail of drapery skirt
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