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Selling Home Furnishings: A Training Program

Chapter 264: Appendix J.—READY REFERENCE INDEX
By Roscoe R. Rau
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About This Book

This bulletin offers a practical course for retail salespeople in home furnishings, combining sales technique, product knowledge, and decoration principles. Organized into units, it covers developing the salesperson's role as a business builder, interview and closing methods, demonstrating value, differences in buyers, and vocabulary. It surveys furniture styles and woods, mattresses and bedding, floor coverings and fabrics, room-by-room furnishing strategies, lighting and accessories, and basic interior-decoration principles. Appendices supply glossaries, teaching outlines, advertising and promotion checklists, and reference lists, making the material suitable for short group study, store meetings, or individual reference to improve selling effectiveness and customer service.

Its use as a cabinetwood for furniture began in the late fifteenth century and has continued from that time until the present. The wood's natural color, within its outer band of creamy sapwood, ranges through a gamut of soft grayish browns whose deepest note is pale chocolate sometimes lightly tinged with violet.

Dean S. J. Record, Yale University says: "Walnut is one of the finest cabinet woods in the world. It has stood the test of time. Trace its use back through the centuries, and it will be found a medium of expression for what successive periods have considered most beautiful and worthy in furniture design. As one lover of the wood phrases it, 'from the massiveness of the Flemish, the elegance of the Italian and French, and the balanced beauty of the eighteenth century English walnut, by its inherent qualities, has been the one cabinet wood that fulfilled all demands.'" This record resulted from walnut's unusual combination of physical and mechanical properties.

It is widely used not only for the most costly furniture, but for the medium priced as well, because of another important feature—its great variety of figure types. These vary from the severely plain straight-quartered walnut, commonly seen on modern furniture and architectural woodwork, through sliced wood, rotary, many types of stumpwood, to the swirls, burls, and highly figured crotches.

In addition to the American species, imported varieties such as French, English, Italian, and Circassian, are still used occasionally. However, more than 99 percent of all America's needs are supplied by our own American walnut, which ranks somewhat higher in strength properties than the European variety.

Yomawood.—Burma and the Andaman Islands. (Also known as Burmese Padouk.) This is one of the most beautiful woods, varying in color from deep crimson through cherry red, pink and red-brown to brown. The figure is commonly of the straight ribbon type, but some veneers show a cross figure, a little like that of figured satinwood.

Zebrawood.—Africa, west coast. (Also known as Zebrana.) This highly decorative wood has been used since the early eighteenth century. The trees are large, and the veneer logs are imported in squares 4 to 5 feet square and 20 feet or more in length. The wood is light in color, and when cut on the quarter the veneers reveal dark stripes of extraordinary straightness, which makes the wood a favorite for matched diamond veneers. The name is derived from the resemblance of this wood to the skin of the zebra.

Appendix E.—COMMON RUG TERMS[34]

Burling.—An inspection treatment after weaving, to straighten up sunken tufts, to clip off long tufts, and otherwise add to finished appearance of fabric.

Chenille.—A soft tufted or fluffy cord of cotton, wool, silk, or worsted, made by weaving four warp threads about soft filling threads, afterward cut.

Filling.—Threads thrown across the warp to fill up space between knots.

Ground color.—The prevailing color against which other colors create the motif or design.

Jaspe.—Broad irregular stripes of two shades, usually a lighter and darker shade of the same color, used either as an effect in plain goods or as a ground frame (sometimes in top colors as well) of figured goods. It is produced by dipping a skein of yarn twice in the dye, first the entire skein in the lighter shade and then a portion of it in the darker shade. Various types of fine or broad jaspes are obtained by the twist given the yarn. From the French word meaning marbled. Linoleum: A two-toned pattern resembling marble.

Jute.—Fiber from inner bark of jute plant, used as base for cheaper rugs.

Pick.—The weft thread shuttled through the fabric crosswise of the loom between the warp threads. The weft serves to tie in the yarn that forms the surface tufts or loops. The number of picks per inch is indicative of the closeness of the weave; for example, a high class Wilton has about 13½ picks per inch. In the Axminster weaves, the word "row" means the same as "pick." (See Wires.)

Pile.—Projecting fibers or tufts on surface of rug; the nap.

Pile weaving.—In which there are two warps one with the weft forming the base and the other, formed into loops over wires, making the pile. In Brussels, the wire is pulled out leaving the loop intact. In Wiltons, there is a knife at the end of each wire which cuts the yarn as the wire is drawn out, making each loop a tuft. The pile is closer on Wiltons than on Brussels, as 13 wires are used to the inch, 8 being customary on Brussels.

Pitch.—Indicative of closeness of weave, considered in connection with "pick" or "rows." Pitch means the number of warp threads per inch measured crosswise of the loom. The warp threads run lengthwise of the fabric and interlock to bind in the weft, thus fastening the surface yarn. The closer together the warp threads the finer the weave; for example, good Wilton rugs are 256 pitch, meaning that there are 256 warp threads to each 27 inches of width of carpet, or 1,024 in a 9 by 12 rug.

Quarter.—Unit of loom width, 9 inches, or ¼ of a yard. The standard carpet width is ¾, or 3 times 9 equals 27 inches. Yard-wide carpet is known as 4/4; 9 feet wide as 12/4; 15 feet wide as 20/4, etc.

Shot.—The number of weft threads (see "pick") considered in reference to the tufts or loops of surface yarn. Two-shot means that there is one weft thread between each row of pile tufts. Three-shot means three weft threads to each row of tufts, one on the back and one on each side. Three-shot, requiring more material and more loom motion, adds to the cost, but increases durability.

Staple.—The general fibers of wool or cotton, considered as an index of quality; for example, a single fiber judged by itself as to length, thickness, and resiliency denotes the quality of the batch.

Stuffers.—Coarse yarn (usually jute) running lengthwise of the fabric that is caught by the weft and warp and bound into the fabric to form a thick, stiff, protective backing.

Top colors.—Colors forming the design, as distinguished from the ground color.

Tuft.—A bunch of flexible fibers like hairs, united at the base. Fine Wiltons contain 18,000 tufts to the square foot.

Warp.—Threads running the long way of rug, between which the weft, or woof (cross threads) are woven.

Weft.—Threads running the short way of the rug.

Wires.—Metal rods inserted between warp at same time weft is inserted, crosswise of loom. When withdrawn, resulting loops compose the pile. Number of wires is also used as index of quality.

Woof.—Same as weft.

Worsted.—Selected wool yarn made from long fibers, combed parallel and twisted hard. Three pounds of raw wool provide one of worsted.

Appendix F.—AN ADVERTISING CHECK LIST

This advertising check list was worked out by the Chicago Tribune for appraising the effectiveness of retail advertising. Copy which gets 70 points or better has proved to be satisfactory. Sample checking of your advertisements against this table occasionally is suggested.

Rating
1. Does the headline contain news value? 15
2. Is there a promise to the reader's self-interest? 15
3. Is there an appeal for direct action? 10
4. Is the advertisement of proper size for the importance of the offer and for its most favorable presentation? 10
5. Is the advertiser's signature clearly displayed? 5
6. Is the merchandise or service mentioned in the headline? 3
7. Does the headline include the name of the firm? 2
8. Does the illustration show the merchandise or service in use? 5
9. Does the illustration invite the reader to project himself into it pleasantly, profitably, or favorably? 3
10. Does the lay-out locate elements logically and eye-invitingly? 5
11. Is the lay-out exciting or attention compelling? 3
12. Does the copy tell what is new, different, or better about the merchandise or service, especially from the style angle? 3
13. Does the copy inspire enthusiasm for the merchandise or service? 3
14. Does the copy have a definite ring of truth and sincerity? 5
15. Does the copy tell the merchandise or service is priced to save money? 2
16. Does the copy tell that the product is guaranteed, lasting, and gives good service? 3
17. Does the copy develop and appeal to price? 2
18. Does the copy or illustration imply the merchandise increases sex appeal? 3
19. Does the copy tell why the merchandise is so priced? 1
20. Does the copy tell of the seasonal appeal of the merchandise? 1
21. Does the copy describe the merchandise or service with reasonable completeness? 2
22. Does the copy indicate a personal loss for not buying or using the product? 1
23. Are all negative thoughts connected with the product eliminated from the copy? 2
24. Does the copy indicate enthusiasm of users, such as testimonials? 2
25. Does the copy bring out superiorities of the merchandise or service over competitive products? 1
26. Is the urge to action repeated three times—in the heading, in first paragraph, and in closing? 5
27. Is the price displayed so it will command sufficient attention? 3
28. Is there a free deal, free offer, free trial, or something free included? 3
29. Have all details to facilitate action been included? (Phone number, order blank, store hours, mention of air conditioning, parking, etc.) 2

Appendix G.—FIVEFOLD SELLING PLAN FOR FLOOR COVERINGS[35]

One furniture store has enjoyed a record of sales increases every month but one for the last 2 years in the floor coverings department. This is attributed to a fivefold merchandising approach based upon "style" and "value."

During the entire year, other than at special "sales periods" this company promotes oriental reproductions, finer broadloom (tone on tone) carpeting, washed carpet, inlaid linoleum (yard goods), always accenting "Style" and the necessity of fine floor coverings in relation to fine home furnishings.

During the so-called "sale periods" of the year, the store features "Room-wide floor coverings," "Bound broadloom remnant rugs," low-priced 9 by 12 Axminsters, and, in February and August, oriental reproductions at reduced prices. The store theme is, "Value in every advertisement." Customers are always sold the advertised merchandise, and full stocks make it unnecessary to say—"Madam, we are sold out." These two things build customer confidence in the store's publicity and in the store itself.

Here are the fundamentals of the "Fivefold Plan":

1. Advertising.—Based on 5 percent of the departmental volume, the floor covering department is represented in the newspaper 52 weeks of the year. Constant promotion insures results.

2. Window display.—A window is assigned to the department every week wherein may be found the advertised merchandise, or new and highly styled floor covering innovations. A Window Every Week.

3. Inner-store displays.—The theme is "Fine floor coverings are a necessity in the home of today." Every one of the model rooms features as an integral part of the furnishings a fine rug. The same holds true in the "Smaller home groupings." These rugs are not placed on the floor and forgotten. The furniture salesmen call attention to them daily. The carpet salesmen from time to time make use of these groupings as selling aids.

4. Trained salespersons.—New merchandise is sold first to the salespersons. They are taught also that "truth" is the most powerful selling argument.

5. Service.—The customer is not sold to be forgotten. This company keeps in constant touch with the customer after the sale is made, both to foster business and to keep her satisfied.

Appendix H.—COLOR AND STYLE IN MODERN ADVERTISING COPY?

For months we have been interested in checking home-furnishings advertising copy in daily papers. This easily may become more than an absorbing pastime.

As this is written, there is before us copy of a double-page spread by a well-known company which sells home furnishings. The copy fairly shouts color, tapestries, and period styles. Even brief study of the copy will show how many and varied are the offerings to meet ever-increasing competitive demands for something new.

This one piece of copy—typical of many appearing in the daily papers—should convince any home-furnishings salesman that he must be a constant student if he is to appear at his best as an interpreter of color and style to his customers.

Look at this parade of 19 different colors, both plain and pebbly twist, in carpets in 9-, 12-, and 15-foot widths.

  • Plain colors
  • Reseda green.
  • Beaver taupe.
  • Royal blue.
  • Heather-mist.
  • Cherry red.
  • Normandie rose.
  • Horizon blue.
  • French peach.
  • Burgundy.
  • Maple tan.
  • Henna wine.
  • Roseglow.
  • Dubonnet.
  • French grey.
  • Pebbly textured colors
  • Burgundy.
  • Reseda.
  • Maple tan.
  • Roseglow.
  • Royal blue.
  • Tango rust.
  • Jade green.
  • French peach.
  • Platinum beige.
  • Burnt copper.
  • Deer-tone.
  • Dubonnet.

Oriental rugs in exquisite blending of colors and native originality in design are offered in India, Teheran, Garevan, Kirman, Bidjar, and Ardebil weaves. (See footnote 5, p. 160, unit VIII.)

For the dining room there are Sheraton-Hepplewhite groups of "genuine mahogany construction rubbed and then waxed to its deep rich red color." Choice is offered of pedestal dining table, or one of the leg type; also "choice of the famous Hepplewhite shield back or Sheraton model chairs." Other offerings include an Adam group in "genuine Honduras mahogany with beautifully figured swirl mahogany veneers, delicately carved"; an English Chippendale group; an Early American group of solid rock maple construction. Separate pieces for the apartment dining room from which one may create his own ensemble include offerings of a—

Sheraton extension console—genuine Honduras mahogany construction inlaid with satinwood.

Duncan Phyfe side chair of lyre back design.

Colonial corner cabinet—genuine Honduras mahogany.

Sheraton drop-leaf table of the pedestal type.

For the living room are offered "upholstered pieces—sofas, wing chairs, easy chairs, open armchairs, 'tailored' in effective coverings; but which may be purchased in muslin and tailored in fabrics of your own selection." Look at these noteworthy dependable furniture friends:

Chippendale wing chair with handsomely carved cabriole legs; ball and claw feet. Tapestry tailoring.

Fireside wing chair.—Colonial Chippendale design; ball and claw feet of solid mahogany. Tailored in tapestry.

English easy chair.—Exposed frame solid mahogany covered in a combination of tapestry and velvet.

English club chair.—Seat cushions filled with genuine down. Tailored in damask.

English Chippendale sofa.—Tailored in damask.

Eighteenth century easy chair.—Tailored in frieze.

Barrel-back chair of English design.—Tailored in brocatelle.

The occasional pieces include: Secretary Desk in three designs—American Hepplewhite, Colonial Sheraton, and Early Colonial.

Cocktail table.—Hepplewhite design—hand-tooled leather top.

Cocktail table.—Chippendale period—swirl figured veneer top.

Tier table after the colonial period—each of the tops is square in shape making an ideal lamp table for the chair side.

Knee-hole desk.—Eighteenth century English.

Kidney desk.—Finished in the old colonial red tone.

Nest of tables.—Sheraton in design—master table has hand-tooled leather top.

Book shelf.—Early colonial in design, genuine Honduras mahogany.

For the bedroom are many new interpretations of old periods in interesting color finishes and a variety of woods, including an offering of—

American Hepplewhite finished in the new silver green known as silver-mint.

American Sheraton.—Honduras mahogany inlaid with satinwood.

English Sheraton.—Inlays of marquetry.

Chippendale group following the Chinese influence.

Modern figured oak.—Blond color—trimmed with silver hardware—hanging mirrors of crystal type.

Chinese Chippendale group.—Genuine Amazon mahogany with crotch mahogany panels.

Early American.—Solid maple finished in the traditional tone.

French Provincial.—Solid maple, finished in lovely pine color, each piece effectively proportioned—twin beds of the footless type with upholstered headboards, covered in chintz.

Appendix I.—CHECK LIST FOR PLANNING A STORE-WIDE PROMOTION

(Courtesy the National Retail Furniture Association, Chicago, Ill.)

1. Opening date; closing date.

(Note.—The most successful store-wide promotions run 10 days. Two weeks should be the limit. Make your plan at least a month ahead. Be all set at least a week in advance.)

2. Name.

(This should include at least a hint of the reason why you are holding this sale.)

3. Merchandise to be featured.

(See that a good percentage of this is new merchandise, items that you have never run before. Store-wide events based entirely on old merchandise are never as successful as they should be.)

4. Total advertising expenditure for event:

a. Newspapers.

b. Direct-mail.

c. Radio.

d. Window and store displays.

5. Advertising expenditure by days.

(Start your sale off with a bang and end it with a grand finale. The middle will take care of itself.)

6. "Presale" or old-customer courtesy days:

a. The dates.

b. Form of announcing them to customers (letter, folder, phone calls, etc.).

c. Special terms, premiums or other inducements to old customers who purchase on these dates.

(Note.—Sale or no sale, most of your business comes from old customers. See that they get special attention in any store-wide event.)

7. Window displays:

a. Merchandise to be featured.

b. Window streamers.

c. Price and description signs.

8. Interior and other displays:

a. Aisle banners, post hangers, elevator signs, cashier and credit department signs.

b. General floor arrangement and special merchandise displays.

c. Buttons or other special identification insignia for salesmen.

d. Truck banners.

9. Price tags.

For any store-wide event, your merchandise should carry special price tags—not the ones you ordinarily use.

10. Quotas:

a. By departments.

b. By salesmen.

11. Meetings:

a. Special meeting for all employees.

b. Meeting for sales employees only.

c. Meeting for credit employees only.

12. Special employee remuneration:

a. Store-wide sales contest, selling and non-selling help.

b. Contest for salesmen only.

c. Special "spiffs" on particular pieces of merchandise which you wish to push.

(Note.—It is not recommended that every store-wide promotion embrace every one of these points, although this is possible. You should, however, consider all these possibilities in planning your store-wide sale.)

Appendix J.—READY REFERENCE INDEX