fast dyes and carpets will not fade except when exposed to the direct
rays of the sun. The simple preventative solution for sunlight fading
is to use window blinds judiciously. But carpets do discolor or change
in hue, because of infiltrated dust which is basically gray in color.
It is not the dirt that may be swept away, but fine dust in the
atmosphere that settles permanently in carpet, adding gray to the tone
of the carpet, whatever its original color may have been. Therefore
it is advisable when purchasing carpet to choose a shade a trifle
stronger than the final floor color desired. In matching wall coloring,
draperies, or upholstery fabrics, at the time of purchase, it is a wise
expedient deliberately to soil a small cutting of the carpet so as to
judge what its appearance will be for most of its life.
When subjected to severe wear, use of rug cushions beneath rug or
carpet is advised. The plain or smooth surface of the cushion should be
placed next to the rug.
SELLING COVERINGS FOR OTHER FLOORS[25]
Information gained in the discussion of the problems, plans, and
thinking of the customer as to color likes and dislikes, and harmony in
color and design, opens the way for discussion and possible sales of
floor coverings for other rooms.
It may be accepted that every purchaser of a rug or carpet has
definitely in mind plans for other rooms. She has cherished, if
unexpressed, schemes for changes, improvements in all her rooms. The
merchandise she has seen, rest assured, has stimulated interest anew
in her other favorite decorative schemes. It is all very tempting and
alluring. Importantly, also, she is in the buying mood. The occasion
is made to order for following through with presentation of fabrics
for additional rooms, preferably for an immediate, but, if not, for a
future sale as soon as budget or circumstances permit.
Such a purchase may concern:
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.
USE OF ENSEMBLES IN SELLING[26]
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 attention_ upon the specific rug or carpet,
narrows down the possibilities of choice and tends to hasten
decisions.
4. _It stimulates action_ and 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.
[Illustration:
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.
QUESTIONS
_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?_
SUGGESTED READING LIST
Americana, Encyclopedia, Textiles and Textile Manufacture.
Rugs, vol. 23, pp. 757-761.
Tapestries, vol. 26, pp. 252-254.
Many others in volumes 5, 6, 11, 17, 19.
BALDWIN, WILLIAM H. _The Shopping Book._ The Macmillan Co., New
York, N. Y. 1929.
Floor Coverings, II, pp. 35-54.
Britannica, Encyclopedia.
Carpet Manufacture, vol. 4, pp. 917-923.
Linoleum, vol. 14, pp. 165-166.
Interior Decoration, vol. 14.
BURROWS, THELMA M. _Successful Home Furnishing._ Manual Arts Press,
Peoria, Ill. 1938.
Rugs, II, pp. 45-55.
Upholstery Fabrics, IV, pp. 65-85.
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.
Textiles and Fabrics, III, pp. 42-71.
Beauty Under Foot, II, pp. 24-42.
Every Window Has Its Problem, V, pp. 85-120.
FARADAY, CORNELIA BATEMAN. The Dean Hicks Co., Grand Rapids, Mich.
1929.
History of Carpets and Rugs and Decorative Floor Coverings of all
Nations.
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.
Carpet and Rug Industry, Survey, Style, and Color Trends.
JACKSON, ALICE _and_ BETTINA. _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.
Upholstered Furniture, II, 10, pp. 61-75.
KNAUFF, CARL G. B. _Refreshing the Home._ McGraw-Hill Book Co.,
Inc., New York, N. Y., 1938.
Rugs and Carpets, pp. 100-132.
Fabrics, pp. 242-269.
Curtains and Draperies, pp. 269-289.
Linoleum, pp. 53, 73, 80, 126-129.
Tapestries, pp. 254-255, 302.
Upholstering, pp. 223-226.
Lamps, pp. 290-299.
Glass Curtains, pp. 276, 282.
KOUES, HELEN. _How to Beautify Your Home._ Good Housekeeping, New
York, N. Y. 1930.
How to Make Curtains and Draperies, XII, pp. 147-167.
New Fashions in Draperies, XI, pp. 131-147.
National Retail Dry Goods Association, New York, N. Y.
Manual for Selling Curtains and Draperies, October 1936.
PRIESTMAN, MABEL TUKE. _Art and Economy in Home Decoration._ John
Lane (The Bodley Head, Ltd., London).
When Buying Carpets and Rugs, V, pp. 49-86.
REYBURN, SAMUEL W. _Selling Draperies and Upholstery Successfully._
Prentice Hall, Inc., New York, N. Y.
SEAL, ETHEL DAVIS. _Furnishing the Little House._ Century Co., New
York, N. Y., 1924.
Floors of Dignity and Beauty, II, pp. 23-41.
STEWART, ROSS _and_ GERALD, JOHN. _Home Decoration._ Garden City
Publishing Co., Inc., Garden City, N. Y. 1938.
Floor Covering, VI, pp. 96-113.
Fabrics and Their Uses, VII, pp. 113-127.
WHITON, SHERILL. _Elements of Interior Decoration._ J. B.
Lippincott Co., Philadelphia, Pa.
Decorative Textiles and Tapestries, X, pp. 337-393.
Floor Coverings, XII, pp. 409-441.
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.
Unit IX
FURNISHING THE LIVING ROOM, HALL, AND DINING ROOM
Furnishing the Living Room
Distinctive Hall Furniture
Securing Hospitable Dining Room Atmosphere
Ensemble Selling
[Illustration:
Courtesy American Walnut Manufacturers Association.
Figure 37.--Designed by Gilbert Rhode, this many-purpose grouping of
modern pieces can be arranged to fit the individual room and taste.
Use of hairline stripe of natural inlay at regular intervals gives an
unusual fabric like effect to this modern design.]
Unit IX.--FURNISHING THE LIVING ROOM,
HALL, AND DINING ROOM
FURNISHING THE LIVING ROOM
The living room is the heart of the home. It is here that members of
the family meet and spend a great part of their time; here that friends
and guests are entertained; here that "memories are made." The woman
is rare who does not recognize the importance of her living room both
as a factor in family life and as an index of her own position, taste,
and skill. Since the family living room is the show window of the home
it is well to convey to the customers' mind that the personality of
herself and her family should be reflected in this room. (See fig. 31,
page 142.)
OPPORTUNITIES FOR IMPROVEMENT EVERYWHERE
Comparatively few living rooms are genuinely attractive. It is safe to
say that 9 living rooms out of every 10 could be improved enormously,
and often at little cost. Some are merely shabby or out of date.
Many are colorless, depressing, uncomfortable, commonplace, and
unlovely. Nearly all lack important elements, and are in some respect
underfurnished. In innumerable cases their owners are more or less
clearly aware of these defects, deplore them, and would like to correct
them.
This means that always there are possibilities for new and replacement
sales of living room merchandise. Moreover, it means that any woman who
today asks for any article for living-room use, however unimportant
or inexpensive, may be at the point where she can be influenced to
consider the purchase of additional articles. A systematic effort to
explore and develop these latent possibilities infallibly will result
in larger sales.
ARCHITECTURAL AND DECORATIVE STYLE
Comparatively few houses are designed throughout in an architectural
style so well defined as to demand adherence to the same or closely
related styles in furniture. Even in the case of many houses so
designed we find that the owners prefer to equip their rooms with
furniture of styles more pleasing to their fancy. Often this practice
results in bad decoration, but after all there is little that can be
done about it. Your job is to equip yourself to be a competent adviser
and to give sound advice when it is wanted.
Under ordinary circumstances, do not ask your customer the style of
her living room. If she doesn't know, or if the room has no style, she
may be embarrassed or vaguely displeased by the question. On the other
hand, if she regards the style of the room as in any way important she
will in all likelihood volunteer the information.
LIVING-ROOM WALL TREATMENTS
The walls of the living room constitute its largest and most
important single element, and form the background against which all
other elements must be seen. The lighter the tone of the walls, and
the smoother their texture, the greater will be the reflection and
diffusion of light throughout the room and the larger its apparent size.
Painted or Plastered Walls.
Calcimine and water paint are effective in simple and unpretentious
living rooms of any size, but should not be used in rooms intended to
be sumptuous, elegant, or formal in effect. They are most pleasant in
colors, belonging to the yellow-to-orange family, such as buff, maize,
putty, or in light pastels.
Walls covered with canvas and painted in oil, without paneling, and
with or without effects of stippled modeling or glazing, can be used in
living rooms of any type, and with furniture of any style.
Paneling, because of the severely balanced distribution of wall spaces
and the effect of dignity produced by long, straight lines, tends to
give a room a quality of formality and dignity which is reflected in
the style and distribution of the furniture and relieved by a free use
of color and ornament in the other elements of the room.
Rough plaster and compo walls, varying in unevenness of texture and
depth of tone according to the scale and style of the room itself
and the furniture to be used in it, are effective with houses of the
cottage, Early English, and Mediterranean types and with Early Spanish,
Italian, and English furniture and the cruder and heavier examples of
French Provincial, Early American, and unstyled furniture.
Patterns in Papered Walls.
Wallpapers are made in an extremely wide range of variation in texture,
coloring, and pattern. Properly chosen, wallpaper is a suitable wall
finish for practically any style of room, and a suitable background for
practically any style of furniture.
Since personal preference has a great deal to do with the selection of
wallpaper, the salesman's job should be merely to assist the customer
on color and appropriateness of design. Studying the papers you
will note that some have formalized motifs, others simple, repeated
patterns. When in doubt, stay to the simpler patterns. However, there
is no set rule on the types of wallpaper to be used, good taste and
personal preference being the main factors.
FLOOR COVERINGS FOR THE LIVING ROOM
The floor may be treated with a single, room-size rug, several small
rugs, or linoleum.
A room-size rug usually is preferred where practicable in a small room
because it causes the room to appear a little larger than when small
rugs are used.
Linoleum when used in a living room may carry an inlaid design in
keeping with the room or may be used as the basic floor covering with
small, soft-surface rugs.
Rug Must Dominate Floor Area.
There is no rule to govern the proper width of margins, other than
the general requirement for a dominant element in every composition,
which means that in the case of a single large rug the effect will
be unpleasant if the rug is so small that it seems to the mind less
important than the total uncarpeted space. Ordinarily the side margin
should not exceed one fourth of its length.
Several small rugs used together should be sufficiently alike in
coloring, type of pattern, tone, and texture to ensure the unity of
the floor treatment, but not identical, which would make the effect
monotonous. This requirement would forbid the use together, for
example, of characteristic Persian and Chinese designs, because of too
sharp differences in pattern; or of pile and pileless rugs, because of
too sharp differences in texture; or of light and dark rugs, because of
great differences in tone.
It is never necessary, and rarely desirable, to have all of the rugs
closely alike in color; but there must be pronounced elements of
likeness. In general it is best to have at least one, and preferably
two or three colors appear in varying degrees of importance in each rug.
Small rugs should be placed so as to be closely related to the
fireplace, door, and principal pieces or groups of furniture. They are
distracting and meaningless when scattered with no reference to this
relationship.
Don't Place Rugs at Angle.
Small rugs should be placed straight in the room; that is, so that
their edges parallel either the side or end walls. To scatter them at
angles destroys the organic unity of the room.
The floor coverings should be darker in tone than the walls, but not
so much darker as to contrast harshly, and so impair the harmony and
restfulness of the room.
In general the scale of the floor covering design should vary directly
with the size of the room. Small rugs appear inartistic with large
scale designs which might seem perfectly appropriate on larger rugs.
The vigor of drawing and coloring in the floor covering also should
increase with the size, or rather the effect of weight and massiveness,
of the furniture.
LIVING ROOM WINDOW TREATMENTS
Venetian blinds have become increasingly important as a treatment for
windows in all parts of the house. Venetian blinds permit the user to
control the light and add a decorative note to a room regardless of its
period. Tapes of the blind should match the floor covering, the walls,
or harmonize with the color scheme of the room. Although the off-white,
cream, and buff blinds are most popular, colored blinds in keeping
with the color scheme of the room also are in good taste. Other window
treatments are roller window shades, glass curtains, and draperies.
_Venetian blinds._--Most blinds are custom made and ordered to the
customer's specific window size. Measurements should be taken within
the molding. Venetian blinds may be used alone, with draperies, or
with glass curtains and draperies. Venetian blinds harmonize with any
period or setting and may be used on hall doors, kitchen, and bathroom
windows as well as all other rooms of the house. Waxing maintains the
slats most of which may be kept clean by washing with a bland soap and
dusting regularly.
_Roller window shades._--Roller window shades offer an inexpensive and
easy means of controlling light and vary widely in quality, appearance,
and price. Roller shades should be fairly close in hue and tone to the
walls. It is necessary that the shades harmonize pleasantly with the
house as seen from the outside.