Why do we decorate? Since the age of cave dwellers, humans have added some type of decoration to the places they live. I think the reasons probably haven’t changed much since those early days. We decorate our homes because:
1) It makes us feel good.
2) We like to show off.
3) Decorating is entertainment!
As designers, our target market is those people who love to decorate. These people love showing off their homes to their family and friends. When they invite people to their home, they immediately give them a tour. This is their entertainment.
What a wonderful position to be in, as a designer. How do we provide the entertainment experience so a client can entertain friends? To offer this style of decorating service we need to look at our business as theater and practice a new mind-set called “Decorating is Entertainment.” Everything we do as designers needs to give the perception to our clients that they are buying an experience and not a collection of products. Every aspect of communication, expectations, appearance, and sensory images needs to focus on one outcome: to provide entertainment.
Face it; do our clients really need to buy anything more? Don’t they have all they need? Our clients don’t want to buy more things. They want entertainment, and guess what? They will pay a premium for it.
In the six scenes that follow, I name each category of the design business with a theater term. It is very interesting to see how life on the stage can be an inspiration to our business life in the world of decorating.
Scene One
The Producer
(The Entrepreneur)
As the producer, we must make sure that all aspects of the business, from the letterhead to our client-fulfillment systems, all say theater. Nothing can be left to chance. In a stage performance, it is a huge blunder if a stagehand is seen.
We should build our company around encouraging emotions, just like the entertainment industry does. Emotions are what govern our lives, yet it is incredible how most businesses ignore this. Now is the time to reinvent your organization. The ultimate client experience is giving them exactly what they want, which is customization. What luck! We are in the custom business! We provide the best products and services to exceed our client’s expectations. This must be enhanced by being sure all other aspects and communication with the consumer have the same intent.
The role of the producer is to make visible the story of the playwright, or as we call it, the vision of the organization, and to give the company all the tools necessary to entertain.
Scene 2
The Director
(The Manager)
The role of the director is to interpret the vision of the producer. This is done by directing the cast (staff). The cast needs a script (systems) to ensure a similar great experience for the audience (customers) at each and every performance (sale). The cast needs to remember that work is theater, and they need to remain in character during the time on stage (at work). It is the role of the director to understand that to create a successful performance, the company must strive to make memories, not just sell goods or services. The audience wants to be entertained.
Think about your experiences with other businesses. Remember the two check-out clerks chatting across the lane while your groceries were rung up? What about your dentist who fails to call and advise you that he is running behind one hour? There are countless poor experiences we can relate to. It is up to you, the director, not to allow the cast to perform its own drama and make sure that personal issues do not appear on stage.
Scene 3
The Narrator
(The Marketer)
The narrator tells the story to the audience. He brings awareness of the important aspects of what needs to be communicated. As the storyteller, we need to make aware to our target market that we exist. Any performance that becomes a hit does so from great word of mouth. Word-of-mouth marketing does not happen by accident; it takes a systemized plan to keep the crowds coming. There is also all the promotional material that accompanies a performance, such as the posters and playbills. Furthermore, all the material must communicate the same message. The narrator has the ability to encourage the spreading of the word, so that the company can have a long and lucrative run.
Scene 4
The Cast
(The Staff)
The cast is the crucial link to success. They are the frontline providers of a great performance and long-lasting memories. The performance of all the cast members needs constant rehearsing to deliver the intended message and to encourage critics’ approval (more sales). The theater of improvisation is a required skill. Acting off the interaction of the audience takes a lot of practice. The audience does not want a choice of experiences. They want a great experience each and every time. In order to do this, the cast must engage the audience and reach deep and draw from their training, to give a memorable performance.
Scene 5
The Critic
(The Client)
The critic is the master of our destiny. The critic must be thrilled with our performance. During show time (from the sale to the delivery), we should be staging a client surprise at every available opportunity. When every other show in town is providing the same boring performance, it is up to you to offer a great performance (client experience) that will thrill. The critic’s expectations are emotional ones and we must tap into them. The role of pleasing the critic is not the actor alone; it requires a great crew. From the producer, to the director, and to all the extras, we need to be focused on the same outcome: keep them coming back for more!
Scene 6
The Sold-Out House
(The Bottom Line)
How do we charge for a great performance? Should we figure what the actual cost of the production is in order to calculate our ticket prices, or should we base our prices on the value the audience is willing to pay?
The prices we charge should be based on the value perceived. Companies that entertain can charge more than companies that do not meet their clients’ expectations. You should charge for the value you add, not the costs you incur. You must base the prices you charge on the value you have created.
To do this, you must make sure all aspects of your presentation justify your margins. You will need to make clear that the prices you charge are well worth it. If you do, your clients will be thrilled to pay you. When you price with the consideration on perceived value, you focus on the performance, not the price per yard. Everyone in the production must be committed to staging this concept, so that nothing that the audience (the client) sees will sacrifice the margins.
Conclusion
Of course, our style of entertaining is not done in a theater. We instead sell “lifestyle entertainment.” We are providing a service to improve our clients’ expectations of their own lives. We make their homes beautiful and this brings them a high level of satisfaction. Every aspect of bringing awareness to our company-selling, designing, and providing our clients with a thrilling experience-will leave the audience with only one response: a standing ovation.
Neil Gordon is the owner of Decorating with Fabric. Decorating with Fabric proudly serves the New York Metro area’s Window Covering and Upholstery needs. Among our many clients are Architects and Interior Designers that work on Commercial or Residential projects. From Consultation to Fabrication to Installation, Decorating with Fabric has the staff, skill and experience to handle all types of projects. Visit our blog Draperies & Window Coverings to read more interesting articles @ http://www.dwfcontract.com/.