Professional Practice for Interior Designers E-Book

Christine M. Piotrowski

• Herausgeber: John Wiley & Sons
• Kategorie: Geisteswissenschaft
• Sprache: Englisch

Seitenzahl: 1654

Veröffentlichungsjahr: 2020

Beschreibung

The leading guide to the business practice of the interior design profession, updated to reflect the latest trends For nearly thirty years, Professional Practice for Interior Designers has been a must-have resource for aspiring designers and practicing professionals. This revised and updated Sixth Edition continues to offer authoritative guidance related to the business of the interior design profession--from the basics to the latest topics and tools essential for planning, building, and maintaining a successful commercial or residential interior design business. Filled with business tips and best practices, illustrative scenarios, and other pedagogical tools, this revised edition contains new chapters on interior design in the global environment, building client relationships, and online marketing communications. The author also includes updated information on web and social media marketing, branding, and prospecting for global projects. Recommended by the NCIDQ for exam preparation, this Sixth Edition is an invaluable resource for early career designers or those studying to enter the profession. This important book: * Contains three new chapters that focus on client relationships, marketing communications, and interior design in the global marketplace. * Includes new or updated sections that reflect the recent trends related to social media, branding, sustainable design practice and more * Offers invaluable pedagogical tools in every chapter, including chapter objectives and material relevant for the NCIDQ * Instructors have access to an Instructor's Manual through the book's companion website

Leseprobe

Table of Contents

Cover

PREFACE

ACKNOWLEDGMENTS

PART 1: The Profession

CHAPTER 1: Interior Design asa Profession

WHY STUDY PROFESSIONAL PRACTICE?

WHAT IS A PROFESSION?

DEFINING THE PROFESSION

PROFESSIONAL AND SOCIAL RESPONSIBILITY

HISTORICAL OVERVIEW

INTERIOR DESIGN VALUE

THE BUSINESS OF INTERIOR DESIGN

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

KEY NAMES

ORGANIZATIONS

WHAT WOULD YOU DO?

REFERENCES

CHAPTER 2: Professional Advancement

EDUCATIONAL PREPARATION

INTERNSHIPS

LIFELONG LEARNING

PROFESSIONAL CERTIFICATION

LICENSING AND REGISTRATION

PROFESSIONAL ASSOCIATIONS

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

ORGANIZATIONS

WHAT WOULD YOU DO?

REFERENCES

CHAPTER 3: Going Global

GLOBAL DESIGN WORK

PROFESSIONAL PRACTICE IN A GLOBAL MARKET

CULTURAL SENSITIVITY

INTERNATIONAL ETIQUETTE

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

REFERENCES

PART 2: Career Paths

CHAPTER 4: Where Do Designers Work?

HOW DO DESIGNERS WORK?

TYPES OF WORK ENVIRONMENTS

COLLABORATION

EXPECTATIONS

YOUR FIRST JOB

ON‐THE‐JOB STRATEGIES

MAKING A CAREER CHANGE

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

REFERENCES

CHAPTER 5: Professional Options

A PERSONAL MISSION STATEMENT

PERSONAL AND PROFESSIONAL GOALS

CAREER DECISIONS

DESIGN CAREER SPECIALTIES

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

REFERENCES

CHAPTER 6: The Job Search

THE SEARCH IS ON

RESUMES

THE COVER LETTER

PORTFOLIOS

HOW EMPLOYERS REVIEW RESUMES AND COVER LETTERS

THE JOB INTERVIEW

TYPICAL INTERVIEW QUESTIONS

ILLEGAL QUESTIONS

FOLLOW‐UP

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

REFERENCE

PART 3: Professional Responsibility

CHAPTER 7: Ethics and Professional Conduct

ETHICAL STANDARDS

ETHICS IN THE BUSINESS ENVIRONMENT

PROFESSIONAL CONDUCT

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

REFERENCES

CHAPTER 8: Legal Responsibilities

THE LEGAL ENVIRONMENT OF INTERIOR DESIGN PRACTICE

CRIMINAL VERSUS TORT LAW

NEGLIGENCE

INTENTIONAL TORTS

INTELLECTUAL PROPERTY—COPYRIGHT

CODE COMPLIANCE

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

REFERENCES

PART 4: Defining the Project

CHAPTER 9: Project Compensation and Design Fees

CALCULATING THE BILLING RATE

WHICH COMPENSATION METHOD?

ESTIMATING DESIGN FEES

INDIRECT JOB COSTS

METHODS FOR SETTING DESIGN FEES

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

CHAPTER 10: Preparing Design Contracts

DEFINITION AND BASIC ELEMENTS OF A CONTRACT

LETTER OF AGREEMENT OR CONTRACT?

PROPOSALS VERSUS CONTRACTS

CONTRACT FORM AND THE STATUTE OF FRAUDS

DEVELOPING THE DESIGN CONTRACT

CONTENT FORMALITIES

INTERIOR DESIGN CONTRACTS: CONTENT AND FORM

PERFORMANCE AND BREACH

TERMINATION BY AGREEMENT

AVOIDING CONTRACT DISPUTES

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

REFERENCES

CHAPTER 11: Trade Sources

INTERNET SOURCING

MANUFACTURERS

SALES REPRESENTATIVES

MARTS, SHOWROOMS, AND MARKET CENTERS

LOCAL SHOWROOMS

RETAIL SPECIALTY STORES

MANUFACTURER'S DEALERS

TRADES AND CRAFTS RESOURCES

CONSTRUCTION CONTRACTORS

SELECTING TRADE SOURCES

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

CHAPTER 12: Product Pricing

PRICING

PRICING TERMS

DISCOUNTS

SELLING PRICES

DEPOSITS, DOWN PAYMENTS, AND RETAINERS

FREIGHT AND FOB

DELIVERY AND INSTALLATION CHARGES

SALES AND USE TAXES

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

REFERENCES

CHAPTER 13: The Selling of Goods: The Uniform Commercial Code and Warranties

HISTORIC OVERVIEW OF THE UCC

UCC DEFINITIONS

THE BUYER'S RIGHTS AND OBLIGATIONS

THE SELLER'S RIGHTS AND OBLIGATIONS

STATUTE OF FRAUDS

THE SALES CONTRACT

ELECTRONIC AGREEMENTS AND SIGNATURES

SALES ON APPROVAL

TITLE

RISK

WARRANTIES AND PRODUCT LIABILITY

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

REFERENCES

PART 5: Project Delivery

CHAPTER 14: Building Client Relationships

UNDERSTANDING YOUR CLIENT

BUYER DEMOGRAPHICS

THE BUYER DECISION‐MAKING PROCESS

CREATING CUSTOMER LOYALTY

MANAGING CUSTOMER EXPECTATIONS

BRINGING VALUE TO CLIENTS THROUGH DESIGN

NEGOTIATING

CONFIDENTIALITY

GOOD IMPRESSIONS

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

REFERENCES

CHAPTER 15: The Project Management Process

WHAT IS PROJECT MANAGEMENT?

THE ROLE OF THE DESIGNER/SPECIFIER

PHASES OF AN INTERIOR DESIGN PROJECT

STAKEHOLDERS

SELECTING PROJECT TEAMS

PROJECT DELIVERY METHODS

BUILDING INFORMATION MODELING (BIM)

RISK MANAGEMENT

VALUE ENGINEERING

PLAN REVIEW BOARDS

PROJECT SCHEDULES

PROJECT BUDGETING

MANAGING AND RECORDING YOUR TIME

PROJECT FILES OR JOB BOOKS

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

REFERENCES

CHAPTER 16: Contract Documents and Specifications

CONTRACT DOCUMENTS

SPECIFICATIONS

SPECIFICATIONS ORGANIZATION

SUSTAINABLE PRODUCT SPECIFICATIONS

CONSTRUCTION AGREEMENT

COMPETITIVE BIDDING

MODIFICATIONS

SUBMITTALS

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

REFERENCES

CHAPTER 17: Contract Administration: Construction and Order Processing

CONTRACT ADMINISTRATION: CONSTRUCTION

CONTRACT ADMINISTRATION: PROCUREMENT AND ORDER PROCESSING

SHIPPING AND FREIGHT

EXPEDITING

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

CHAPTER 18: Contract Administration: Delivery and Project Closeout

DELIVERY AND INSTALLATION

PROJECT CLOSEOUT

POSTOCCUPANCY AND FOLLOW‐UP

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

PART 6: Establishing an Interior Design Practice

CHAPTER 19: Creating and Managing an Interior Design Practice

MOTIVATIONS FOR BUSINESS OWNERSHIP

UNDERSTANDING THE RISKS OF BUSINESS OWNERSHIP

ADVANTAGES AND DISADVANTAGES OF BUSINESS OWNERSHIP

TYPES OF PRACTICE ORGANIZATIONS

WORKING ALONE

BUYING AN EXISTING BUSINESS

THE STAGES OF A BUSINESS

FUNCTIONS OF MANAGEMENT

MANAGEMENT STYLES

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

REFERENCES

CHAPTER 20: Advice and Counsel

ATTORNEY

ACCOUNTANT

BANKER

SOURCES OF CAPITAL

ESTABLISHING BUSINESS CREDIT

INSURANCE

TECHNICAL CONSULTANTS

SOURCES OF INFORMATION AND ASSISTANCE

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

ORGANIZATIONS

WHAT WOULD YOU DO?

REFERENCE

CHAPTER 21: Preparing the Business Plan

THE BUSINESS PLAN

START‐UP COSTS

SETTING UP THE OFFICE

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

CHAPTER 22: Business Formations

SOLE PROPRIETORSHIP

PARTNERSHIPS

LIMITED LIABILITY COMPANY (LLC)

CORPORATIONS

JOINT VENTURE

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

REFERENCES

CHAPTER 23: Business Legal Filings and Licenses

BUSINESS LEGAL FILINGS

LICENSES

INCOME TAX BASICS

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

FILINGS

WHAT WOULD YOU DO?

REFERENCE

PART 7: Marketing for Success

CHAPTER 24: Fundamentals of Marketing

WHAT IS MARKETING?

ONLINE MARKETING: AN OVERVIEW

THE FOUR Ps OF MARKETING

MARKETING ANALYSIS

BRANDING

TARGET MARKETING

ESTABLISHING A NICHE

MARKETING PLAN

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

REFERENCES

CHAPTER 25: Promotional Tools

PROMOTION

PUBLIC RELATIONS

PUBLICITY

PRESS RELEASES

TRADITIONAL MARKETING TOOLS: AN OVERVIEW

PROPOSALS AS A MARKETING TOOL

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

REFERENCES

CHAPTER 26: Marketing Online

AN INTRODUCTION TO ONLINE MARKETING

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

REFERENCES

CHAPTER 27: Selling Strategies

WHAT IS SELLING?

SELLING SERVICES VERSUS PRODUCTS

SELLING TECHNIQUES

THE SELLING PROCESS

TYPES OF PRESENTATIONS

THE INITIAL CLIENT INTERVIEW

CLOSING TECHNIQUES

PRESENTATION FOLLOW‐UP

OVERCOMING OBJECTIONS

ADDITIONAL GUIDELINES FOR MAKING PRESENTATIONS

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

REFERENCES

PART 8: Managing an Interior Design Practice

CHAPTER 28: Money Management

ACCOUNTING METHODS: ACCRUAL VERSUS CASH ACCOUNTING

ACCOUNTING RECORDS AND SYSTEMS

BASIC FINANCIAL REPORTS: INCOME STATEMENT, BALANCE SHEET, AND STATEMENT OF CASH FLOWS

COMPUTER APPLICATIONS FOR ACCOUNTING

MANAGING YOUR FINANCES

FINANCIAL RATIOS AND PERCENTAGES

CONTROLLING OVERHEAD

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

CHAPTER 29: Employee Management

THE AGENCY RELATIONSHIP

JOB CLASSIFICATIONS

JOB DESCRIPTIONS

EMPLOYMENT AT WILL

EMPLOYMENT CONTRACTS

INDEPENDENT CONTRACTORS

COMPENSATION AND FRINGE BENEFITS

THE PERFORMANCE EVALUATION

THE EMPLOYEE HANDBOOK

MENTORING

SEXUAL HARASSMENT

FEDERAL LAWS REGULATING EMPLOYMENT

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

FEDERAL EMPLOYMENT LAWS AND COMMISSIONS

WHAT WOULD YOU DO?

REFERENCES

CHAPTER 30: Strategic Planning: Designing the Future

THE IMPORTANCE OF PLANNING

STRATEGIC PLANNING BASICS

MISSION STATEMENTS

BUSINESS ANALYSIS

BUSINESS GOALS, OBJECTIVES, STRATEGIES, AND TACTICS

BUDGETING

MEASURING PERFORMANCE

BENCHMARKING

WEB SITES RELEVANT TO THIS CHAPTER

KEY TERMS

WHAT WOULD YOU DO?

REFERENCES

APPENDIX: CIDQ Definition of Interior Design

GLOSSARY

GENERAL REFERENCES

ARTICLES AND COLLATERAL MATERIALS

BOOKS

INTERNET RESOURCES

INTERIOR DESIGN PROFESSIONAL ASSOCIATIONS

CANADIAN ASSOCIATIONS

ALLIED PROFESSIONAL ORGANIZATIONS, TRADE ASSOCIATIONS, AND RESOURCES

HELPFUL GOVERNMENT AGENCY SITES

GENERAL LEGAL RESOURCES

GENERAL BUSINESS SITES

CAREER AND JOB INFORMATION

INDEX

End User License Agreement

List of Tables

Chapter 1

TABLE 1‐1. Highlighted chronology of the growth of the interior design profes...

Chapter 2

TABLE 2‐1. Tangible member benefits of interior design professional associati...

TABLE 2‐2. Other professional organizations

Chapter 3

TABLE 3‐1. Ways to attract international projects

TABLE 3‐2. International etiquette

Chapter 4

TABLE 4‐1. On‐the‐job policies and truths

TABLE 4‐2. Suggestions to assist students in the transition to professional

TABLE 4‐3. Career advancement strategies

TABLE 4‐4. Questions to help evaluate a possible job or career change

Chapter 5

TABLE 5‐1. Personal goals exercise

TABLE 5‐2. Professional goals questionnaire

TABLE 5‐3. Partial list of residential interior design specialties

TABLE 5‐4. Partial list of commercial interior design specialties

TABLE 5‐5. Additional career options related to the interior design professio...

Chapter 6

TABLE 6‐1. Tips on the job‐search process

TABLE 6‐2. Tips for preparing a cover letter

TABLE 6‐3. Items commonly included in a portfolio

TABLE 6‐4. Common interview questions

Chapter 8

TABLE 8‐1. Where do our laws come from?

Chapter 9

TABLE 9‐1. Factors that affect fee estimates

TABLE 9‐2. Factors that affect commercial versus residential fees

TABLE 9‐3. When to use the hourly fee method

TABLE 9‐4. Strategies to increase your design fees

Chapter 10

TABLE 10‐1. Typical questions used as the basis of design contract preparatio...

TABLE 10‐2. A checklist of typical types of clauses found in design contracts

TABLE 10‐3. A detailed list of common services for a scope‐of‐services specif...

TABLE 10‐4. Sample compensation clauses for three different ways of charging ...

Chapter 13

TABLE 13‐1. Tips to help designers avoid problems when selling goods

Chapter 14

TABLE 14‐1. Ideas for negotiation

Chapter 15

TABLE 15‐1. Key tasks of a project manager

TABLE 15‐2. The paperwork trail for a typical project

TABLE 15‐3. Typical ways people waste time on the job

TABLE 15‐4. Documents typically included in a project file

Chapter 16

TABLE 16‐1. Contract documents

TABLE 16‐2. Sample of a very simple proprietary specification

TABLE 16‐3. Sample descriptive specification for open‐office systems work sur...

TABLE 16‐4. Performance specification for carpeting

TABLE 16‐5. Sample list of the most common bidding documents

TABLE 16‐6. Items commonly included in an invitation to bid

Chapter 17

TABLE 17‐1. Order processing documentation

TABLE 17‐2. Items to include in a credit application

TABLE 17‐3. Purposes of a purchase order

Chapter 18

TABLE 18‐1. Project closeout document records for FF&E projects

Chapter 19

TABLE 19‐1. Personal motivations for and attitudes about starting a new desig...

TABLE 19‐2. A questionnaire to help the potential business owner define the b...

Chapter 20

TABLE 20‐1. Accounting terms and reports

TABLE 20‐2. Filing business insurance claims

TABLE 20‐3. Common technical consultants

Chapter 21

TABLE 21‐1. Key questions to ask about the organizational structure of a busi...

TABLE 21‐2. Information to research for preparing a business plan

TABLE 21‐3. Business plan outline

TABLE 21‐4. Common start‐up expense items for a typical interior design firm

TABLE 21‐5. Home office location considerations

TABLE 21‐6. Zoning issues

TABLE 21‐7. Selected leasing terminology

TABLE 21‐8. Typical office equipment for an interior design practice

Chapter 22

TABLE 22‐1. Key characteristics of business formations

TABLE 22‐2. Advantages and disadvantages of the sole proprietorship

TABLE 22‐3. Advantages and disadvantages of a general partnership

TABLE 22‐4. Advantages and disadvantages of an LLC

TABLE 22‐5. Terms related to corporations

TABLE 22‐6. A basic outline of items in the articles of incorporation

TABLE 22‐7. Advantages and disadvantages of the corporation form

Chapter 24

TABLE 24‐1. Marketing dynamics

TABLE 24‐2. Questions to determine “What business are we in?”

TABLE 24‐3. Target characteristics used to help define a target segment and m...

TABLE 24‐4. A page from a sample marketing plan

TABLE 24‐5. Sample action plan for a small design firm

Chapter 25

TABLE 25‐1. Typical methods of promoting the interior design practice

TABLE 25‐2. Tips on preparing a press release

TABLE 25‐3. Tips on how to work a room for networking effectiveness

TABLE 25‐4. A typical outline of a proposal in response to an RFP

TABLE 25‐5. Tips on preparing a proposal in response to an RFP

Chapter 26

TABLE 26‐1. Tips for using a Web site for marketing an interior design busine...

TABLE 26‐2. Facebook posting tips

TABLE 26‐3. Using LinkedIn for marketing

Chapter 27

TABLE 27‐1. Tips for successful selling outcomes

TABLE 27‐2. Steps in the selling process

TABLE 27‐3. Presentation tactics

TABLE 27‐4. Characteristics of preliminary presentations

TABLE 27‐5. Five big mistakes when making presentations and selling

TABLE 27‐6. Objections commonly raised by clients during presentations and se...

Chapter 28

TABLE 28‐1. Comparison of accrual and cash accounting methods

TABLE 28‐2. Reporting format of owner's equity for a sole proprietorship on a...

TABLE 28‐3. Reporting format of owner's equity for a partnership on a balance...

TABLE 28‐4. Financial ratios to determine the financial performance of the bu...

Chapter 29

TABLE 29‐1. Other interior design job classifications

TABLE 29‐2. Guidelines for defining an independent contractor

TABLE 29‐3. The employee benefits most commonly provided by businesses

TABLE 29‐4. Guidelines for performance evaluations

TABLE 29‐5. Common parts of an employee handbook

Chapter 30

TABLE 30‐1. A portion of a strategic plan for a small interior design practic...

TABLE 30‐2. Examples of items that might be included in a SWOT analysis

List of Illustrations

Chapter 6

FIGURE 6‐1. Example of a poorly written student resume. Note the misspelled ...

FIGURE 6‐2. This is a revised version of the student resume in Figure 6‐1.

FIGURE 6‐3. Resume prepared by an experienced professional.

FIGURE 6‐4. A cover letter in which an individual is inquiring about a possi...

FIGURE 6‐5. A sample follow‐up thank‐you letter that would be sent after a j...

Chapter 7

FIGURE 7‐1.

IIDA Code of Ethics for Professional and Associate Member Conduc

...

Chapter 9

FIGURE 9‐1. Project time estimating form. This type of form is used to estab...

Chapter 10

FIGURE 10‐1. Sample letter of agreement. Items in italics are explanatory co...

FIGURE 10‐2. A type of form that designers can use to obtain detailed inform...

FIGURE 10‐3. A sample design contract for a residential project.

FIGURE 10‐4. An example of a design contract for a commercial project with a...

Chapter 15

FIGURE 15‐1. A comprehensive equipment list used to prepare a project specif...

FIGURE 15‐2. The type of form that designers use to take notes at an initial...

FIGURE 15‐3. An estimating form to help the designer plan drapery treatments...

FIGURE 15‐4. A proposal/estimate form showing items to be ordered for the cl...

FIGURE 15‐5. A transmittal letter that can accompany other documents.

FIGURE 15‐6. A sample milestone chart. The chart indicates the activities to...

FIGURE 15‐7. A bar (or Gantt) chart that graphically shows the time span req...

FIGURE 15‐8. Critical path method chart. (Reprinted with permission of Allys...

FIGURE 15‐9. A prioritized to‐do list showing activities and time estimates ...

FIGURE 15‐10. A computer‐based time record system sheet. (Reprinted with per...

FIGURE 15‐11. A sample form for keeping track of all billable hours worked b...

FIGURE 15‐12. A typical control sheet that can be used for client sign‐off o...

Chapter 16

FIGURE 16‐1. Coded furniture schedule—partial floor plan.

FIGURE 16‐2. Sample bid form.

FIGURE 16‐3. A sample change order form.

Chapter 17

FIGURE 17‐1. A sales proposal (or sales agreement) used as the contract for ...

FIGURE 17‐2. Typical terms and conditions related to a confirmation of purch...

FIGURE 17‐3. A purchase order form.

FIGURE 17‐4. An acknowledgment from a supplier.

FIGURE 17‐5. This pro forma invoice corresponds to the acknowledgment shown ...

FIGURE 17‐6. A sample invoice that would be prepared by a design firm and se...

Chapter 18

FIGURE 18‐1. This type of form can be used to accompany merchandise for deli...

FIGURE 18‐2. A simple postoccupancy evaluation (POE) form that can be used t...

FIGURE 18‐3. A sample note card thanking clients for their business. Good bu...

Chapter 19

FIGURE 19‐1. Personal expenses can be calculated on this form. It is helpful...

FIGURE 19‐2. The growth cycle of a typical interior design firm.

Chapter 21

FIGURE 21‐1. Worksheet to establish business start‐up expenses.

Chapter 25

FIGURE 25‐1. A sample press release. Please note that this is a fictitious r...

FIGURE 25‐2. Sample of a design firm's stationery and logo.

FIGURE 25‐3. A postcard mailer used as a “pass along” when a firm has an ext...

FIGURE 25‐4. Magazine advertisement for an interior design firm.

FIGURE 25‐5. Proposal materials in response to an RFP.

Chapter 28

FIGURE 28‐1. A partial chart of accounts for an interior design practice. (P...

FIGURE 28‐2. A sample format of typical T‐accounts.

FIGURE 28‐3. This example shows how some accounts show increases as a debit,...

FIGURE 28‐4. An example of journal entries.

FIGURE 28‐5. A sample page for an accounts receivable ledger.

FIGURE 28‐6. An income statement showing the separation of direct expenses f...

FIGURE 28‐7. A typical balance sheet for an interior design firm that is a c...

FIGURE 28‐8. An example of a statement of cash flows using the direct method...

FIGURE 28‐9. A simple cash management statement. Notice how it repeats the f...

FIGURE 28‐10. A sample performance report showing variance analysis for the ...

FIGURE 28‐11. Performance report showing projected revenue by client type.

Chapter 29

FIGURE 29‐1. A sample organizational chart for an interior design firm.

FIGURE 29‐2. A basic job description that can be used to define a design sta...

FIGURE 29‐3. A job description for a senior designer in a firm with numerous...

FIGURE 29‐4. An example of an employment contract for an interior design pos...

Chapter 30

FIGURE 30‐1. A sample mission statement.

FIGURE 30‐2. Vision and mission statements.

FIGURE 30‐3. A simple budget report helpful to owners in planning the upcomi...

Guide

Cover

Table of Contents

Begin Reading

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Professional Practice For Interior Designers

Sixth Edition

Christine M. Piotrowski, FASID, IIDA

Cover image: © Wolfgang Duerr/Stock4B/Getty Images

This book is printed on acid‐free paper.

Copyright © 2020 by Christine M. Piotrowski. All rights reserved.Published by John Wiley & Sons, Inc., Hoboken, New Jersey.

Published simultaneously in Canada.

No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, scanning, or otherwise, except as permitted under Section 107 or 108 of the 1976 United States Copyright Act, without either the prior written permission of the Publisher, or authorization through payment of the appropriate per‐copy fee to the Copyright Clearance Center, 222 Rosewood Drive, Danvers, MA 01923, (978) 750‐8400, fax (978) 646‐8600, or on the web at www.copyright.com. Requests to the Publisher for permission should be addressed to the Permissions Department, John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030, (201) 748‐6011, fax (201) 748‐6008, or online at www.wiley.com/go/permissions.

Limit of Liability/Disclaimer of Warranty: While the publisher and author have used their best efforts in preparing this book, they make no representations or warranties with the respect to the accuracy or completeness of the contents of this book and specifically disclaim any implied warranties of merchantability or fitness for a particular purpose. No warranty may be created or extended by sales representatives or written sales materials. The advice and strategies contained herein may not be suitable for your situation. You should consult with a professional where appropriate. Neither the publisher nor the author shall be liable for damages arising herefrom.

Persons and company names mentioned in examples as well as in the “What Would You Do?” sections of the text are fictitious and do not represent any actual persons or companies.

For general information about our other products and services, please contact our Customer Care Department within the United States at (800) 762‐2974, outside the United States at (317) 572‐3993 or fax (317) 572‐4002.

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Library of Congress Cataloging‐in‐Publication Data

Names: Piotrowski, Christine M., 1947– author.Title: Professional practice for interior designers / Christine M. Piotrowski.Description: Sixth edition. | Hoboken, New Jersey : Wiley, 2020. | Includes index.Identifiers: LCCN 2019058290 (print) | LCCN 2019058291 (ebook) | ISBN 9781119554516 (hardback : acid‐free paper) | ISBN 9781119554554 (adobe pdf) | ISBN 9781119554530 (epub)Subjects: LCSH: Interior decoration firms–United States–Management. | Design services–United States–Marketing. | Interior decoration–Practice.Classification: LCC NK2116.2 .P57 2020 (print) | LCC NK2116.2 (ebook) | DDC 747.068–dc23LC record available at https://lccn.loc.gov/2019058290LC ebook record available at https://lccn.loc.gov/2019058291

For my parents, Martha and Casmer:I am sorry you are not here to share this with me.

PREFACE

The interior design profession continues to be impacted by numerous challenges. Technology enhancements, various uses of the Internet, and social media platforms force practitioners to find new ways to work and market. Economic highs and lows are always providing opportunities or threats to any size business. The Internet allows even the sole practitioner the opportunity to work internationally. The sophistication of the client creates challenges that did not exist a mere 20 years ago. And, finally, though not the end of the challenges, is the ongoing battle for the interior designer's right to practice.

This is a book about interior design business practices. It is a resource for students to learn about the business side of interior design. Professionals will find it to be a comprehensive presentation of business topics relevant to owning and managing an interior design practice.

The various challenges faced by designers require the professional interior designer to not only be a creative problem solver but a sophisticated business manager. Clients expect excellent creative work and they assume the designer is competent in business dealings as well. They are unafraid to challenge designers even, sue or at least bluster, if they feel the designer has done something “wrong.”

That is why this book continues to maintain its comprehensive content. Since the first publication of this book in 1989, the content has been built on the author's belief of the importance of understanding business concepts. It has been consistently updated to provide a resource appreciated by professionals and important to students. Over the five previous editions, the author has sought to include topics relevant to the organization, management, and operations of an interior design practice—small or large; residential or commercial.

As with earlier editions, the author has sought input from practitioners and educators to review current information on business in general and interior design in particular. New chapters have been included in this edition in order to provide an overview of the newest critical impacts on design business. All chapters have been carefully reviewed and revised to update content. In some cases, this has led to a reorganization of some topics as reflected in the table of contents.

In this edition, the contents have been organized into eight parts. The chapters in each part have a distinctive focus concerning interior design business practice.

Part 1 remains an introduction to the profession with an emphasis on defining the profession in today's world. It also includes a discussion of the importance of associations and credentialing, and a new overview chapter that discusses working in a global marketplace.

Part 2 now includes all the chapters that discuss where and how designers work, career options, and the job search process.

Part 3 covers the important topics of ethics as well as professional and legal responsibilities.

Part 4 combines chapters on what might be considered the heart of practice related to revenue generation. Design fees, contracts, trade sources, pricing, and sales law are discussed in Part 4.

Part 5 provides an in‐depth discussion on delivering a project from beginning to end. It includes discussions of project management, specifications, and order processing as well as a new chapter with a focus on building relationships with clients.

Part 6 brings together the chapters concerning establishing a practice. Topics include understanding risks of ownership, where to get advice, creating a business plan, and the business filings needed at the start of a business.

Part 7 is a reorganized discussion of the topics concerning marketing and business development. In this part, a new chapter has been added that discusses marketing online and the impact of social media marketing.

Part 8 targets management responsibilities. Here is grouped the discussion on financial management, dealing with employees, and how to go about planning for the future.

The text remains easy to read, with many bulleted lists highlighting key points. Distinctive features first introduced in the fifth edition are revised and retained in the sixth edition.

Brief introductions begin each chapter setting the foundation for the chapter contents.

Each chapter retains an updated list of critical issues to help the student study for exams; instructors can use these for class discussion or written assignments.

A box titled “NCIDQ Component” indicates the chapters or parts of chapters covering material that might be part of the examination. This can be particularly helpful to practitioners.

“What Would You Do?” scenarios are included at the end of each chapter. These are focused on the topics of the chapter along with at least one ethics scenario in each chapter.

The list of terms important to the chapter are retained. These can also be found in the glossary.

A list of Web sites relevant to the chapter content remains at the end of each chapter.

Of course, the Glossary has been updated with many new terms.

The General References including articles, Web site references, books, and other references related to professional practice have been updated.

The Instructor's Manual—available only to educators—has been revised to reflect the changes in the table of contents. Educators can obtain the Manual online by contacting the publisher. The Instructor's Manual includes a detailed table of contents that will help an instructor transition from the fifth to the sixth edition. Many items previously only available on a special John Wiley & Sons Web site have been incorporated into the text or the Instructor's Manual. And a revised test bank with discussion items is included for each chapter.

Since its first publication in 1989, this book has become the leading choice of educators for use in teaching an interior design business practices class in colleges and universities throughout the world. Educators often cite it for its clear writing style and content based on realistic practice situations. I am very proud and humbled by the extent of its adoption and practical use.

Christine M. Piotrowski, FASID, IIDA

ACKNOWLEDGMENTS

It is never easy to complete a book of this depth without the advice and assistance of others. Over the course of numerous editions, that list is very long indeed. Educators, designers, and organizations have once again contributed to this sixth edition through their ongoing support and suggestions. Their willingness to share information, stories, and business forms has helped to continue to enrich this book.

I wish to thank the many interior design practitioners and organizations that have provided suggestions and documents for this edition and previous editions. I want to specifically thank: Michael Thomas, FASID; Juliana Catlin, FASID; Phyllis Moore, FASID; Suzan Globus, FASID; Charlene Conrad, IDC, IDNS; Fred Messner, IIDA; Sally Thompson, ASID; Debra May Himes, ASID; Kathleen Chaffee, Hickory Business Furniture; Leonard Alverado, Contract Office Group; Allyson Calvert, ASID; and James Tigges, ASID, IIDA. Thank you to the American Society of Interior Designers, International Interior Design Association, and the Council for Interior Design Qualification for their contributions and continued support. I also want to thank Kate Roe for her valuable help. To the many others who have also contributed over the years, my thanks to you all is heartfelt.

It is important for me to thank educators for comments and content ideas concerning this edition as well as previous editions. It is important to specifically thank Robert Krikac of Washington State University, Sheryl McCaleb of Northern Arizona University, Carl Clark from Northern Arizona University, and Robin Wagner from Marymount University for their many contributions and suggestions.

Thank you to everyone at John Wiley & Sons who have supported this project over many years. Mary Beth Wakefield, I applaud your patience with the technical problems that challenged us. Amanda Miller, Vice President and Publisher, my first editor at John Wiley & Sons, and Kalli Shultea and Purvi Patel also of John Wiley & Sons.

It goes without saying that I am very grateful to the educators who have embraced this book. Thank you to all the readers and educators who have continued to find this book an important resource for the operation of their businesses and as a learning tool for students. Your continued support and praise has been humbling and inspiring.

Lastly, I owe a great measure of gratitude to my family and friends who have supported me in my writing.

Christine M. Piotrowski

PART 1The Profession

CHAPTER 1Interior Design asa Profession

To be involved in the interior design profession requires learning much more than the use of color and how to arrange furniture. The body of knowledge and skills needed by professionals is extensive, and the work of the interior designer—regardless of specialty—is demanding as well as exciting. The professional interior designer's solutions have to meet functional needs of the client, as well as result in a pleasing environment. Of course, there are many other design, business, and professional issues that are part of the performance of the professional interior designer.

The profession of interior design is also a business. The management and efficient operations of a business are critical to the successful, ongoing life of an interior design practice. Thus, the professional practice of interior design requires attention to the business procedures, strategies, and protocols that any business must use for the business to be successful, profitable, and long lasting.

This chapter, to use a design metaphor, is a foundation of information important to the overall study of the profession and how it functions as a business.

After completing this chapter you should be able to:

Discuss why the study of professional practices is important to any entry‐level designer.

Explain how interior design is different from decorating as if you were talking to a client.

Identify the characteristics of a profession.

Explain how these characteristics relate to the practice of interior design.

How would you define the interior design profession?

Understand the history of the profession in order to learn about the professional practice of interior design.

Explain how the Great Depression of 1929 affected the interior design professional.

Name the organizations that became the American Society of Interior Designers and International Interior Design Association.

Identify key changes that led to the increasing professionalism of interior design.

Compare the practices of residential interior design and commercial interior design.

Explain how the section on the business of interior design affects your understanding of the profession as a whole.

Discuss how interior design provides value to a residential client and a small business owner.

Explain why professional and social responsibility activities are important to the interior designer and the profession.

Name three ways in which you will give back to the profession after you begin practice.

Discuss why an interior designer should consider public service through pro bono work or other contributions.

WHY STUDY PROFESSIONAL PRACTICE?

Clients are very savvy today. They expect the designer to be knowledgeable and have the experience to do the job right. This savvy client expects more from practitioners than those who basically have a flair for color.

Of course, creativity is important as most projects involve creative problem solving. A successful interior design practitioner must combine creativity with his or her own business knowledge to lead to or continue success within the profession.

Knowledge and application of business practice concepts are essential. A designer who is bad at business subconsciously hints to clients that they can take advantage of the designer by arguing and second‐guessing the designer's decisions. Furthermore, if the firm is not successful as a business, if it does not sustain profitability, it makes no difference how creative the practitioners might be: The poorly run business is likely to fail.

Interior design is much more than a way to express creativity. It is an endeavor that must recognize the importance of ethical conduct. It is about being socially responsible and realizing that, in today's world, the interior design profession has a global reach. It's not just about “us” in the United States, it's about all of “us” on this planet. It is not a hobby; it is not the quick, do‐it‐yourself situation portrayed on cable TV.

Studying and applying business practices to the management of the firm helps the owner have a greater chance of achieving a profit. If the business owner is to allow his company to grow to the extent that he would like it to grow, the owner must understand all the aspects of professional practice.

As an employee, you will be held accountable for the ongoing success of an interior design firm. You have a responsibility to work productively and bill those hours. You also must work professionally and effectively to complete any assigned job tasks. You need to have some awareness of the expense it takes to operate a practice so that you do not waste company resources.

Students must master a basic understanding of business practices. Although a business practices class may come late in the curriculum, that placement does not make it any less important. I believe it is one of the two most important classes in a student's curriculum, even if it's not the most important to you individually. Without an understanding of the professional practice of interior design, as a student, emerging professional, or employee, your success will be limited.

Finally, many topics in this book are topics important to curriculum accreditation, certification granting organizations, licensing regulations, and professional associations. These groups recognize that business practices knowledge is critical to the overall education and training of an interior designer.

An interior design firm owner once told me that he wants to hire individuals who want his job. That doesn't happen without knowing how to run a business.

WHAT IS A PROFESSION?

A profession is much more than the words in a definition provided by interested groups. According to one dictionary, a profession is “a paid occupation, especially one that involves prolonged training and a formal qualification.”1 Johnson writes, “As defined by sociologists, a profession is an occupation that is based on theoretical and practical knowledge and training in a particular field. … Professions tend to be credentialed and regulated in relation to certain standards of performance and ethics, which makes them more autonomous and independent than other occupations.”2

Some argue that interior design is not really a profession. This has often occurred when discussions with state legislatures concerning regulation of interior design or use of the title “interior designer” take place. Yet, the interior design profession meets the standards set for defining a profession.

If the measure of a profession involves the criteria offered by the preceding material, then interior design is a profession that has evolved and continues to evolve. Gordon Marshall writes, “A profession includes some central regulatory body to ensure the standard of performance of individual members; a code of conduct; careful management of knowledge in relation to the expertise which constitutes the basis of the profession's activities; and lastly, control of number, selection, and training of new entrants.”3

A professional does not emerge merely as a consequence of learning the technical principles required in the profession. Becoming a professional also requires an attitude of dedicated commitment to the work one does and to the advancement of the profession. Understanding what it takes to organize and maintain an interior design practice follows an understanding of the roots and contemporary concerns of the profession. In the 21st century, having talent as a designer is not enough to survive the ups and downs of the economic roller coaster.

Interior Design Divisions

The interior design profession has changed in many ways since it was first thought of as a profession. Not the least of those changes is whether there remain two classic divisions. It has always been thought that residential interior designers design private residences, especially single‐family dwellings, while commercial interior designers focus on one or more types of spaces used for business and government, such as offices, stores, hotels, restaurants, schools, airports, hospitals, and so on.

For the most part, those two classic divisions do still exist. However, the line between residential and commercial interior design as “divisions” of the profession has blurred due to changes in lifestyle and work style throughout the world.* Many of those who think of themselves as residential designers occasionally do some small offices or other types of commercial spaces. Of course, those who are primarily commercial designers also occasionally design a client's residence.

Another topic that continues to blur the distinctions is the term contract design. The term originally came from the fact that commercial projects more frequently were executed based on contracts for services. Today, both those who design residences as well as those who do commercial projects utilize contracts with clients.

In the 21st century, it is not as important to define a division as it is to define the profession. The definition of interior design provided below does not differentiate any particular number or types of divisions of interior design. Perhaps it is time to recognize that neither is a less or more important part of the profession.

*Martin and Guerin, 2006, p. 90.

DEFINING THE PROFESSION

Compared to many other professions, such as teaching and medicine, interior design is relatively young. The use of the term interior design did not appear in general usage until after World War II, and the profession defined by any term did not really exist much before the 1900s. Individuals and organizations involved in the interior design profession work tirelessly to help the profession gain recognition in the minds of the public, as well as among practitioners and allied professionals.

What constitutes interior design has been debated and nurtured for many decades. Much of the public believes that “people who decorate interiors are interior decorators.” They often do not understand that there is a difference between decoration and design. The words of an article by Charlotte S. Jensen, FASID, then president of the National Council for Interior Design Qualification (NCIDQ) board, still ring true: “Interior design is not the same as decoration. … Decoration is the furnishing or adorning a space with fashionable or beautiful things. Decoration, although a valuable and important element of an interior, is not solely concerned with human interaction or human behavior. Interior design is all about human behavior and human interaction.”4 And much more, many would say.

The most commonly quoted and utilized definition of interior design comes from the Council for Interior Design Qualification (CIDQ). The abbreviated version of the definition from CIDQ is offered here. The complete version is presented in the appendix. The definitions are acknowledged and supported by the interior design professional associations:

“Interior design encompasses the analysis, planning, design, documentation, and management of interior non‐structural/non‐seismic construction and alteration projects in compliance with applicable building design and construction, fire, life‐safety, and energy codes, standards, regulations, and guidelines for the purpose of obtaining a building permit, as allowed by law. Qualified by means of education, experience, and examination, interior designers have a moral and ethical responsibility to protect consumers and occupants through the design of code‐compliant, accessible, and inclusive interior environments that address well‐being, while considering the complex physical, mental, and emotional needs of people.”5

Another excellent definition comes from outside the profession. According to the U.S. Department of Labor, Bureau of Labor Statistics, interior designers “plan, design and furnish interiors of residential, commercial or industrial buildings. Formulate design which is practical, aesthetic, and conducive to intended purposes, such as raising productivity, selling merchandise, or improving life style.”6

As you can see from these, interior design is much more than the stereotypical idea of picking out colors and fabrics. The responsibilities and skills required also go beyond those of the individual who has a flair for decorating.

PROFESSIONAL AND SOCIAL RESPONSIBILITY

The services of an interior designer have an impact on facilities of all kinds, from private residences to the wide variety of commercial and public spaces. As a professional, interior designers through designs and specifications impact the environment and the economy both at home and even abroad. Our designs create interior environments that can excite the users of a space, sooth individuals, create a pleasing home environment, establish productive work environments, and satisfy other goals presented by the client and project.

Professional responsibility means that a designer understands the consequences of his or her designs and specifications. For example, removing and disposing of carpeting that still has some useful life is a poor choice if there is a place in your community that can utilize this material.

Professional responsibility also implies a consideration for designing spaces using proper codes and building standards. Adhering to an ethical standard is also critical to professional responsibility. Being committed to solving the problems presented by the client in such a way to satisfy the client rather than the designer's own ego is also a professional responsibility.

A professional also needs to keep him or herself current on important topics and professional practices that can impact work with clients. Issues of sustainable design, designing for aging in place, universal design, and the impact of cultural influences are only some of the contexts that involve the profession today.

Professional responsibility also means social responsibility. It is important to understand that designers need to give back to the profession, the community, and to some degree to humankind. As professionals we can affect the communities we live in, through volunteering services that use our skills and problem‐solving ability. Service on community boards, such as design review boards, historic sites, community development boards, and many other city or county boards, can be a particularly good use of the designer's volunteer time. Local government depends on volunteers to take part in these commissions to help city management make living in a city or town better for the whole of the community.

If you have an interest in a particular type of nonprofit organization, your public service will provide you with enriching opportunities to help your community and beyond. Not only are you helping out these nonprofits but you are also going to have the opportunity to meet many new people you might otherwise never meet. Just as you are encouraged to join and participate in a professional association, it is beneficial for you to participate in some sort of public service role.

You may have heard the term pro bono, which means providing something at no charge. Interior designers often provide their services at no charge to a community, church group, or nonprofit organization such as Habitat for Humanity. Pro bono work can be personally rewarding, in addition to helping these groups obtain top‐notch design services for little or no expense.

Another part of giving back comes in the form of working with students. As a student, you want to hear from working professionals. Not to challenge your professors, but to see how the academic meshes with the world of interior design. Lectures, guest critiques, tours of the designer's office facilities, and helping to arrange tours of significant design projects in the area are all examples of this important type of service.

The practice of interior design is a continually growing and changing profession. Our professional and social responsibility in this complex world will test both the individual entering the profession and the experienced professional. These challenges should be embraced, not shunned, as professional interior designers continue to lead the way in the design of exciting and satisfying interiors. Involvement in the interior design profession is in itself very rewarding. That satisfaction grows immensely.

HISTORICAL OVERVIEW

It is important for the reader to have an understanding of the history of the interior design profession as well as the history of furniture, architecture, and furnishings. This brief section provides some context for the history of the profession.

Before the 20th century, interior decoration was the responsibility of artisans, craftsmen, painters, sculptors, and early architects. Shopkeepers were called ensembliers or ateliers in Europe. According to John Pile, Charles Percier (1764–1838) and Pierre‐François‐Léonard Fontaine (1762–1853) are thought by many to be the first professional interior designers. “Percier and Fontaine conceived of interior spaces developed under their full control in the manner of modern interior designers.”7

Elsie de Wolfe (1865–1950) was among the first individuals to bring the concept of professionalism to interior decoration in the United States. It was approximately during her career that the term interior decoration began to be used. Born in New York City and a member of the upper class, de Wolfe began her career as a professional interior decorator in 1904, when she was 39 years old. Her first commission, in 1905, was for the design of the Colony Club in New York City. Among de Wolfe's clients were such notable figures as Henry C. Frick and Anne Pierpont Morgan. Because these early decorators often had a wealthy clientele, the term society decorator was often associated with them.

De Wolfe also wrote one of the earliest books about interior decoration, The House in Good Taste, in which she related her philosophy of decoration for homes. This book, which was republished in 2004, gives a fascinating glimpse into early interior decoration. She also is credited with being responsible for another milestone in the profession: receiving a fee for her design services rather than a commission on the sale of furniture.8 De Wolfe's success inspired other women to enter the profession. It was one of the few acceptable professions for women at the turn of the century.

In approximately 1904, formal educational preparation was offered at the New York School of Applied and Fine Arts—founded as the Chase School. (This school is now known as Parsons, The New School for Design, located in New York City.) A few courses were offered in art or home economics programs in other schools, but formal training in interior decoration was not easy to obtain. Individuals who could not avail themselves of formal courses generally learned from magazines of the time, such as House Beautiful or House & Garden.

Postwar prosperity after World War I saw an increased interest in, and employment of, the interior decoration professional. In 1924, Eleanor McMillen opened McMillen Inc., claiming to be the first full‐service interior decorating firm in the United States.9 This postwar prosperity led to an increasing number of professionals with specialized knowledge in different types of interiors beyond residential interior decoration. By the late 1920s, many local “Decorators' Clubs” had been started in various parts of the country. The Decorators Club located in New York is credited with being one of the first, if not the first, such organization.10

Furniture manufacturers in the 1920s were producing fine‐quality furniture in places such as Grand Rapids, Michigan, and High Point, North Carolina. Department stores used a display technique called a vignette to help the middle‐class consumer visualize a room of furniture and thus encouraged consumers to utilize better‐quality design in their homes.11 (Vignette, as used in the interior design profession, means a display of furniture and furnishings that simulates an actual room.) Magazines continued to be used by the masses of consumers to appreciate quality interior decoration done by professionals and primarily available only to the wealthy.

The Great Depression of the 1930s had a profound influence on the furniture industry and thus the interiors profession. It had a disastrous effect on the ability of the middle class to purchase furniture. Yet, the leading society decorators remained relatively unaffected by the depression, as their wealthy clients could still afford to purchase quality goods. The society decorators, however, were purchasing goods from Europe rather than using American‐made goods. This had a further, and decidedly negative, impact on American manufacturers.

Grand Rapids, Michigan, was the site of one of the earliest and largest to‐the‐trade‐only semiannual furniture markets. At the time, Grand Rapids was one of the largest manufacturing centers in the United States. The Grand Rapids Furniture Exposition, as it was officially called, was first held in December 1878.12 The market was held in January and June for 87 years. Local manufacturers displayed their products, educational programs were held, and manufacturers from other locations rented storefronts to show their goods.