Face it. We’re in a business where we are constantly having to sell the ideas in our heads to people around us. And it can be daunting – especially when you have to sell these ideas to clients who are paying you good money for your creative vision. If you don’t sell your ideas clearly and succinctly, you may not succeed. Over the past 37 years I’ve found ways that work for me.

When doing a presentation to new clients, I think it’s a combination of having very clear drawings or photographs to help you put your thoughts across. Have all the elements that comprise the room – in large enough samples and finishes to make the client understand what you are thinking about – handy to support your words. Make sure you have a rendering, elevations or whatever it requires for you to feel that they will get a true picture of what your idea is.

You have to be very organized in how you present, not just rambling or jumping around, but starting off with walls, ceiling, floor, window treatments, upholstery, fabrics for upholstery and setting all the elements in an organized way. Halfway through the presentation of a room I go back to the beginning to recap the original thought.

My big secret is a pad and pencil for them to write questions on so they don’t interrupt the flow of my presentation. At the end of each room there is time for them to air their issues and when they say they don’t like someting I ask them WHY, what it is that bothers them – in detail. When they give you that, it gives you the first clue of how to solve the situation to your advantage, because many times their perception of what you’re presenting may not be the right one. Once I’ve heard their objection, I try to diffuse it with logic, explaining why I designed what I did and how it ties to the other elements in the space. It’s an arduous battle, but one that, if you do win, gives you great satisfaction.

When you win this battle, it means that you’ve been able to sell what your vision is and it is proof of your power of salesmanship and the clear vision of your design. It’s always important to point out that it’s not about the individual piece, but rather about the overall picture of the space. Often, clients get hooked on minutae because maybe that makes it easier to understand or hang the hat of their thoughts. Sometimes it’s easier for them to focus on what they can understand than those things they are unable to grasp. Sometimes I will rehearse a presentation with the people in the office so it becomes a smooth process.

And remember, the more you share of the entire vision you’re presenting, the less the chances of them tearing it apart. Each time you present something new to that space, it can become a new hurdle you have to cross.

How do you sell your creative ideas? Any tips that you’d like to share?

It is always a minefield when one is negotiating with a client at the beginning of a job. What with trying to figure out how much to charge, considering whether you’re consulting on finishes, materials and architectural changes on a project and then also dealing with wanting to keep the client happy – and actually getting the job! Clients then start trying to alter your fees or even reducing what you’re charging and you’re expected to keep a pleasant demeanor and a positive attitude.

I cannot say that I do not become a little apprehensive when a prospective client is trying to reduce my fees, which I’m always steadfast on. I feel my pricing is fair and that the amount of energy we put into these projects need to be compensated for. So I empathize with the designers out there who are starving. If I’m being squeezed and bargained for all I have, how you all must feel? I’m lucky that I’ve been doing this for 37 years, so I have some backup, but if you’re new in the industry, I feel for you. Don’t give in. Don’t feel alone. Just do the best work you can.

This post on commissions elicited a big response on the blog. Here’s one that really got me thinking…

From: EM

The Befuddled Future Client is still confused. One one hand, I have a published designer with 27 years of experience, an office, and a staff that requires things like payroll taxes. On the other, I have a designer with 1 year of experience with (in all likelihood) no staff or additional NYC rents. So why is the 35% markup the same?

Vicente Responds:

I’ve always wanted to make my work accessible to most, but I do wonder, do you charge a lot and get a few or do you charge slightly less and catch more with your net?

On what I charge I find business to be profitable. When times are good I am able to take care of my staff, my lifestyle, my travel and live a very good life. Do I want three times as much money? Of course, but my shrink said to me that you can’t be looking at what other people are making as they may need more to lead their lives. I earn what I need and am comfortable.

Someone’s who’s been in business for two years and earns the same as me, maybe their clients feel that it’s worth paying for their style, even at a lesser level of experience. Consider the art market – artists in their ’20s charge thousands for their work. It’s what people are willing to pay for it.

To me it’s a better perceived value, but we’re not talking here about buying tomatoes. We’re talking about a point of view, a style that people are hiring, so it’s not just about how much somebody charges, it’s about what product and service and perception they’re putting out in the market. And I think a high percentage of prospective clients don’t really research, trying to find what is available design-wise in the marketplace. A lot of it is through social connections and word of mouth. I don’t think most people looking for a designer do their due diligence in finding the best possible match for themselves – style, experience and talent-wise.

But what makes good taste? Why pay $30 for a pair of jeans at Gap compared to a $1,000 at Versace? It’s what you think is worth spending your money on. That’s the marketplace. Why do you pay more for tomatoes in Wholefoods compared to the same stuff you can get at Gristedes? It’s perceived value and what makes you feel good about yourself.

Hey EM, you got me thinking…maybe I should be charging more.

Have you researched how your income balances out the cost of running your business? Let’s talk about it.

From:Jennifer Bramwell
Subject: Question for you

Hi, Vicente, I enjoy your blog and appreciate your willingness to give advice.  Myself and my business partner have an interior design business with a studio in my home.  We have avoided taking on the overhead of retail space for the past five years and enjoy the flexibility and low overhead of not having inventory and a retail business to take care of.  However, we are trying other methods to attract clients including a monthly newsletter and a blog.  We are still facing some dry spells and can take on and need more business.  We are primarily residential and live and work in a four season tourist community north of Toronto so there is lots of business to be had if we had the magic bullet.

Any suggestions?

Kind regards,
Jennifer Bramwell

Vicente Responds:

For many years I ran my business from a separate office in my apartment and was lucky enough to build my business from there.  When I first went on my own, I felt that to feel fully professional, I needed a seperate office where I could be perceived as established and grounded. I think it helped to build confidence and respect from the clients that I got.

If you keep a plant in a small pot it won’t grow bigger, but if you transplant it to a larger pot it will flourish. Think of your business in the same way.

Regarding that magic bullet for new business…I suggest you think of ways in which you can get connected to clients that are out there (and when you find that one that works best, let me know so I can do it myself!).

Here are some of my quick thoughts:

• Socially, I have no kids (only a cat), but I understand that the school connection is pretty good in helping to get the word out there.
• Are you published? Perhaps you should target your area’s design magazines with your best job and see if you can get published. That usually gets the phones ringing.
• Talk to real estate people so you can form a partnership where they can help you sell services when they sell a new apartment.

Maybe some of the readers have additional ideas – let us know what has worked for you by sharing them here!

When I started as an interior designer I had no training and no tools. Because of my dyslexia, going to school was really not the best option for me. But I was committed and determined. I trained myself to do scale drawings, to do all the things required to be able to execute a job. I was an assistant for somebody and saw the pitfalls first-hand, I learned to go to the marketplace and what it took to produce and put a job together. I did presentation boards, drafting and I paid my dues, maybe with a lot of loose change, but I learned through experience and a lot of very hard work.

Very often these days people think that because they like shopping at expensive design stores they have what it takes to become a designer. I think that to start one’s career because of contract or style, without really getting all the things it requires to be able to call yourself a professional in place could be interpreted as unfair to those who have paid their dues – be it by working their way up from the bottom, or by going to school and learning to do it that way. (I’m also considering the clients that are going to have to suffer through one’s learning curve!)

Maybe I’m wrong, maybe those who went to school would say that about me who didn’t go to school. What pitfalls have you who didn’t go to school experienced? And the ones who did go to school? Let’s share our pitfalls with those who feel that merely a good eye and connections can start them in this business.