EducationArticlesVideosGalleryExpertsShopForumChat RoomSwap Meet
Articles
John Maly's Salon Seminar by Lindatb Print
Sunday, 18 February 2007

 By Lindatb, she attending his seminar and here are the highlights of that.
Here are the highlights from the seminar I attended. If anyone has attended the class by John Maly and can add to this or correct anything please do so. This was just my humble observation.
WHY SHOULD "I" RETAIL
The "I" in retail is you. We should all strive to better ourselves.
6 STEPS to go from "good" to GREAT
( Things you have to master)
1) Sell yourself on yourself. Confidence plus Passion
2) Phone etiquette is the first perception of your salon.
always smile when you are talking, acknowledge who you are,
thank the caller for calling the salon and reinerate all information
transpired.
3) Client greeting
Smile, a smile says you are happy to see them.
Say their name, studies show every person likes to have their name
remembered.
Touch them, greet with a firm handshake or touch on the shoulder.
Make eye contact, making eye contact shows you are open, giving them
your undivided attention.
4) Consultation
* YOU HAVE TO HAVE ONE*
Ask good questions
Discovery How, Why and What
5) Shampoo
The shampoo is the most relaxing part of the service. Have a co-worker
let you shampoo her/his hair periodically to grade on how well you are
in this area
6) Wrap up____ cape rule.
In the Clients eyes the service is over when you remove the cape.
Before doing so____ ask " What questions do you have about what we
used today? Have sitting in front of them the products that you used
to style their hair.
Tell them about your referral program.
Per-book their next appointment.
Studies have shown people will generally come back at least 3 times if
they liked the experience at the salon. First time you have set the
expectations for the 2nd appointment.Likewisethe 2 time for the 3rd appt.
Example: you to a nice restaurant , the hostess smiles, greets you, the food
is great, service is outstanding. You leave a nice tip and say Wow! We will go back there again. You tell some of your friends about this reataurant.
The next time you go, the hostess had a bad day, doesn't smile, the server is 15 mins geeting tro you for your order, the food is great. Service is good.
You aren't as thrilled as you were the first time but you give them the benefit of the doubt and say you will go back. Remember you set the expectation
and make sure you provide the same great service at appt. 2 and 3 as you did
#1. Clients want a relaxing wonderful experience.

here are the rest of the notes. I'm glad you found the information useful. Alot of this has been said time and again but sometimes in a different format we see it differently, I'm like that.
Continued:
Service:
Everything that happens from the moment the client enters the door till they
leave affects how they value that experience. From if they are greeted at the door, taken ontime, given a great shampoo, atmosphere in the salon
to if they liked the finished product.

Retail:
Having the tools that we use and reccomend so the client can recreate the look at home. Do we coach the client so they can feel comfortable with
their look?

Retention:
Do you have the ability to keep your favorite clients.? Are you hearing what they are saying to you about their hair frustrations? Are you keeping them
in a current style?

Referral:
The #1 way to build your book is through referral. Do you have a referral system. You need to not only have a system but you need to always be
talking about it.

WHEEL OF LIFE

There are 6 parts to your wheel of life Spiritual,Family,Friends,Financial,Mental,Physical
Draw a circle then divide the circle into 6 pieces for each of the catagories.
Rate how you feel you are doing in each of the areas on a scale from 1-10.
With 10 being the highest.Lets say you work out 4 days a week and are close to your goal weight, you would probably put 8-9 as your #. On the other hand you are a coach potato and feel sluggish most days you probably
would rate your physical being at 3. The idea is be be balanced in your life.
This will help you to be most successful in your life.

TOP 10 REASONS YOUR CLIENT WON"T COME BACK
#10 Difficulty getting an appointment with you.
* Try to pre-book clients whenever possible

#9 My stylist doesn't know what products are right for me.
* Make sure you know your product lines and use what you retail

#8 Salon staff is not professional.
* make sure you have a professional appearance and manners
Gossip can ruin a business.
Treat every client with the same courtesies you would your client
they may become yours someday.

#7 My stylist is always late
* most clients will give you the benefit for 3 times then they won't come
back. Remember the client that is late effects all the rest of the day.

#6 Salon receptionist is not nice.
* Salon owners should put their receptionist thru training.
Receptionist can make or break you.

#5 Salon is not clean
* Everyone should do their part. Every now and then when the salon is busy
walk through the front door and through the salon as a client does to see
what they see.

#4 Client wanted something new. They are bored.
* Give the client some options. Try added a fringe, different angle,
few pieces of color, blowdry flipped out instead of under. Remember
you wouldn't wear the same shoes or the same oufit month after month.

#3 My stylist doesn't care about me.
* Are you giving that client undivded attention when she is in your chair?
Do you stand at the shampoo bowl and say loudly " come on back"
as she enters the salon? Do you mix up his/her color right before she is
do to come in? Are you talking on the phone when you are doing his/her
hair? Do you ask her how is she doing with the new cut or are you
telling her how much you partied over the weekend?

#2 I can't re-create my hair at home.
* recommend the products that you used to create the look. Explain how
to use the products and show the client what tools are necessary.
You wouldn't give a style requiring 1/2 hour of drying and flat ironing
to an outdoorsy client that wants to be done in 10 mins.

#1 My stylist doesn't LISTEN.
* I said I wanted one length and the stylist layered my hair.
I said I didn't want my hair thinned " " "'.
I only wanted a trim " "" ""
I wanted a different look and she/he always does the same thing.
Take the time for a good consultation and be aware of body language
it can tell you alot.  
 Great info Linda, lots to think about. - Mags



 
Non Compete Clauses Print
Thursday, 15 February 2007
Q & A from Dawnmarie:
Our boss wants us to sign a 15 mile radius contract that would prevent us from finding employment at another salon within the 15 miles if we leave. Is this legal?
Thanks again guys! DM

Answer:
 
Here's some info from a law site for you - she is clearly outside her legal rights.

Quote:
Non-compete agreements are becoming an increasingly popular way for employers to try to limit employees and former employees from working for a competitor, or from divulging trade secrets or other proprietary data.
Contrary to common misperceptions, courts will uphold non-compete clauses if they comply with acceptable standards. Enforcement against an employee can be both by damages and by an injunction that prohibits the employee from engaging in conduct that violates a non-compete clause.
An employer also can be held liable for hiring an employee who violates a non-compete agreement with a previous employer. In some cases, employers can recover damages from both the former employees and their new employers who collaborate with them in the transgressions.
However, some states impose substantial restrictions on the enforceability of non-compete clauses. In California, for example, they may not be enforceable at all. In New York, their enforceability is quite limited.
Most non-compete agreements are entered into with little, if any, negotiation between the employer and the employee. They usually are signed at the outset of an employment relationship where the employee may have very little bargaining power and when the employee is generally not too concerned about limitations on future employability when beginning a new job.
But when an employee decides to leave a job, the non-compete agreement may be a significant impediment to future employment or may prevent employees from becoming self-employed.
Although the laws differ from state to state, general principles apply to non-compete contracts in most jurisdictions. Here are some considerations to keep in mind:
  • Rule of Reasonableness: In order to be valid, a non-compete agreement must be reasonable. Courts recognize that employers have a legitimate interest in protecting the time, investment, and other resources they have invested in employees, but that interest must be balanced against an employee’s job mobility in a free enterprise system. Courts generally will scrutinize non-compete agreements carefully to make sure that they are geared to protect the reasonable business interests of an employer without unduly limiting an employee’s other work opportunities. Therefore, these arrangements must usually be tailored narrowly to restrict truly competitive activities without forbidding an employee from working in the same industry or profession in a way that is not competitive.
  • Independent Consideration: In many states, a non-compete agreement is valid if entered into at any time after an employment relationship begins. But in some states, courts will not enforce non-compete agreements unless the employee gets what is termed “independent consideration” — in other words, if they get something in exchange for signing the agreement. If this principle applies in your state, a non-compete agreement will be valid only if it is signed at the time employment commences, or at a later date if the employer gives you some additional benefits such as increase in salary, promotion, or other items of value.
  • Duration: In order to assure that these contracts are not too stifling, courts will generally require that they only last for a limited amount of time. The duration depends upon a number of circumstances, including how long it will take to train another employee to take over the position being vacated. Generally, non-compete agreements one or two years in length will be valid, and longer time periods may be suspect. Courts generally will permit longer non-compete periods in connection with a sale of a business when a new buyer insists that the old owner refrain from competing for a prescribed period of time. In these situations, courts reason that the parties should be permitted to negotiate whatever time frame they want since the exchange is less coercive than it is in an employer-employee relationship.
  • Distance: In addition to duration, a non-compete agreement often must have reasonable geographic limits. In today’s global economy, the distance factor is less significant than it has been in the past. But if an employer has a particular market area, courts may refuse to enforce non-compete agreements that extend beyond that. For instance, a cosmetology business that draws most of its customers from a radius of 10 or 15 miles probably couldn’t limit a former employee from working in the cosmetology business outside of that market area.
  • Blue Pencil Rule: Many courts follow the “blue pencil” rule, which means if an agreement is too restrictive, the courts can modify it and then enforce it. But in some states, the “blue pencil” rule is prohibited, and courts must either uphold non-compete agreements as drafted or invalidate them entirely.
  • New Employer Liability: In many states, employers who lose an employee to a competitor in violation of a non-compete agreement can sue the new employer, as well as the old employee. In these states, employers are reluctant to hire away employees who have non-compete agreements. The best approach for employees in these states is to let their prospective new employer know about the non-compete so that the employer is not later “surprised” with a lawsuit by the old employer. The new employer may decide that the non-compete agreement is invalid, or may be willing to assist the employee, including payment of legal expenses, in the event of a lawsuit by the former employer.
An employer should keep these principles in mind when hiring employees – both in terms of looking out for agreements that employees may have signed at their old jobs and with regard to negotiating non-compete agreements for their new jobs. Such clauses can be a very effective way to protect valid business interests, but they should be drafted with the assistance of legal counsel in order to provide assurances that the language used will be enforceable.
__________________
 
Technical List of Color Spects. Print
Thursday, 08 February 2007

 

Glossary of Color Terms

Introduction: The following glossary was borrowed from many sources including the "ASTM" Standards of Color & Appearance.

"a", n - Redness-greenness coordinate in certain transformed color spaces (Hunter Spect. LabL,a,b or CIELAB), generally used as the difference in "a" between a specimen and a standard reference color.
If "a" is positive, there is more redness than greenness; if "a" is negative,there is more greenness than redness. It is normally used with b as part of the chromaticity or chromaticity color difference.

absolute data, n - color measurement data presented without comparison of the sample to a standard or calculated color difference.

absorption, n - (1) penetration of one substance into the mass of another. (2) decrease in directional transmittance of incident radiation (such as light), resulting in a modification or conversion of the absorbed energy, into heat, for example. Light incident on a specimen may be partially reflected, partially transmitted, or partially absorbed.

absorption tinting strength, n – relative change in the absorption properties of a standard white material when a specified amount of an absorbing colorant, black or chromatic is added to it.

accuracy, n – the closeness of agreement between a test result and an accepted reference value (often used as a color instrument specification).

achromatic, adj – (1) for primary light sources, the computed chromaticity of the equal-energy spectrum. (2) for surface colors, the color of a whitish light, serving as the illuminant, to which adaptation has taken place in the visual system of the observer. (3) perceived as having no hue, that is, as white, gray, or black.

additive color mixture, n – superposition or other nondestructive combination of lights of different perceived colors.

angle of illumination, n – angle between the specimen normal and the illuminator axis.

angle of view, n – angle between the normal to the surface of the specimen and the axis of the receiver.

aperture, n - the measurement opening in a typical reflection color instrument. The size of the aperture determines the size and type of sample that can be measured.

appearance, n -- manifestation of the nature of objects and materials through visual attributes such as size, shape, color, texture, glossiness, transparency, opacity, etc.

artificial daylight, n -- term loosely applied to light sources, frequently equipped with filters, which are claimed to reproduce the color and spectral distribution of daylight. A more specific definition of the light source is to be preferred.

attributes of color, n – (1) for the object mode of appearance, hue, lightness, and saturation. In the Munsell system, Munsell Hue, Munsell Value, and Munsell Chroma. (2) for the illuminant or aperture mode, hue, brightness, and saturation.

averaging, vt – a method of color measurement that allows you to average several measurements into one color measurement. Averaging is recommended when measuring standards or samples with surface variation. Usually the sample is turned 90° between measurements.

"b", n -- yellowness-blueness coordinate in certain color spaces (Hunter L,a,b & CIELAB), generally used as the difference in "b" between a specimen and a standard reference color, normally used with "a" or "a" as part of the chromaticity difference. Generally, if "b" is positive, there is more yellowness than blueness; if "b" is negative, there is more blueness than yellowness.

basic color terms, n – a group of 11 color names found in anthropological surveys to be in wide use in fully developed languages: white, black, red, green, yellow, blue, brown, gray, orange, purple, pink.

Beer’s law, n – the absorbence of a homogeneous sample containing an absorbing substance is directly proportional to the concentration of the absorbing substance, often used in mixture prediction of transparent materials.

black, n -- ideally, the complete absorption of incident light; the absence of any reflection. In the practical sense, any color that is close to this ideal in a relative viewing situation, i.e., a color of very low saturation and of low luminance.

brightness, n – (1) aspect of visual perception whereby an area appears to emit more or less light; (2) of an object color, combination of lightness and saturation; (3) in the textile industry, perceived as saturated, vivid, deep, or clean. (color); (4) of paper, reflectance of an infinitely thick specimen (reflectivity) measured for blue light with a centroid wavelength of 457 nm under specified spectral and geometric conditions of measurement. (5) dyer’s, the color quality, combining lightness and saturation that would be decreased by adding black, gray, or a complementary color to a chromatic dye.

bronzy color (or bronzing), n – a metallic coloration observed when viewing the light reflected at angles near the angle of specular reflection, the color usually being quite different from that observed for other directions (i.e., paint samples).

C or Delta c, n -- abbreviations for chromaticity or chromaticity difference, respectively.

calibrate, vtto find and eliminate systematic errors of an instrument scale or method of instrument by use of material standards and techniques traceable to an authorized national or international measurement system.

characterize, vt – to specify the parameters or performance of an instrument, method of measurement, or material absorption and scatter.

chroma, n – (1) attribute of color used to indicate the degree of departure of the color from a gray of the same lightness. (2) C*, (in the CIE 1976 L*, a*, b* or L*, u*, v* system) the quantity C*ab = (a*2 + b*2)1/2 or C*uv = (u*2 + v*2)1/2. (3) attribute of a visual perception, produced by an object color that permits a judgment to be made of the amount of pure chromatic color present, irrespective of the amount of achromatic color.

chromatic, adj – perceived as having a hue; not white, gray, or black. (opposite of achromatic)

chromaticity, n -- dimensions of a color stimulus expressed in terms of hue and saturation, or redness-greenness and yellowness-blueness, excluding the luminous intensity; generally expressed as a point in a plane of constant luminance. Syn: chromaticness.

chromaticity coordinates, CIE, n -- the ratios of each of the three tristimulus values X, Y and Z in relation to the sum of the three; designated as x, y and z, respectively. They are sometimes referred to as the trichromatic coefficients. When written without subscripts, they are assumed to have been calculated for Illuminant C and the 2° (1931) Standard Observer unless specified otherwise. If they have been obtained for other illuminants or observers, a subscript describing the observer or illuminant should be used. For example, x10 and y10 are chromaticity coordinates for the 10° observer and Illuminant C.

chromaticity diagram, CIE, n -- a two-dimensional graph of the chromaticity coordinates, x as the abscissa and y as the ordinate, which shows the spectrum locus (chromaticity coordinates of monochromatic light, 380-770 nm). It has many useful properties for comparing colors of both luminous (light emitting) and nonluminous (reflective) materials.

CIE, n – the abbreviation for the French title of the International Commission on Illumination, Commission Internationale de l’Eclairage.

CIE 1931 standard observer, n – ideal colorimetric observer with color matching functions x-(y), y-(y), z-(y) corresponding to a field of view subtending a 2º angle on the retina; commonly called the "2º standard observer."

CIE 1964 supplementary standard observer, n – ideal colorimetric observer with color matching functions x-10(y), y-10(y), z-10(y) corresponding to a field of view subtending a 10º angle on the retina; commonly called the "10º standard observer."

CIELAB color difference, n – color difference calculated by using the CIE 1976 L* a* b* opponent-color scales (also referred to as CIELAB), based on applying a cube-root transformation to CIE 1931 tristimulus values X, Y, Z or CIE 1964 tristimulus values X10, Y10, Z10.

clarity, n – the characteristic of a transparent body whereby distinct high-contrast images or high-contrast objects (separated by some distance from the body) are observable through the body.

cmc (l:c) color difference, n – color difference calculated by use of the formula developed by the Colour Measurement Committee of the Society of Dyers and Colourists of Great Britain.

Discussion Based on the lightness, hue, chroma version of CIELAB, it incorporates chroma and hue-angle correction terms for improved visual spacing and variable weighting factors for lightness (l) and chroma (c) relative to hue for improved correlation depending on type of judgment (acceptability, perceptibility) and application (textiles, others). CMC reports the equivalent of D E as a weighted function of the ratio of L:Ch as Performance Factor=PF.

color, n – (1) of an object, aspect of object appearance distinct from form, shape, size, position, or gloss that depends upon the spectral composition of the incident light, the spectral reflectance of transmittance of the object, and the spectral response of the observer, as well as the illuminating and viewing geometry. (2) perceived, attribute of visual perception that can be described by color names such as white, gray, black, yellow, brown, vivid red, deep reddish purple, or by combinations of such names. (3) psychophysical, characteristics of a color stimulus (that is, light producing a sensation of color) denoted by a colorimetric specification with three values, such as tristimulus values.

colorant, n – dye, pigment, or other agent used to impart a color to a material.

color atlas, n – a collection of color samples arranged according to a color order system (such as Munsell, NCS, DIN).

color constancy, n – the general tendency of the colors of an object to remain constant when the color of the illumination is changed.

color difference, n – (1) perceived, the magnitude and character of the difference between two colors described by such terms as redder, bluer, lighter, darker, grayer, or cleaner. (2) computed, the magnitude and direction of the difference between two psychophysical color stimuli and their components computed from tristimulus values, or chromaticity coordinates and luminance factor, by means of a specified set of color-difference equations.

color-difference units, n – units of size of the color differences calculated according to various equations. Such color differences cannot be accurately converted between different equations by the use of average factors.

colorimeter tristimulus, n – instrument that measures psychophysical color, in terms of tristimulus values, by the use of filters to convert the relative spectral power distribution of the illuminator to that of a standard illuminant, and to convert the relative spectral responsively of the receiver to the responsivities prescribed for a standard observer. See spectrocolorimeter.

colorimetry, n – the science of color measurement.

colorist, n -- a person skilled in the art of color matching (colorant formulation) and knowledgeable concerning the behavior of colorants in a particular material; a tinter (q.v.) (in the American usage) or a shader.

color match, n – (1) condition existing when colors match within a specified or agreed tolerance. Sometimes called commercial color match. (2) condition existing when colors are indistinguishable; a normal observer is usually implied. Sometimes called an exact color match.

color matching, n – procedure for providing, by selection, formulation, adjustment, or other means, a trial color that is indistinguishable from, or within specified tolerances of, a specified standard color under specified conditions.

color-matching functions, n -- the amounts, in any trichromatic system, of the three-reference color stimuli needed to match by an additive mixture monochromatic components of an equal energy spectrum.

color measurement, n -- physical measurement of light radiated, transmitted, or reflected by a specimen under specified conditions and mathematically transformed into standardized colorimetric terms that can be correlated with visual evaluations of color relative to one another. Although the term "color measurement" is normally used, color itself cannot be measured.

color order systems, n – a rational method or plan of ordering and specifying all object colors, or all within a limited domain, by means of a set of material standards selected and displayed so as to represent adequately the whole set of object colors under consideration.

color perception, n – subjective impression of color, as modified by the conditions of observation and by mental interpretation of the stimulus object.

color space, n – a geometric space, usually of three dimensions, in which colors are arranged systematically.

color specification, n – notation or set of three color-scale values used to designate a color in a specified color system. Practical color specifications may include color tolerances as well as target color designation, measuring instrument, instrument settings, measurement procedures and sample preparation procedures.

color stimulus, n – a radiant flux capable of producing a color perception.

color temperature, n – of a light source, the temperature, usually expressed in kelvins, of a full radiator (perfect, theoretical black substance that when heated would not affect the "color" of the light emitted) which emits light of the same chromaticity as the source. For example average daylight color temperature is often expressed as D65, for 6,500 degrees Kevin.

color tolerance, n – the permissible color difference between sample and specified color (Standard).

color tolerance set, n – a group of colored standards, usually seven painted chips, arranged on a single card, one exhibiting a desired color, and two each exhibiting the limits of the permissible range of color variation in each of the color attributes. Normally the set is arranged as the acceptable limits in lightness to darkness, redness to greenness, yellowness to blueness.

contrast, n – objective, the degree of dissimilarity of a measured quantity such as luminance of two areas, expressed as a number computed by a specified formula.

contrast ratio, n – see, contrast or opacity. In color measurement, a sample is measured over a white background, then over a black background and the ratio expressed either as a perctentage (where 100% = complete opacity) or as a ratio to 1. (

crazing, n – a network of apparent fine cracks on or beneath the surface of materials, such as in transparent plastics, glazed ceramics, glass, or clear coatings.

daylight illuminants, CIE, n -- series of illuminant spectral power distribution curves based on measurements of natural daylight and recommended by the CIE in 1965. Values are defined for the wavelength region 300 to 830 nm. They are described in terms of the correlated color temperature. The most important is D6500 (often referred to as average daylight) because of the closeness of its correlated color temperature to that of Illuminant C = 6774 K. D7500, bluer than D6500 and D5000, yellower than D6500, are also used.

densitometer, n – instrument designed for measuring optical density of a photographic negative or positive or a printed image; not suitable for colorimetry.

densitometry, n – technique for measurement of optical density by use of a densitometer.

detector, n – device to convert radiant energy (light) into a neural signal (such as the eye) or an electrical signal (such as a phototube, photomultiplier tube, photocell, photodiode, or the like).

diffuse reflection, n – reflection in which flux is scattered in many directions by diffusion at or below the surface.

directionality, n – (1) perceived, the degree to which the appearance of a surface changes as the surface is rotated in its own plane, under fixed conditions of illumination and viewing. In color the addition of metal flake and or pearlescent pigments will greatly increase the visual color effects. Surface striation and texture may also greatly change color appearance. (2) measured –- (scattering indicatrix, azimuthally nonisotropic) – difference in pattern of near-specular and semidiffusely scattered light, dependent upon the azimuthal angles of the incident and viewing beams.

dominant wavelength, n – the wavelength of a spectrally pure light that, when added to a reference achromatic (white) light, will produce a combination that matches the color of a specimen light.

Delta D ,n -indicates deviation or difference.

Delta E, Delta e, D E, D e n -- the total color difference computed with a color difference equation. It is generally calculated as the square root of the sum of the squares of the chromaticity difference, D a + D b, and the lightness difference, D L; in CMC identified as the "commercial factor" (CF).

eggshell, adj – semi-matte, having a texture resembling that of the outer surface of the shell of a chicken egg. Usually used in describing a type of paint finish.

fading, n – a change in color, usually to a lighter and less-saturated color, normally over time caused by the effects of light and other environmental effects on the colorants in a material.

flat, adj (1) of a coating material, a material that is capable of imparting a finish free of gloss. (2) of a surface finish, free of gloss.

flop, n – a difference in color and appearance of a material viewed over two widely different aspecular angles.

flop angle, n – the aspecular angle when a material is viewed from a direction far from the specular, typically 70º or more, normally associated with a change in color and appearance at two viewing angles.

fluorescence, n – a process by which radiant flux of certain wavelengths is absorbed and reradiated nonthermally at other, usually longer, wavelengths. (this phenomenon creates colors that show an abnormal color response and are used for packaging and other dramatic effects).

fluorescent illuminant, n – illuminant representing the spectral distribution of the radiation from a specified type of fluorescent lamp (as expressed as a set of data in color computer programs).

FMC-2 color difference, n – color difference calculated by use of the Friele-MacAdam-Chickering, Version 2, equations based on the MacAdam chromaticity-difference-perceptibility ellipses and the Munsell value function.

foot candle, n – unit of illuminance equal to one lumen per square foot.

Gardner color scale, n –a color scale for clear, light-yellow fluids, defined by the chromaticities of glass standards numbered from 1 for the lightest to 18 for the darkest.

gloss, n – angular selectivity of reflectance, involving surface-reflected light, responsible for the degree to which reflected highlights or images of objects may be seen as superimposed on a surface.

gloss meter, n – instrument that measures surface-reflected light at defined angles (i.e., 60º, 85º).

gray scale, n -- an achromatic scale ranging from black through a series of successively lighter grays to white. Such a series may be made up of steps that appear to be equally distant from one another (such as the Munsell Value Scale) or may be arranged according to some other criteria such as a geometric progression based on lightness. Such scales may be used to describe the relative amount of difference between two similar colors.

goniospectrophotometer, n – spectrophotometer having the capability of measuring with a variety of illuminating and viewing angles using bidirectional geometry; also known as multi-angle spectrophotometer. Usually used to measure colored samples with great directionality.

haze, n – in reflection, (1) scattering of light at the glossy surface of a specimen responsible for the apparent reduction in contrast of objects viewed by reflection at the surface. (2) percent of reflected light scattered by a specimen having a glossy surface so that its direction deviates more than a specified angle from the direction of specular reflection.

hiding power, n – (1) the ability of a coating material to hide the surface coated by producing a specified opacity at a given film thickness. The greater the amount of scattering pigments, the greater the hide. (2) the area over which a specified volume of paint can be spread to produce a specified contrast between areas where the substrate is black and where it is white.

hue, n -- the attribute of color by means of which a color is perceived to be red, yellow, green, blue, purple, etc. Pure white, black, and grays possess no hue.

Hunter color difference, n – color difference calculated by the use of the Hunter equations, based on the opponent-color coordinates, L, a, b, applied to CIE 1931 tristimulus values for CIE standard illuminant C, and by extension to the CIE 1964 standard observer and other CIE standard illuminants.

illuminant, n -- mathematical description of the relative spectral power distribution of a real or imaginary light source, that is, the relative energy emitted by a source at each wavelength in its emission spectrum (the data entered into a color computer, used to predict the effect of different light sources on the perceived color).

illuminant A (CIE), n -- incandescent illumination, yellow orange in color, with a correlated color temperature of 2856K. It is defined in the wavelength range of 380-770 nm.

illuminants D (CIE), n -- daylight illuminants, defined from 300-830 nm, the UV portion 300-380 nm being necessary to describe correctly colors which contain fluorescent dyes or pigments. They are designated as D with a subscript to describe the correlated color temperature: D65 having a correlated color temperature of 6504K, close to that of Illuminant C, is the most commonly used. They are based on actual measurements of the spectral distribution of daylight.

illuminator, n – the portion of a radiometric or photometric instrument that provides the illuminating beam on the specimen, including the source, occasionally the monochromator or spectral filters, a diffuser such as an integrating sphere, if used, and associated optics.

index of refraction, n – the numerical expression of the ratio of the velocity of light in a vacuum to the velocity of light in a substance (gas, liquid, solid), at a specified wavelength.

integrating sphere, n – an optical device used either to collect light reflected or transmitted from a specimen into a hemisphere or to provide isotropic irradiation of a specimen from a complete hemisphere, consisting of an approximately spherical cavity with apertures (ports) for admitting and detecting light, and usually having additional apertures over which sample and reference specimens are placed and for including or excluding the specularly reflected components (surface reflected light).

interference filter, n – filter constructed of extremely thin alternate layers of high and low refractive-index material and capable of transmitting narrow spectral bands formed by constructive interference within the desired waveband and destructive interference at other wavelengths (used in filter colorimeters and some abridged spectrophotometers).

just-perceptible difference, n – color difference that is just large enough to be perceived by an observer in almost every trial.

Kubelka-Munk theory, n – phenomenological turbid-medium theory relating the reflectance and transmittance of scattering and absorbing materials to optical constants (Kubelka-Munk absorption coefficient (K), Kubelka-Munk scattering coefficient (S)) and the concentrations of their colorants. (The basis of computer color-matching calculations

LED, light emitting diode, n - solid state light emitters that are extremely stable and durable, the latest technology in color instrument light sources.

light, n -- (1) electromagnetic radiation of which a human observer is aware through the visual sensations that arise from the stimulation of the retina of the eye. This portion of the spectrum includes wavelengths from about 380 nm to 780 nm. Thus, it is incorrect to speak of ultraviolet or infrared "light" because the human observer cannot see radiant energy in the ultraviolet and infrared regions. (2) light, adj – referring to the color of a non-self-luminous body, having a high luminous reflectance factor, as "light green" or "light gray."

lightfastness, n – the ability of a material to withstand color change on exposure to light.

lightness, n – (1) the attribute of color perception by which a non-self-luminous body is judged to reflect more or less light. (2) the attribute by which a perceived color is judged to be equivalent to one of a series of grays ranging from black to white.

light source, n -- an object that emits light or radiant energy to which the human eye is sensitive. The emission of a light source can be described by the relative amount of energy emitted at each wavelength in the visible spectrum, thus defining the source as an illuminant, or the emission may be described in terms of its correlated color temperature.

Lovibond tintometer, n – instrument for evaluating the colors of materials by visual comparison with the colors of glasses of the Lovibond color system.

luminescence, n – emission of light ascribable to nonthermal excitation.

luster, n – the appearance characteristic of a surface that reflects more in some directions than it does in other directions, but not of such high gloss as to form clear mirror images.

masstone, n – in paint technology, a pigment-vehicle mixture containing a single colorant only.

Discussion At times colorants are developed or recycled that contain more than one pigment, but that are tested and used as if they contained only a single pigment. This definition is meant to include such colorants.

match, vt – to provide, by selection, formulation, adjustment, or other means, a trial color that is indistinguishable from, or within specified tolerances of, a specified standard color under specified conditions.

matte, n – lacking luster or gloss. Synonymous with "flat" in paint terminology.

metameric, adj – (1) pertaining to spectrally different objects or color stimuli that have the same tristimulus values. (2) pertaining to objects, having different spectrophotometric curves that match when illuminated by at least one specific illuminant (viewing condition) and observed by a specific observer.

metamerism, n – property of two specimens that match under a specified illuminator (illuminant) and to a specified observer and whose spectral reflectances or transmittances differ in the visible wavelengths and may appear to be a miss match under a second specified illuminant to the same specified observer.

Munsell color system, n – a system of specifying colors of surfaces illuminated by daylight and viewed by an observer adapted to daylight, in terms of three attributes: hue, value, and chroma, using scales that are perceptually approximately uniform.

Munsell notation, n – (1) the Munsell hue, value, and chroma assigned to the color of a specimen by visually comparing the specimen to the chips in the Munsell Book of Color. (2) a notation in the Munsell color system, derived from luminous reflectance Y and chromaticity coordinates x and y in the 1931 CIE system for standard illuminant C, by the use of scales defined by the Optical Society of America Subcommittee on the Spacing of the Munsell Colors.

Natural Color System, n – color order system based on resemblance’s of colors to up to four of six "elementary" colors red, yellow, green, blue, black, and white, in which the attributes of the colors are hue, chromaticness, and blackness.

neutral, adj – achromatic or without hue.

observer, n -- the human viewer who receives a stimulus and experiences a sensation from it. In vision, the stimulus is a visual one and the sensation is an appearance.

observer metamerism, n – the property of specimens having different spectral characteristics and having the same color when viewed by one observer, but different colors when viewed by a different observer under the same conditions.

opacity, n – (1) optical, the ability of a specimen to prevent the transmission of light; the reciprocal of the transmittance factor. (2) paper backing, the ability of a sheet of paper to hide a surface behind and in contact with it, expressed as the ration of the reflectance factor Rb when the sheet is backed by a black surface to the reflectance factor Roo when it is backed by a pile of sheets of the same kind, and of such number that further addition of sheets does not affect the measured opacity. (3) white backing, the ability of a thin film or sheet of material, such as paint or paper, to hide a surface behind and in contact with it, expressed as the ratio of the reflectance factor Rb when the material is backed by a black surface to the reflectance factor Rw when it is backed by a white surface (usually having a reflectance factor of 0.89.)

opaque, adj – transmitting no optical radiation, you can not see through the material.

opponent-color scales, n – scales that denote one color by positive scale values, the neutral axis by zero value, and an approximately complementary color by negative scale values. Common examples include scales that are positive in the red direction and negative in the green direction (CIE a*, Hunter a) and scales that are positive in the yellow direction and negative in the blue direction (CIE b*, Hunter b).

orange peel, n – the appearance of irregularity of a surface resembling the skin of an orange, usually on painted surfaces.

pearlescent, adj – a colorant exhibiting various colors depending on the angles of illumination and viewing, as observed in mother-of-pearl.

petroleum color scale, n – a color scale for petroleum products, defined by 16 glass standards of specified luminous transmittance and chromaticity, graduated in steps of 0.5 from 0.5 for the lightest color to 8.0 for the darkest.

photochromism, n – a reversible change in color of a specimen due to exposure to light.

photometer, n – an instrument for measuring light.

photopic, adj – pertaining to human vision at sufficiently high levels of illumination that only the retinal cones are stimulated.

physical standard, n – stable specimen having a value of a physical quantity assigned by accurate measurements under specified conditions, usually in a standards laboratory.

port, n – an opening or aperture in an integrating sphere.

precision, n – the closeness of agreement between test results obtained under prescribed conditions.

primary colorants, n – a small number (pallet) of colorants (dyes or pigments) that may be mixed to produce a large gamut of colors.

primary standard, n – a physical standard calibrated by an absolute method.

product standard, n – material having a color designated as standard for a specified product.

radiant energy, n -- the form of energy consisting of the electromagnetic spectrum that travels at 115.890 kilometers/s (186.500 miles/s) through a vacuum, reducing this speed in denser media (air, water, glass, etc.). The nature of radiant energy is described by its wavelength or frequency, although it also behaves as distinct quanta ("corpuscular theory"). The various types of energy may be transformed into other forms of energy (electrical, chemical, mechanical, atomic, thermal, radiant) but the energy itself cannot be destroyed.

receiver, n – the portion of a photometric instrument that receives the viewing beam from the specimen, including a collector such as an integrating sphere, if used, often the monochromator or special filters, the detector, and associated optics and electronics.

reference standard, n – a physical standard used to calibrate a group of laboratory standards.

reflectance, n -- the ratio of the intensity of reflected radiant flux to that of the incident flux. In popular usage, it is considered as the ratio of the intensity of reflected radiant energy to that reflected from a defined reference standard.

reflectance, specular, n -- reflectance of a beam of radiant energy at an angle equal but opposite to the incident angle: the mirror-like reflectance. The magnitude of the specular reflectance on glossy materials depends on the angle and on the difference in refractive indices between two media at a surface and may be calculated from the Fresnel Law.

reflection, n – of radiant energy (in the case of color, light), the process by which radiant energy is returned from a material or object.

refraction, n – change in the direction of light determined by change in the velocity of the light in passing from one medium to another.

repeatability, n – (1) the closeness of agreement between the results of successive measurements of the same test specimen, or of test specimens taken at random from a homogeneous supply, carried out on a single laboratory, by the same method of measurement, operator, and measuring instrument, with repetition over a specified period of time. This is the most important aspect of sample presentation technique and one of the most important specifications for a color instrument. (2) the ability to create and replicate a formula in a consistent manner as defined by a defined tolerance.

reproducibility, n – the closeness of agreement between the results of successive measurements of the same test specimen, or of test specimens taken at random from a homogeneous supply, but changing conditions such as operator, measuring instrument, laboratory, or time. The changes in conditions must be specified.

retroreflector, n – a reflecting surface or device from which, when directionally irradiated, the reflected rays are preferentially returned in directions close to the opposite of the direction of the incident rays, this property being maintained over wide variations of the direction of the incident rays. Most commonly used in highway signage materials.

saturation, n -- the attribute of color perception that expresses the degree of departure from the gray of the same lightness. All grays have zero saturation. Commonly used as a synonym for chroma especially in graphic arts.

scattering, n -- diffusion or redirection of radiant energy encountering particles of different refractive index; scattering occurs at any such interface, at the surface, or inside a medium containing particles.

scattering tinting strength, n – relative change in the scattering properties of a standard black material (with no scattering colorant present) when a specified amount of a white or chromatic scattering colorant is added to it.

scotopic, adj – pertaining to vision at sufficiently low levels of illumination that only the retinal rods are stimulated.

shade, n – (1) a color produced by a dye or pigment mixture including black dye or pigment. (2) an expression of color difference from a reference dyeing such that another dye must be added to produce a match. (3) a color slightly different from a reference color.

shade, vt – to adjust the color of a test specimen to be a closer color match to the standard.

shade sorting, n – process of grouping together, often by instrumental measurement, similarly colored materials so that the materials within each group may be used together in a finished product without perceived color variation.

sheen, n – the specular gloss at a large angle of incidence for an otherwise matte specimen (used in textiles).

source, n – an object that produces light or other radiant flux.

spectral, adj – for radiometric quantities, pertaining to monochromatic radiation at a specified wavelength or, by extension, to radiation within a narrow wavelength band about a specified wavelength.

spectral characteristic, n – the reflectance, reflectance factor, transmittance, or transmittance factor as a function of wavelength, used to characterize a specimen.

spectral power distribution curve, n -- intensity of radiant energy as a function of wavelength, generally gives in relative power terms.

spectrocolorimeter, n – spectrophotometer, one component of which is a dispersive element (such as prism, grating, or interference filter or wedge) that is normally capable of producing as output only colorimetric data (such as tristimulus values and derived color coordinates) but not the underlying spectral data from which colorimetric data are derived.

spectrogoniophotometer, n – goniophotometer having the capability of measuring as a function of wavelength. See the preferred term, goniospectrophotometer.

spectrometer, n – an instrument for measuring a specified property as a function of a spectral variable. In optical radiation measurements, the spectral variable is wavelength or wavenumber and the measured property is (or is related to) absorbed, emitted, reflected, or transmitted radiant power.

spectrophotometer, n -- photometric device for the measurement of spectral transmittance, spectral reflectance, or relative spectral emittance.

spectrophotometry, n – quantitative measurement of reflection or transmission properties as a function of wavelength.

spectroradiometer, n – a spectrometer for measuring emitted optical radiant power, normally of a light source.

Spectrum Spatial arrangement of components of radiant energy in order of their wavelengths, wave number or frequency.

spectrophotometric curve, n -- a curve measured on a spectrophotometer: hence a graph of relative reflectance or transmittance (or absorption) as the ordinate, plotted versus wavelength or frequency as the abscissa. In color, usually covering the practical visual range from 400-700 nm.

specular, adj – pertaining to flux (light) reflected from the surface of an object, without diffusion, at the specular angle.

specular gloss, n -- relative luminous fractional reflectance from a surface in the mirror or specular direction. It is sometimes measured at 60° relative to a perfect mirror.

specular reflection, n – reflection without diffusion, in accordance with the laws of optical reflection, as in a mirror.

specular reflectance excluded (SCE), n -- measurement of reflectance made in such a way that the specular reflectance is excluded from the measurement: diffuse reflectance. The exclusion may be accomplished by using 0º (perpendicular) incidence on the samples, thereby reflecting the specular component of the reflectance back into the instrument, by use of black absorbers or light traps at the specular angle when the incident angle is not perpendicular, or in directional measurement by measuring at an angle different from the specular angle. Used where surface finish is an important component of a color measurement.

specular reflectance included (SCI), n -- measurement of the total reflectance from a surface, including the diffuse and specular reflectance (usually in a sphere instrument). Used when the surface finish is not critical to color measurement results.

standardize, vt – to adjust instrument output to correspond to a previously established calibration using one or more homogeneous specimens or reference materials. (calibrate, verify) This is the normal condition that is often referred to as "field calibration" of a color instrument.

standard observer, n – an ideal observer having visual response described by the CIE color-matching functions.

strength, n – (1) the color quality that increases with an increase in the amount of colorant present, other conditions remaining constant. (2) in reflection colorants, a series of calculations based on the relative absorption of a given colorant.

subtractive color mixture, n – mixture of absorbing media or superposition of filters so that the spectral composition of light passing through the combination is determined by simultaneous or successive absorption.

surround, n – portion of the visual field immediately surrounding the central field or pattern of interest.

texture, n – the visible surface structure depending on the size and organization of small constituent parts of a material; typically, the surface structure of a woven fabric or surface finish of a painted part.

thermochromism, n – a change in color with temperature change. adj - thermochromatic

tint, n -- the color produced by the mixture of white pigment with absorbing (generally chromatic) colorants. The color of the resulting mixture is lighter and less saturated than the color without the addition of the white.

tint, vt – to adjust the color of a test specimen to be a closer color match to the standard.

tolerance, n - the range of color difference that is acceptable to say that the color is a commercial match. Most usually an agreement is made between buyer and seller concerning color acceptability.

transfer standard, n – a physical standard used to transfer a calibration from one instrument to another, usually from a reference instrument in a standards laboratory to an instrument in the field.

translucency, n – the property of a specimen by which it transmits light diffusely without permitting a clear view of objects beyond the specimen and not in contact with it.

translucent, adj – transmitting light diffusely, but not permitting a clear view of objects beyond the specimen and not in contact with it.

transmission, n – of radiant energy, the process whereby radiant energy passes through a material or object.

transparency, n – the degree of regular transmission, thus the property of a material by which objects may be seen clearly through a sheet of it.

transparent, adj -- adjective to describe a material that transmits light without diffusion or scattering.

tristimulus, n -- of, or consisting of, three stimuli: generally used to describe components of additive mixture required to evoke a particular color sensation.

tristimulus values,match n – the amounts of the three specified human response stimuli required to match a color.

tristimulus values, CIE, n -- amounts (in percent) of the three components necessary in a three-color additive mixture required for matching a color; in the CIE System, they are designated as X, Y and Z. The illuminant and standard observer color matching functions used must be designated; if they are not, the assumption is made that the values are for the 1931 observer (2º field) and Illuminant C. The values obtained depend on the method of integration used and on the relationship of the nature of the sample and on the instrument design used to measure the reflectance or transmittance. Tristimulus values are not, therefore, absolute values characteristic of a sample, but relative values dependent on the method used to obtain them. Approximations of CIE tristimulus values may be obtained from measurements made on a tristimulus colorimeter, giving measurements generally normalized to 100, which must then be normalized to equivalent CIE values. The filter measurements should be properly designated as R, G, and B instead of X, Y, and Z.

tungsten, light source, n - (1) constant burning tungsten, traditional light source in color instruments. (2) flashing tungsten, latest low cost light source, typically used in portable color instruments.

turbidity, n – reduction of transparency of a specimen due to the presence of particulate matter.

ultraviolet, adj – referring to radiant flux having wavelengths shorter than the visible wavelengths, about 10 nm to 380 nm.

uniform-chromaticity-scale diagram, n – chromaticity diagram on which all pairs of just-perceptibly different colors of equal luminance are represented by pairs of points separated by nearly equal distances.

uniform color space, n – schematic arrangement of colors in space in which spatial intervals between points correspond to visual differences between colors represented by those points (goal of all color space/order systems that has yet to be achieved).

verification standard, n – calibrated physical standard used to verify the accuracy of calibration of measurement scales, operating characteristics, or system responses of color-measuring instruments.

verify, vt – to assess the overall reliability and accuracy of an instrument or method of measurement by use of material standards for which the measurable quantities have accepted values.

viewing conditions, n – the conditions under which a visual observation is made, including the angular subtense of the specimen at the eye, the geometric relationship of light source, specimen, and eye, the photometric and spectral character of the light source, the photometric and spectral character of the field of view surrounding the specimen, and the state of adaptation of the eye.

visible, adj – pertaining to that portion of the electromagnetic spectrum to which the eye is sensitive, approximately 390 to 710 nm in wavelength.

visibility, n – the properties and behavior of light waves and objects interacting in the environment to produce light signals capable of evoking visual sensation.

visual colorimeter, n – an instrument using the eye as detector that measures color stimuli produced by mixing one or more of at least three primary colors.

visual perception, n – the visual experience resulting from stimulation of the retina and the resulting activity of associated neural systems.

wavelength, (y), n – of an electromagnetic wave, the distance in the direction of propagation between nearest points at which the electric vector has the same phase; the distance as expressed in nanometers (nm, billionth of a meter) of the wavelength period or frequency (peak to peak or trough to trough) of the wavelength in question. The visible spectrum spans 400-700m.

whiteness, n – attribute of color perception by which an object color is judged to approach the preferred white.

whiteness index, n – a number, computed by a given procedure from colorimetric data that indicates the degree of departure of an object color from a preferred white.

working standard, n – (1) an instrument standard or laboratory standard in routine use. (2) a standard that is almost identical to the laboratory standard and the color difference is exaclty known from the laboratory standard.

xenon, light source, n - high energy, pulsed light used in color instruments.

yellowness, n – attribute of color perception by which an object color is judged to depart from colorless or a preferred white toward yellow.

yellowness index, n – a number, computed by a given procedure from colorimetric or spectrophotometric data that indicates the degree of departure of an object color from colorless, or from a preferred white, toward yellow.

X One of the three CIE tristimulus values; the red primary.

Y One of the three CIE tristimulus values; equal to the luminous reflectance or transmittance ; the green primary

Z
One of the three CIE tristimulus values; the blue primary.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 
PRIVE -the HOT salon in Los Angeles. Print
Wednesday, 31 January 2007

PRIVE - is one the THE HOTTEST SALON'S IN LOS ANGELES!!!!

Prive' Salon
7373 Beverly Blvd
Los Angeles, CA
(323) 931-5559

Image Image
LAURENT D., the celebrity hairdresser who created the PRIVÉ salons in New York and Los Angeles, has the hottest salon in L.A. and all the big stars go there and guess who had their hair done there-ME!!!

You see the arches and the glass doors that have their name and as you walk in you notice the glass floor with water & peebles underneath your feet, ah, luxury at last!
Image

Image The staff - Morress, Richie & Drew (who had the cutest cut)
Image
- all of them greets you with a friendly smile, and asks who you have your appointment with, takes you over to the seating area and asks what you'd like to order- and yes, they actually have a menu. In the seating area you get the feeling you are in someones very chic home, with TV's in circular cutouts, with the lastest fashion shows showing you to hottest new trends. Image

My best firend Jessica was taken away by Caroline to meet with her stylist friend and former roomate, who has asked me not to name him as he's very very famous, but has way too many clients and really doesn't need more publicity, to have their consultation that takes place before anyone gets shampooed. Mr. B did Jess'a cut and then she was blowndry by his assistant Caroline who worked her magic on Jess's thick & beautiful hair.
Image
 I too had my appointment with Mr. B. who shall not be named, and was given the hottest cut I've have since working for Vidal Sassoon!!!
So if you get a chance to visit Prive, please tell them all I said "hello", it's a great friendly salon and I highly recommend them.

 
Goals- Visions- Targets Print
Saturday, 11 November 2006

by-3 GOALS, VISIONS, TARGETS PRESCRIPTION #2 -
Create quantitative/ qualitative goals for everyone and everything (what you expect is what you get)

 

 

 

“What is expected of me?” and “Where am I going?” The mission statement offers a general statement of the ultimate plans for the salon. The next step is to design specific goals and visions that allow the staff to see more clearly their role in accomplishing the mission statement objectives.

 

 

 

Imagine if you had no goals or visions in your life. Every time you would be faced with a decision, it would be agonizing because you would have no way to determine it’s importance to your future. You would flounder, wondering if your final decision would be helpful or hurtful to your future. Goals, visions and targets give direction to our lives. They allow us to act in consistent ways that will bring to fruition those goals and visions because we have something specific to aim for and achieve.

 

 

 

The objective of this chapter is to help salon owners create a goal-oriented salon team - which involves creating goals for everyone and everything. Every function, every duty, every activity must be aimed or directed at accomplishing in whole or in part, the goal of the salon. All of the “mini-goals” set up for each activity or function then come together with an end result of accomplishing the salon goal - which is to fulfill the mission statement and create success in the salon. In fact, we suggest that you take the importanceof goal setting one step further and establish “expectations”. Many times stylists have the feeling that a goal is a nice thing to shoot for - but the word expectation carries a greater sense of urgency. You may be surprised at how even the subtle insinuation of such an urgency can affect performance and the attainment of the expectation, the goal.
Current Situation
Few salons today have specific goals or visions for the salon as a whole or even for everyday projects and activities. Many salons do not have even minimal standards of criteria concerning their performance nor do they have projected goals or plans for their future. Since that is the case, stylists usually work only hard enough to “crack their nut”. By crack the nut we mean that stylists come into the salon situation eager to earn a living. They begin working hard, meeting early goals and expectations without much trouble. But each stylist has a point at which they become satisfied with their productivity - it often happens around the $500 per week service dollar figure. At this point, the stylist is able to pay their bills, entertain themselves adequately, buy food and afford whatever other incidentals they desire. From
goals or visions to which they can attach themselves and strive for because they have cracked their nut and are satisfied with their current situation.
Salons in this situation are often floundering financially - which makes perfect sense because of the lack of direction and the lack of a burning need or desire to achieve anything. This lack of desire is pervasive in salons without goals - it’s a situation of “every man for himself” with little concern for the resulting apathy.
Desired Situation
Obviously, the current situation is not the desired one. In order to instill the desire and need to achieve, there must be goals to strive for and work toward. Salons can begin to develop this desire by setting realistic sales projections for the salon as well as individual
this point on, there are no sales goals.
We have developed what we call a “rate of growth” curve for just that purpose. We suggest you use a format similar to this in your own salon. A rate of growth curve is designed to monitor the average growth rate of every stylist in the salon from their first week of service through their 52 week ofservice or one full year.
The growth curve chart of this type gives stylists and managers a weekly goal to strive for. It is important to realize that short term goals that are met, reset and met again are much more feasible and reachable than a long term goal that seems distant and unreachable. Not to have goals or expectations for your people says that you expect nothing from them. Don’t worry - your staff will not let you down - you will get what you expect.
Minimal standards should be set for referrals, retail sales and chemical service sales. These standards can be set in terms of percentages, dollars or number of heads or units. In other words, a retail sales goal could be 20% of total sales, or $90 per week or 15 units of retail product per week. All of these would be specific goals, the type of goal may vary in each salon. Use whatever type is easiest for your staff to understand and strive to achieve. Some people work best with percentages, others best with the number of pieces or units. Be flexible to allow your staff the greatest degree of understanding of the goals they are required to reach.
Types of Goals
For the most part, we can divide any goal into one of two camps - production goals and quality goals. Productivity goals involve anything which can be quantitatively measured. These goals are purely objective - you either reach the goal or you don’t - the numbers don’t lie - although they can be enhanced or hindered by outside forces. Whatever the situation, productivity goals must be set realistically and reviewed consistently.
An example of a productivity goal might be for a stylist to increase retail sales from 6% to 8%. It is not enough for management to merely say, “Stylist, you need to increase your retail sales from 6% to 8% in the next eight weeks. Now go to it.”

Setting a goal in this way wilt rarely net the desired end result. The likelihood of reaching a goal is greatly increased when any goal setting is preceded by training in the area of the goal setting. In other words, if the retail sales goal increase in this example is expected, training in sales, product knowledge and add-on services should be offered prior to setting the goal and during the time frame designated to reach the goal.
We’ll deal with training specifics next.
During the eight weeks following the time the goal is set - management must be meeting regularly with the stylist to review the progress being made toward the goal. Management should utilize graphs, charts and anything else that effectively shows the progress (or lack of it) made by the stylist.Coaching and counseling are vital to the success of any goal setting situation. Management has a significant bearing on the outcome of any goal being set - at least partial responsibility for the success of the stylist in reaching the goal must rest on management.
When setting goals, it is important to give the stylist a sufficient time period to reach the goal. It would be unfair to suggest a stylist make significant increases in the area of retention within a four week period. Remember, it takes an average of eight weeks for the customer to return after their last service. If stylists are utilizing new techniques to retain clients - the results won’t be evident until the the clients are expected to return - in the next eight week wave. Therefore, any goal that is set must allow a reasonable and logical time frame for it’s completion. The time frame can vary significantly from goal to goal. We have found that it makes sense to ask for 10% increases over whatever the current performance level is. The stylist should be given ample time to reach the 10% increase - as much as 8 weeks- before increasing the goal by another 10%. An example might be a three year stylist who is only retaining at 50%. Obviously, the expectation would be for the stylist to be retaining at a rate of about 80% but it would be unrealistic to expect such a large increase in just 8 weeks. Instead, it makes sense to request increases of 10% for each 8 week period - the first 8 week expectation would be to increase from 50% to 55%, the second 8 week expectation would be to increase from 55% to 60.5%, the third 8 week expectation would be to increase from 60.5% to 66.55%, the fourth 8 week expectation would be to increase from 66.55 to 73.2% and finally, after five 8 week periods, the expectation would be to reach 80%. Each goal was a 10% increase over the previous expectation and the stylist had 8 weeks to accomplish each goal.
Qualitative Goals
The second type of goals we label qualitative goals. These measure the quality or standard of the performance desired. Technical skills and customer handling skills are two performances that must be measured qualitatively.
Qualitative goals are measured by the objective evaluation of a specific performance by a third party. An evaluation form can be devised with performance criteria judged on a scale of one to ten so that the end result can be viewed in terms of a numerical value. It is more meaningful to a stylist to be told their technical skill on a certain haircut was a seven on a scale of one to ten rather than telling them they were above average. Putting qualitative data in a visual format makes sense for both management and stylist alike.
The evaluation form itself should list the desired performance in all areas of the service with an evaluation scale for each piece of the performance.
As we stated in the initial discussion of this topic - goals and targets must be set for everyone and everything. It is vital to understand that what gets measured gets accomplished - measure what is most important and expect results.
Goals, targets and visions are a necessary part of any salon culture that desires success. Without them, it is difficult for individuals as well as the group to reach beyond themselves and do more. Our next chapter holds another key to improving current salon situations. That vital key is training.

 
<< Start < Prev 1 2 3 4 5 6 7 8 Next > End >>

Results 46 - 54 of 71

Member Login