The Role of Customers Within the Organisation

The “key characteristic of a service is that it takes place at the interface with the customer”, therefore without customers the service does not exist (Maull, Geraldi & Johnston 2012). The role of the customer within a florist is to identify their needs and wants and communicate as effectively as possible to the service provider.

There is significant variance in the amount of participation that customers apply, and the optimal level may not always be reached (Gallan et al. 2012). As illustrated in Figure 11.1, a florist’s customer’s optimal level of participation is moderate. A florist like Canary Jane’s Flowers requires customer inputs for an adequate outcome but the florist still provides the range of flowers. It is not considered high participation because the client participation does not guide what flowers you buy, and customer does not co-create the outcome, like a personal trainer would.

The customer needs to be able to demonstrate the desire to search for information or a particular product, or able to create a flower arrangement order. In Canary Jane’s case the customer would either want to search for information about what they want, whether it be flowers or a gift, or have the ability to understand what type of flowers they want and order an arrangement. The employee provides product knowledge, organisation offerings and an end result; regardless if there is a sale or not.

It’s important to highlight that Canary Jane’s is a family friendly business; they sell some children toys and therefore attract a lot of adult customers with infants. Children can be stubborn and not obedient when they are told not to touch items, you can only control children to a certain extent. Due to this these customers are not able to perform their role in the service. However, Canary Jane’s have implemented a strategic method of dealing with such customers, they have put all the unbreakable and not precious items on the low height so this way the children can still touch items but there is no issue of them breaking these items.

The organisation, although a service, creates tangible aspects to support the intangible service. For instance, at Canary Jane’s Flowers they provide a business card of contact details on the gift bag with the purchase as well as a physical copy of the debit card receipt, (refer to appendix photos 11.21, 11.22, 11.23) therefore the business played their role in this encounter but if the customer does not follow through with their implicit role of storing their receipt for a reasonable period, then a resolution in order to resolve post purchase issues from the customer’s side has not been fulfilled. Since Canary Jane’s Flowers has attached their business details, it’s the customer’s implicit responsibility to contact the store if an issue arises; this is in both parties best interest. This leads into complaint behaviour and how to deal with complaints.

References: 


Maull, R, Geraldi, J & Johnston, R 2012, 'Service Supply Chains: A Customer Perspective', Journal of Supply Chain Management, vol. 48, no. 4, pp. 72-86.

Gallan, A, Jarvis, C, Brown, S & Bitner, M 2012, 'Customer positivity and participation in services: an empirical test in a health care context', Journal of the Academy of Marketing Science, vol. 41, no. 3, pp. 338-356.

The Role of Employees Within the Organisation

Employees are as vital for delivering a brand’s message as they are for delivering the business’ product or service. Their performance and satisfaction drives external service value and customer satisfaction, and their labour is as much emotional as it is operational. At Canary Jane’s Flowers, the nature of their products mean that customer relationships are particularly personal, and so the emotional labour of running the shop is increased.

The service profit chain model (see Figure 10.1) establishes the link between internal service quality and profitability, via employee and customer satisfaction (Heskett et al. 1994), the two of which are interlinked and feed from one another. In small business, the relationship between customers and employees is particularly close, and particularly important for profitability.

These relationships require emotional labour from employees, which is the performance by of expected emotions, which can be performed through changing facial expression, termed ‘surface acting’, or changing inner feelings, termed ‘deep acting’ (Grandey 2003). Deep acting is much more convincing to customers, and as such it is more desirable. Both forms of acting form part of the ‘labour’ in ‘emotional labour’, as it is mentally strenuous to maintain such a performance.

Better even that deep acting is the display of genuine emotion that aligns with the needs of an organisation, although it is much more rare and cannot be taught (Ashforth & Humphrey 1993). This has the advantage that it is not laborious, as it doesn’t involve any acting at all.

Emotional labour also includes the management of service-related conflict, and can markedly affect perceptions of service quality. Empathy, responsiveness, assurance, and reliability are all measures of how an employee connects with customers and are important factors in crafting customer satisfaction (Lee, Lee & Yoo 2000).

The application of the service profit chain to Canary Jane’s Flowers results in a somewhat simplified model; with a single owner-operator in Rebecca Stacey, employee retention stops being a consideration. Similarly, employee satisfaction, productivity, and internal service quality are merged as almost all customer service responsibilities are on one person.

Employee and customer satisfaction are also interlinked very strongly at Canary Jane’s Flowers because both parties are particularly involved in their service encounters. Ms Stacey’s emotional involvement is enhanced by her role as both floral designer and business owner, meaning she has a greater stake in business performance and ownership over the products she designs and sells. The customer’s involvement is also increased by the nature of flowers as a product, because they are so closely linked with relationships and emotion. This involvement necessitates engagement between parties on a personal level and requires a high level of emotional labour.

Typically, in service encounters with high involvement and emotional stakes, such as Canary Jane’s Flowers, deep acting is necessary. As mentioned above though, Ms Stacey has a genuine emotional stake in the business and its transactions so isn’t as affected by the emotional labour of acting. Often service employees require systems of support to help continue their acting without burn-out (Stevenson 1994).

References:

Heskett, J, Jones, T, Loveman, G, Sasser Jr., W & Schlesinger, L 1994, 'Putting the Service-Profit Chain to Work', Harvard Business Review, vol. 72, no. 2, pp. 164-170.

Grandey, A 2003, 'When "The Show Must Go On": Surface Acting and Deep Acting As Determinants of Emotional Exhaustion and Peer-Rated Service Delivery.', Academy of Management Journal, vol. 46, no. 1, pp. 86-96.

Ashforth, B & Humphrey, R 1993, 'Emotional Labor in Service Roles: The Influence of Identity.',Academy of Management Review, vol. 18, no. 1, pp. 88-115.

Lee, H, Lee, Y & Yoo, D 2000, 'The determinants of perceived service quality and its relationship with satisfaction', Journal of Services Marketing, vol. 14, no. 3, pp. 217-231.

Stevenson, J 1994, 'Employee burnout and perceived social support', Journal of Health and Human Resources Administration, vol. 16, no. 3, pp. 350-367.

Servicescape Strategy

Physical surrounding, also called servicescape coined by Bitner (1992) are fashioned by service organizations to facilitate the provision of service offerings to customers. According to Biggers and Pryor (1982), the elements of physical evidence help to influence perceived performance in the service encounter and also affect the perception of an experience independently of the actual outcome. The physical evidence elements are categorised into four distinct areas: package, facilitator, socialiser, and differentiator. Bitner (1992) defines it as all of the objective physical factors that can be controlled by the firm to enhance (or constrain) employee and customer actions. The first of the four areas is ‘Package’, which conveys the expectations and can also influence consumer perceptions. In regards to Canary Jane’s Flowers, the beautiful interior along with the pretty arrangements of flowers scattered around the shop make for a very appealing flower shop. The scent from the flowers, the subtle music heard in the background and the art deco beautifications all add to the overall package of the servicescape. This is very important for new customers as they need to be persuaded to come back again and again to the store.  

Facilitating the flow of the delivery service is not an easy task. The shop keeper or clerk needs to be able to provide information, carry out the ordering process and also facilitate the delivery service adequately in order to achieve a good servicescape outcome. After visiting Canary Jane’s Flowers in Hawthorn, I was immediately amazed at the vibrancy of colour and the overall presentation of the shop. At a first glance the shop is flustered with different assortments of flowers that range from small garden flowers to a bouquet (See Appendix 5.2). There is also a lot of knick-knacks displayed around the store symbolising the type of quirky style that the shop inhibits. (Aubert-Gamet 1997; Baker 1987). Baker (1987) considers servicescape as “not only a material stimulus but also a social construct containing humans who play a significant role in influencing behaviour”. At Canary Jane’s Flowers the customer and employee relationship is very friendly, together with nice gestures and a friendly greeting the overall experience was very pleasing. The customer service exceeded average expectations, even with many customers at once the store clerk was able to deliver excellent service and kindly told some customers they would be with them in a minute when it was necessary. “It is further postulated that the performance of these social factors within the servicescape can serve to either enhance or inhibit the service experience, thereby leading to the display of either approach or avoidance behaviour by customers” (Aubert-Gamet 1997; Bitner 1992).

The shop face uses a window display to entice customers to look into the store. In the window there is sometimes promotional banners associated with special days of the year such as mother’s day or Valentine’s Day. “In Babin and Attaway’s (2000, p.93) estimation, the servicescape “evokes emotions, which help to determine value, and this value motivates customers to patronize a given choice repeatedly”. The shop face itself is simple, the design is friendly with a natural colour yellow painted over the brick veneer. ‘’According to Bitner (1992), [these] controllable physical factors such as signage, furnishing, layout, colour, cleanliness, scent, music etc. can be systematically manipulated to produce desired effects in the form of a favourable disposition towards the servicescape – and by extension, the providing organization’’ (Arnould, Price & Tierney 1998). Many of these physical factors are present at Canary Jane's Flower shop, flowers themselves give off a vibrant colour array that entices consumers as well as the scent of the flowers which smells inviting. Together with other factors like colour and cleanliness the shop has the desired expectations of consumers and also influences the perceptions of customers with its package physical elements clearly evident at the flower shop. The shop window at the front of the store displays the logo on the glass and there’s a bunch of flowers lining the bottom of the window. Inside there’s a whole display of cups and other products for sale which can easily catch the eye of a passing consumer. The overall style of the shop is art deco (1950s) posters hang in one corner of the store and the floor is a black and white tile pattern. Once inside the store it is easy to tell that is no ordinary florist, every inch of the store is taken up with products that create this sense of organised chaos. As well as the flowers odour filling the small store space there are also hand creams and scented candles that fill up the room with a love aroma of jasmine, rosemary and other flowery type scents.

“Whilst accepting the importance of servicescape variables, Kotler (1973) contends that there is no ideal servicescape composition for all industries. He argues that since each market is made up of customers with varying tastes, servicescape composition should be based on (a) the target audience, (b) what that target audience is seeking from the buying experience, (c) the servicescape variables that can fortify emotional reactions sought by the buyers and (d) the ability of the servicescape to compete with the servicescape of competitors” (Kotler, 1973). Largely the servicescape of Canary Jane’s Flowers is quite simple is design and style, using the 50s art-deco theme reveals a different experience than customers are used to. The retro style that the store so beautifully represents is like stepping into a time machine and the experience is unlike what you could expect in ordinary florist shops. The experience transitions your typical perception of a florist from entrance to pre-purchase to exit and post-purchase, you come away feeling satisfied, and therefore all the elements of servicescape have an impact on the services quality.

References:

Bitner, M 1992, 'Servicescapes: The Impact of Physical Surroundings on Customers and Employees',Journal of Marketing, vol. 56, no. 2, pp. 57-71.

Baker, J 1987, 'The Role of the Environment in Marketing Services: The Consumer Perspective', in J Czepial, C Congram & J Shanahan (ed.), The Services Challenge, 1st ed, American Marketing Association, Chicago, pp. 79-84.

Aubert‐Gamet, V 1997, 'Twisting servicescapes: diversion of the physical environment in a re‐appropriation process', Int J of Service Industry Mgmt, vol. 8, no. 1, pp. 26-41.

Babin, B & Attaway, J 2000, 'Atmospheric Affect as a Tool for Creating Value and Gaining Share of Customer', Journal of Business Research, vol. 49, no. 2, pp. 91-99.

Arnould, E, Price, L & Tierney, P 1998, 'Communicative Staging of the Wilderness Servicescape', The Service Industries Journal, vol. 18, no. 3, pp. 90-115.

Kotler, P 1973, 'Atmospherics as a marketing tool', Journal of Retailing, vol. 49, no. 4, pp. 48-64.