Visual Merchandising

Laurence King Publishing

Visual
Merchandising
Window and in-store displays for retail

Third Edition
Tony Morgan
Published in 2016 by Laurence King
Publishing Ltd in association with the
University of the Arts: London College
of Fashion

Laurence King Publishing Ltd

361–373 City Road
London EC1V 1LR
Tel +44 20 7841 6900
Fax +44 20 7841 6910
Email: [email protected]
www.laurenceking.com

Copyright © text 2008, 2011, 2016

Tony Morgan

Tony Morgan has asserted his right

under the Copyright, Designs, and
Patents Act 1988, to be identified as
the Author of this Work.

All rights reserved. No part of

this publication may be reproduced
or transmitted in any form or by any
means, electronic or mechanical,
including photocopy, recording or
any information storage and retrieval
system, without prior permission
in writing from the publisher.

A catalogue record for this book is

available from the British Library

ISBN 978 178067 687 6

Design concept by Kerrie Powell

This edition designed by Mark Holt

Printed in China

Front cover
Selfridges, London.
© Andrew Meredith Page 2
A metallic window scheme entitled
Back cover “Mirror Mirror” attracts customers
Fortnum & Mason, London. with its reflective qualities at
© Andrew Meredith Selfridges, London.
 Contents

6 Preface 30 Store Design 116 In-store Visual Merchandising 198 Mannequins

32 What is store design? 120 Product adjacencies 202 Sculpting
8 The History of 33 Why is store design important? 122 Floor layouts 204 Purchasing mannequins
Visual Merchandising 34 Who designs the store? 130 Store study: 206 Dressing a mannequin
37 Pop-up shops Matthew Williamson 211 Securing a mannequin
18 The Role of a 40 How does store design work? 134 Fixtures and fittings 212 Grouping mannequins
Visual Merchandiser 42 Store study: 146 Wall fixtures 213 Maintenance
21 The day-to-day role of a Kurt Geiger 150 Product handling
visual merchandiser 156 Store study: 214 The Visual
22 Training 46 Windows Flight 001 Merchandiser’s Studio
23 Visual merchandising in a 50 Getting to know your windows 162 In-store displays and hot shops 217 The visual merchandiser’s
department store 56 Planning a window display 166 Point of sale and add-on sales toolbox
26 Visual merchandising of 60 Themes and schemes 168 Clearance merchandise 218 Health and safety
multiple chain stores 67 Budgeting 169 Signage and ticketing 219 Lighting chart
28 Visual merchandising of 68 Props 170 Case study:
small retail outlets 74 Designing a window display Colorset 220 Glossary
29 Measuring success 80 Store study: 179 Lighting 221 Further reading
Au Printemps 180 Case study: 222 Index
84 Colour ERCO lighting 224 Picture credits and
90 Window prepping 184 Ambience acknowledgements
92 Installing the window display 186 Technology
96 Store study: 190 Retail standards and
Louis Vuitton maintenance, and budget
98 Lighting 191 Virtual visual merchandising
100 Signage and graphics 194 Store study:
106 Window calendar Topshop
110 Window standards
and maintenance, and budget
112 Store study:
Fortnum & Mason
6

Preface

Rarely taken seriously at first because

“It is your imagination that needs to be their new roles were unexplained, visual
stimulated. Once that happens, the rest is easy. merchandisers were soon laying out
departments complete with “sightlines”,
The merchandise is always the leader.” “focal points” and “hot shops”. A new
retail vocabulary was born, and soon store
Joe Cotugno, OVP and Creative Director, Bloomingdale’s
interiors had as much sparkle as their
windows. Today, visual merchandisers
command respect, and are a much sought-
after commodity in the retail world as
they provide not only a service, but also
inspiration and commerciality. This book
If you have ever stood outside a shop
aims to enlighten and educate students
admiring the artistry of the window
and retailers in the workings of the world
display, been distracted by a sale
of the visual merchandiser. It covers both
item while passing through a department
the art of the window display and in-store
store, or paused to take in information
visual merchandising and looks at the
from a store guide, then you have been
tools that will help any would-be visual
sidetracked by visual merchandising.
merchandiser succeed.
If you purchased something as a result
of stopping in your progress along the By using case studies and specially
pavement or through a store, then you commissioned illustrative diagrams, together
have succumbed to its supremacy. with images of the best in window display
and in-store interiors from around the
For years, the creative individuals who
world, this book aims to prove how effective
made the stores of the world look appealing
visual merchandising can improve a store’s
for retailers and their loyal customers were
brand image and inspire customers to spend.
known as window dressers or display artists.
Display teams had a unique and much-envied
function in a store. Occasionally with gener-
ous budgets – and most definitely with a huge
amount of talent – they mysteriously locked
themselves away in studios or lurked behind
the curtains of the windows and produced
stunning, eye-catching works of art for the
shopping community to admire.
During the 1980s, possibly because of a
global recession and the threat of e-commerce
from the Internet, store bosses suddenly
questioned the quantities and abilities of
these non-profit-making departments. As a
result, they began to push the display artists
in-store to cast a creative eye over the racks
and rails of discounted merchandise; thus
the visual merchandiser was born.

Opposite
A mannequin on a chaise longue
reclines at the Rootstein showroom
in New York. At a glance, this
realistic model looks almost human
in appearance.
 The History
of Visual
Merchandising
10

Below
Above In these attention-seeking,
This fishmonger/poulterer has created award-winning windows designed
an artistic display of his wares, the by Thomas Heatherwick for Harvey
design of which would not look out of Nichols in London, the scheme
place in the display lore of visual explodes through the glass onto
merchandisers today. the exterior of the store.
The History of Visual Merchandising 11

The first shopkeepers tried to lure

consumers into their stores either by
ostentatiously exhibiting their names
or by displaying products in their windows
or on tables in the street, proving that
they were open for business and proud
of their produce.
To this day, butchers still fill their windows
with fresh meat that serves both as a display
to attract customers and also shows the stock
of produce available for sale that day. Florists
often not only pack their windows with the
finest blooms, but trail them outside the store
and onto the pavement to entice customers
across the threshold using colour and scent.
Similarly, barbers will sometimes push a
chair with an unsuspecting client up to the
glass window in order to prove their skill
and popularity.
With the advent of new technology in the
1840s that allowed the production of large
panes of glass, department stores were
perhaps responsible for taking the art of
window display to a higher level, using their
large windows as stages, some of them as
theatrical as a Broadway show. Today, colour,
props and atmospheric lighting on many
occasions arrogantly overshadow the mer-
chandise, as visual merchandising extends
beyond its role of supporting the wares and
becomes an art form, creating a statement
and provoking a reaction. Stores like London’s
Harvey Nichols have collaborated with
well-known designers and artists to produce
eye-catching schemes where the merchandise
becomes part of an artistic work.
Harrods opened in London in 1849 as a
small shop selling groceries, perfume and
stationery, and grew to become the renowned
department store it is today. Mitsukoshi,
Tokyo’s leading department store, was
established even earlier, in 1673, as a
kimono specialist. Its innovation was the

Above
Bon Marché department store in Paris Below
in the late nineteenth century offered A Selfridges window from the 1920s
an impressive shopping experience for shows skill and imagination for its
its customers through the grandeur of time, with its delicate display of
its architecture. handkerchiefs.
12

concept of bringing the customer to a store eye-catching staged window display; however,
rather than selling from door to door. we can certainly look to various individuals
who helped set the standards for today’s
It is the department store, with its huge
visual merchandisers.
array of merchandise and vast amount of
window space, that is the pioneer of the It was American retail entrepreneur Gordon
window display. A relatively recent phenom- Selfridge who had grand aspirations to bring
enon, it first began in France. Even there, the concept of the department store – and
however, for many years department stores with it the language of visual merchandising –
existed only in the capital, Paris. It was to Edwardian London. After leaving his post
Aristide Boucicaut who first had the idea of as managing director of the majestic
setting up this kind of store. He wanted to Marshall Field’s department store in Chicago
create a shop designed to sell all sorts of and emigrating to England, he arrived in
merchandise, but also wanted to attract London with great designs to build a long-
crowds of people who could wander freely awaited premier, purpose-built, modern
about in a little “town within the town”. In department store.
1852 Boucicaut opened the world’s first
On 15 March, 1909, Londoners witnessed
department store: Le Bon Marché.
the unveiling of Gordon Selfridge’s £400,000
The concept of the department store then dream. Selfridges became the benchmark of
spread to the United States, where famous British retailing. Its vast plate-glass windows
stores as we know them today first opened: were filled with the finest merchandise its
Macy’s in New York in 1858, Marshall Field’s proprietor had to offer. Selfridge also revolu-
in Chicago in 1865, Bloomingdale’s in New tionized the world of visual merchandising by
York in 1872 and also Wanamaker’s in leaving the window lights on at night, even
Philadelphia in 1876. when the store was closed, so that the public
could still enjoy the presentations while
No one retailer or department store can
returning home from the theatre.
possibly take the credit for producing the first

Above
Mitsukoshi, Tokyo, was established in
1673 as a small retailer specializing in
kimonos. Today it is Tokyo’s leading
department store.
The History of Visual Merchandising 13

Selfridge also included a few innovations

in-store for his customers – including a soda
fountain for the sociable and a silence room
for the less so. He was never one to miss
out on a promotional opportunity. When, in
July 1909, Louis Blériot crash-landed his
aeroplane in a field in Kent after flying across
the English Channel, Selfridge had the plane
packed on a train at 2 a.m. and on display
the same morning at 10 a.m. Fifty thousand
people queued to see it that day. By 1928,
Selfridges had doubled in size to become the
store we now know, due to the hype and
success of Gordon Selfridge.
The 1920s saw an explosion of creativity
in the arts and fashion, which spilled over
into the art of window display, and once
The department stores of New York’s Fifth
again, it was Paris that led the way.
Avenue followed suit. In the 1930s, surrealist
Frustrated that their canvases could only
artist Salvador Dalí can be credited with
be seen in the homes of the rich and
setting the American creative criteria in
famous, many young artists in the city took
window display. He was approached to dress
their skills to the masses. Soon, the
two windows for the Bonwit Teller store.
arcades of the capital were occupied with
Street art took on another dimension when
Art Deco-inspired themes, and fashion
he unveiled his “Narcissus” displays, but it
designers now found an innovative and
was a step too far: his outrageous pastiches
exciting static runway on which to show
were removed after complaints. Yet Dalí’s
their creations.

Above Below
Maybe it is not the most innovative The coats on the mannequins in this
display by today’s standards, but 1950s window display at Printemps
Marshall Field’s window from the early in Paris may look elegant, but the
1900s caused a public reaction at the mannequins are rigid and not grouped
time in Chicago. to engage with each other.
14

lack of success did not deter other would-be clan they should belong to by dressing their
artists from beginning their careers as window windows to inspire.
dressers. The artist Andy Warhol began his
Terence Conran was acutely aware of the
career in the stores of New York while still at
shifting fashion trends. In 1964, he created a
college; Jasper Johns, James Rosenquist and
store to match those of the emerging fashion
Robert Rauschenberg all worked as window
boutiques, but his differed in its type of
dressers in the 1950s.
product: furniture. Chelsea, London, was the
It was not only the big department stores that epicentre of style and youth culture and
followed the new style of window dressing. As Conran was quick to capitalize on this. His
fashion shifted from the couture houses to first store boasted whitewashed walls,
the high street and social trends developed, creating a sense of space that came as a
fashion designers worldwide began to make revelation to home-owners. Customers who
the most of their windows. Pierre Cardin, Mary visited his growing empire soon experienced
Quant and Vivienne Westwood are just a few spotlit ceilings, quarry-tile floors and cafés.
who told the youth of yesteryear which social Nowadays, Habitat still maintains its presence

Above
As part of a Rick Owens promotion at
Selfridges, London, in 2014, a giant
statue of the designer stood in front of
the store’s iconic façade.
The History of Visual Merchandising 15

Above
The 1960s saw the creation of
high- street ready-to-wear, and Mary
Quant was one of the first designers,
in 1959, to use the window of her
London store as a showcase for her
collections, as well as to promote
social trends.
16

brands were able to produce mass-marketing

campaigns that featured the world’s most
desirable faces and bodies. In the windows of
fashion stores, the mannequins that had
graciously modelled garments for decades
became redundant and were often replaced by
huge, glossy-print photographs of emerging
catwalk supermodels. Runway shows from the
world’s fashion capitals were projected on
high-tech TV screens, and the clever use of
lighting not only enhanced the product, but
also helped to create ambience and drama.
Thanks to the experiments and experience
of the window dressers from yesteryear,
today’s visual merchandisers have a lot of
proven techniques with which to work. Visual
merchandisers working in the proliferating
fashion-store chains today, for example, are
reintroducing the mannequin to the shop
window, having acknowledged it to be a
successful option for displaying the latest
trends in a similar manner from store to
store. The Spanish fashion store Zara, for
example, employs traditional window-dressing
techniques, its innovative window schemes
and clever fashion styling placing its windows
alongside those of the major luxury brands.
Now that retail brands have not only taken
control of the foremost shopping streets in all
major cities but have also infiltrated rural
towns and villages, their innovative techniques
in visual merchandising have also made an
impact on their competitors. In the last
decade, brands have pushed the boundaries
of visual merchandising not just by creating
in-store displays to drive sales and keep the
customer inspired, but also by introducing new
techniques: DJs performing in urban clothing
shops; contemporary eateries flanking fashion
floors; books and magazines breaking out of
their host departments; and fashion shows
that can be viewed not only by the fashionis-
tas but also by lunch-time shoppers.
Today, a brand might exist within its own
on the British high street, together with other
store, but the store can also become a brand
stores such as Liberty and Harvey Nichols
in its own right, populating its floor space with
that we sometimes forget paved the way for
other brands, the idea being that together
the retailers of today; in New York an equiva-
they will generate more sales. This is particu-
lent is Barneys.
larly apparent in the larger department stores
The development of technology in the 1990s like Selfridges, Printemps and Macy’s. Either
and the birth of super-brands like Gucci and way, the visual merchandiser’s task is to
Prada saw the evolution of window displays communicate a fundamental message
into propaganda machines. With massive to the public through window displays and
marketing budgets behind them, these larger in-store visual merchandising.

Above Below
By the 1970s, window dressing had The American fashion brand Banana
begun to reflect the spirit of the age. Republic produces eye-catching
In this window from Printemps in Paris, window schemes incorporating
the mannequins are displayed in tune interesting props, as well as a
with the times, with mirrored plinths strong fashion statement, to make
suggesting the mirror-balls from the their windows both innovative and
discos of the day. commercial.
The History of Visual Merchandising 17

In the twenty-first century, the latest always be the major part of the consumer
challenge to the supremacy of the traditional experience. Whether shoppers are out to
store is the Internet. Shopping from home discover an unexpected bargain, find an item
is not only easier but also price-competitive. sought for a long time or meet up with friends
Stores are under even more pressure to while browsing, it is the job of the retailer to
ensure that their customers return and spend, guarantee that they not only purchase but
and it is the visual merchandiser who will have a positive retail experience. With the
be key to attracting and retaining their help of good visual merchandising, this can
attention. Fortunately, shopping has always easily be achieved.
been a social activity, and the thrill of it will

Above
In large department stores, men’s
designer fashion collections such as
those of Givenchy are an important
part of the overall brand mix, and are
given prime exposure to enhance the
brands through excellent product
presentation.
 The Role of
a Visual
Merchandiser
20

“We are the guys backstage who are stage-

managing and producing the whole effect, whereas
the buyers are writing the story and providing the
content. We are the ones who have to bring it to life.”
Alannah Weston, Deputy Chairman, Selfridges

A visual merchandiser’s role is to holidays and who they listen to on their iPods
increase sales: first by attracting may well influence the style and direction of
shoppers into the store through the where they choose to shop.
power of the window display, and then
Above all, an unbiased outlook is paramount.
through in-store display and layout, which
A successful store may already have its own
needs to encourage them to remain in
winning creative formula, and although the
the store, purchase and have a positive
visual merchandising manager may be willing
retail experience so that they return.
to listen to suggestions, he or she will usually
Individuals wanting to pursue a career in want someone with a commercial mind who
visual merchandising would benefit from can help support the existing team. A non-
being creative, commercial, understanding personal view and unopinionated attitude
and unquestionably hard-working. Long hours, towards the product you may be asked to
opinionated colleagues and members of the work with are necessary. A good visual
public and tight deadlines are all common merchandiser can work with the ugliest and
challenges that go with the job. In addition, an most unsympathetic of products and still
awareness not only of fashion trends but also come up with great results.
of social, political and economic trends would
be beneficial for any visual merchandiser. No
longer do the fashion pages dictate to the
retail world; lifestyle trends are as important
as apparel. Where individuals take their

Above
The use of dramatically posed
mannequins and simple graphics
applied to both the wall and floor
create a stunning in-store display
at Lane Crawford, Hong Kong.
The Role of a Visual Merchandiser 21

The day-to-day role of a

visual merchandiser

Depending on whether visual merchan- maximize their resources. Individual visual

disers work for a large department store, merchandisers working for smaller retailers
a multi-store retailer or an independent may be expected not only to dress the
boutique, they will be expected to windows but arrange for the outside glass to
manage and generally oversee the visual be cleaned regularly. The responsibilities of
presentation of the windows and in-store visual merchandisers seldom stop solely at
displays. This will involve liaising with the dressing mannequins.
buying teams to ascertain what has been
bought and how best to promote it. As
well as laying out complete floors of
new-season merchandise, they will also
be expected to set the overall retail
standards for the store. Everyday tasks
will include ensuring that the fixtures are
replenished with the correct product and
that the corresponding signage is
present, as well as checking that the
windows and in-store displays are still
presentable, tidy and well-lit.
Large visual merchandising teams may
designate specific roles for individuals to

Above
The visual merchandiser puts
the finishing touches to the grouping
before adjusting the lighting,
cleaning the window and inspecting
it from outside.
22

Training

Those wishing to enter the profession efforts are often recognized, and in a career
will usually undertake a visual merchan- where visual merchandisers hop from one
dising course at college or university store to another, positions often become
and then seek work experience in-store, available for those in the right place at the
or they can apply directly to a store for right time. The visual merchandising teams
work experience. will rely on a full head-count to fulfil their
hectic programmes.
There are several visual merchandising
courses available. Students are likely to learn
Portfolios
how to place products together, create and
install windows and merchandise shop floors. Having a comprehensive portfolio that
Many courses will also give an insight into the demonstrates creativity and experience of
advantages of the use of colour, lighting and visual merchandising will undoubtedly help an
branding. By using many practical exercises individual to secure a job in a creative team.
together with theory, these two-year courses An extensive portfolio is also essential in
give a good insight into the world of visual securing freelance work, as it will allow a
merchandising and provide the student with potential client to ascertain immediately if
a useful and recognized qualification. your skills will benefit their business.
Short courses are also offered to would-be A professional portfolio should contain a
store-owners who prefer a fast-track education collection of images showing examples of
and may want to learn specific aspects of current work, printed and presented in a folder
visual merchandising. or produced digitally and shown on a com-
puter. Many forward-thinking visual merchan-
As in many other careers, work experience
disers collate their work on a website that can
can be a valuable asset. And in this industry it
be accessed using a secure password, so
is common to rely heavily on work-experience
that they can email clients with a link to their
students to fill many positions. As Mark
portfolio.
Briggs, Creative Director of Saks Fifth Avenue,
explains, “Students doing their work place- It is important to edit a portfolio to suit the job
ment at Harrods get to cover all aspects of for which you are applying. For example, if a
visual merchandising. They get to handle client requires outstanding window displays,
every category of product so that they not only the first section of the portfolio should contain
get an understanding of the items but also examples of window displays. It is vital that
so they can decide which area they would like the first couple of pages reflect your under-
to excel in: home, fashion, food or beauty.” standing of the client’s requirements. It is
Briggs develops experts for every product also helpful to include examples of other
category in the store; a fashion dresser may creative skills, such as design software,
not necessarily be confident at grouping in-store visual merchandising and branding,
saucepans, for example. as this could encourage more offers of work.
Young, eager students on work experience –
depending on the time of year and the
schedule of the visual merchandising team –
can find themselves working on a window or
sent to clean the stockroom. Either way, their
The Role of a Visual Merchandiser 23

Visual merchandising
in a department store
Department stores will give a novice
excellent training and knowledge of
visual merchandising because of the
diverse range of products that they
house. The training to be gained from
an established team is invaluable.
Traditionally, those entering a visual merchan-
dising team in a department store will begin
as dresser or junior visual merchandiser; if
they work hard and show that they are willing,
they may be promoted within two years to a
senior role. Managers are likely to spot
potential and develop those they see as future
managers by encouraging them to develop
their communication and managerial skills,
to begin managing a budget and to develop
a complete window scheme before they are
promoted to a managerial role. Those
dressers who enjoy the hands-on practicalities
of working on displays may prefer not to
pursue a managerial role, given all the
administration it involves. A regional depart-
ment store may have its own visual merchan-
dising team, which takes its lead from the
flagship store, but the career path there will
be similar to that in the flagship store, with
the regional manager controlling the budget
and recruitment for the regional store.
Mark Briggs of Harrods recruits most of his
67 staff as students. After completing work
experience, they go on to assist him dressing
2 km (1.25 miles) of window space and
merchandising 92,903 square metres
(1,000,000 sq ft) of shop floor. Mark says merchandiser often has the chance to
that a good structure is key to the smooth choose which of the two he or she prefers to
running of his team. “Communication is the excel in; others, however, will be placed
key word,” he explains. “I hold weekly according to their merits and talents. Working
meetings with my team leaders to explain in both categories will give the trainee visual
future concepts and promotions to make merchandiser a better overall knowledge and
them feel part of the Harrods family.” may make the individual more marketable.
Harrods, like many department stores
worldwide, employs separate interior and
window visual merchandising teams. A visual

Above Below
Oversized gilt picture frames are Also at Lane Crawford, these
used as props in this in-store display immaculately dressed mannequins
to create drama and atmosphere at interact with homewares to make
Lane Crawford, Hong Kong. dramatic in-store displays.
24

The visual merchandising Senior visual merchandise Senior visual merchandiser only be viewed from the front
structure of a typical manager/director and through glass. Carpenters
Responsibilities
department store or large working in a visual merchan-
Responsibilities
multiple retailer is often To mentor junior members of dising team will often be able
split into two: the creative To establish and oversee the the team. to extend their talents beyond
team, which plans and creative look of the store. working in wood and will be
To act as a bridge between
designs the window able to make props from a
To liaise with the buying visual merchandise manager
displays, and the visual variety of media.
director to ensure that the and floor manager.
merchandising team, which
correct product is promoted.
oversees the interior of To be aware of fashion trends Painters
the store or stores. To work closely with the and key looks.
Apart from the obvious –
operation director to guaran-
To maintain retail standards. painting windows – a painter
Creative director/manager tee that the store layouts
working in a visual merchan-
are planned correctly. To communicate with the
dising team may offer a
graphics team.
Responsibilities To communicate with the variety of skills. Many are
marketing director to make To educate shop-floor staff. experts in paint effects,
To plan and design window
certain that the visual and – in conjunction with the
schemes. To work closely with
merchandising team supports carpenters – will be responsi-
brands to ensure a consistent
To negotiate the window any store product promotions. ble for applying the finishing
product representation.
production using external touches to eye-catching
To control a payroll and
prop makers and graphics props and window schemes.
visual merchandising budget. Junior/dresser
companies.
visual merchandiser
To purchase relevant props Prop makers
To select the correct range of
and mannequins. Responsibilities
mannequins for each of the Props are an essential
window schemes, ensuring To recruit qualified staff. To maintain retail standards. ingredient in an eye-catching
that they have relevant wigs window. Every successful
To manage the store’s To be aware of fashion trends.
and make-up that reflect the visual merchandiser will have
graphics and signage.
fashion trends. To work closely with shop- some experience of using
floor staff to ensure visual tools and materials to create
To attend fashion shows, Visual merchandise
guidelines are met. and install a window or
galleries and exhibitions to manager
in-store display, but experi-
keep up to date with current To understand and be aware
Responsibilities enced prop makers can
fashion and social trends. of brands.
produce outstanding bespoke
To manage a team.
To control the creative To present merchandise both props to a higher, more
budget. To liaise with buyers and creatively and with the professional standard. With
marketing. maximization of sales in mind. shop-floor space becoming
To plan each window scheme
more valuable, many depart-
using an installation calendar. To communicate with the
Carpenters ment stores and large
senior visual merchandise
To manage a team of creative multiple retailers have closed
manager. A carpenter’s role within a
assistants. their in-store prop studios,
department store is not just
To design and implement and now outsource the work.
confined to the making of
in-store and window displays. Working to a budget and a
props in the studio; he or she
brief presented by the store’s
To interact with the will be instrumental in
creative team, the prop maker
graphics team. installing and removing
will present their initial
windows and in-store displays.
To liaise with floor managers. concepts, which may be
Fully qualified and profession-
amended to suit the budget.
To know competitors. ally trained carpenters will
The props can then be built
also know when a prop needs
To communicate with brands. externally months in advance.
to be finished to a high
Often the prop maker will also
standard because it may be
be employed to install their
placed where the public will
work under the guidance of
scrutinize it up close, and
the visual merchandising
when to compromise on
team.
overall quality because it may
The Role of a Visual Merchandiser 25

Porters Online visual

merchandisers
It may seem a luxury to
employ porters. However, The presentation of products
ensuring that valuable to the customer is now
furniture and exquisite props important not only in a store
enter and leave the windows but also online. Retailers
in one piece is essential. employ individuals to manage
Most porters will also be the appearance of their
responsible for managing and websites so that they are
maintaining the stockroom easy to navigate and pur-
that houses props and chase from. An online visual
mannequins. merchandiser will liaise with
the buying teams to ensure
Graphic designers that the latest products are
easily identifiable at the click
In-house graphics teams are
of a mouse. They may work
now slowly being disbanded in
with the text editors responsi-
favour of outside agencies
ble for writing product
that provide not only the
descriptions, and because of
ideas, but also the equipment
the speed and accessibility of
and skill to create a store’s
the Internet, they will be able
artwork. The benefits of an
to manage markdowns and
in-house graphics team are,
seasonal offers, communicat-
however, unquestionable.
ing them accurately and
Unlike outside contractors,
immediately to their
its members will be aware of
customers.
the store’s overall image and,
undoubtedly, having them An online visual merchandis-
on hand to produce samples ing team is often responsible
that can be edited on-site for the styling of the products.
saves a lot of valuable time. Next employs a team of
In or out of house, a graphics photographers to shoot each
team is responsible for the item in the company’s
consistent application of the in-house studio, retouching
store’s graphic design to them and uploading them to
price tickets, banners and the website within hours.
promotional information. Some retailers expect the
manufacturer to provide
professional images that they
can upload without any studio
or model costs.

Above
Paint tins and brushes as props
complement brightly coloured hosiery
in this “Colourist” window theme,
which involved Selfridges’ (London)
whole visual merchandising team,
from managers to graphic designers.
26

Visual merchandising of
multiple chain stores

Many high-street multiple chain stores and sales, other visual merchandisers
have a creative team to design, plan and may be drafted in to help. However, visual
organize their window displays. They then merchandising is usually undertaken by
tell the visual merchandising teams when just one individual. Working for an area
and how the window schemes should be manager, the visual merchandiser in a
installed, and offer tips on mannequin multiple chain will be recruited through
dressing and styling. High-street chains the firm’s head office and will then follow
will have a similar visual merchandising a career path similar to that of a visual
structure to that of a department store. merchandiser in a department store.
However, each store may not have the
These positions are best suited to organized
luxury of its own in-house visual merchan-
individuals who enjoy travelling – even
diser. Instead, one visual merchandiser or
travelling abroad as, on many occasions, the
a team of visual merchandisers may
stores for which they are responsible are
travel from store to store in a chain,
overseas. Of course, those working for a chain
covering specific areas of the country. For
whose head office is overseas may also have
any major promotions such as Christmas
to travel to that office for briefings.

Above
The floor layout at this Zara store in
Salamanca, Spain, was carefully
planned. A display of mannequins
and folded products acts as an
anchor, or focal point, in the centre,
while sufficient space has been left
around it for customers to circulate.
The Role of a Visual Merchandiser 27

A visual merchandiser working for a multiple

high-street chain will be given guidance and
direction from the company’s head office.
There the visual merchandising manager will
design and plan the installation of windows
and in-store visual merchandising projects for
the entire chain, and will then filter the tasks
through to the individual area visual merchan-
disers. International stores, such as Gap,
follow these rules. The Gap head office in the
USA, for example, enforces strict guidelines
to ensure that the brand is not compromised. printed pack, or via email so that they can be
It communicates brand strategy and visual implemented immediately.
guidelines to visual merchandising managers
The flagship store in a chain – usually the
in each of the countries in which Gap has a
largest and most prominent – often has the
store, who then delegate tasks to the relevant
most elaborate window displays. Because
members of their team.
they often vary in size, individual regional
Guidelines may include a plan of how the stores will have window schemes tailor-made
store’s linear space (wall space) should be to suit the size of the windows. Budgetary
merchandised, produced using either Adobe constraints may also mean that they rely
Photoshop or InDesign with illustrated on more economical and simpler window
templates or photographs of the product. The schemes, such as print-work that may form
in-house visual merchandising team will a backdrop for the product, which can be
stipulate whether the products should be installed by just one visual merchandiser.
folded or hung, and how they should be placed
Communication is paramount for a visual
together to build outfits. Outfit building
merchandiser in a multiple chain store, as
involves the placing together of specific
he or she has to ensure that all of the stores
merchandise to create an entire look; for
launch the same product in their windows at
example, a shirt, pair of trousers and a jacket,
the same time. Promotional activities will
which may be displayed with accessories,
also require coordination and planning.
encouraging the customer to purchase the
whole seasonal trend. The day-to-day role of a multiple chain store
visual merchandiser will include communi-
The store’s head office may produce a similar
cating the visual strategy to each of the store
pack to demonstrate how the whole shop floor
managers and store staff, one of whom will be
should be arranged. This will include the
expected to maintain any in-store and
repositioning of fixtures for seasonal collec-
window displays. Signage and ticketing can
tions. During sale times the visual merchan-
be ordered and monitored by the visual
dising teams will be given clear instructions
merchandiser also.
about where items should be placed to create
maximum sales impact.
All these guidelines are sent to the in-store
and area visual merchandise teams in a

Above
A group of mannequins strike dramatic
poses under a ceiling covered with
metallic branding in this Topshop store
in Liverpool, UK. The surrounding area
has been merchandised with the
current trends, as seen on the
mannequins.
28

Visual merchandising of
small retail outlets

Smaller independent shops may enlist Most freelancers find their work by word of
the help of a self-employed visual mouth; a stunning window acts as a good
merchandiser to help promote their marketing tool not only for the store, but also
merchandise. “Freelancers”, as they are for its creator. Clearly the more skilled and
often called, can change the look and efficient freelancers are, the more work they
atmosphere of a store in a matter of may acquire.
hours. Because they generally work on a
On some occasions an independent store-
project-fee basis, freelancers are usually
owner will spot the creative potential in a
fast and efficient. Most of these creative
member of staff and encourage him or her to
individuals have trained within an
dress the windows and arrange the in-store
established and renowned visual team
displays. With no formal training, this can be
and have contacts who can manufacture
risky: not only will the makeshift visual
props and signage for them. A freelancer
merchandiser have no mentor to learn from,
may specialize in designing windows or in
he or she may also pick up bad habits that
in-store visual merchandising, or may
will not transfer well into a reputable visual
offer both services. Some may also
merchandising team in the future. In the
specialize in fashion styling, while others
smaller retail outlet, arranging for a member
may excel at product grouping. It is
of staff to attend a short course in visual
always best to ask to see freelancers’
merchandising would be beneficial.
portfolios before engaging them, as
these will contain examples of their work.

Above
Last Footwear, an independent store
in Brighton, UK, has been designed
using pieces of second-hand furniture
and accessories. The ladder used for
displaying the belts is highly effective.
The Role of a Visual Merchandiser 29

Measuring
success

It is not always easy to gauge the which may include advance preparation and
success of a window display or the allocation of personnel set against the
effectiveness of an in-store display. budget – is more realistic in ensuring that
Despite the hard work that visual sales and the reputation and image of the
merchandisers may put in, retailers can store grow as a result of the visual merchan-
be competitive within their own stores. dising. Forming a professional relationship
A well-presented window may create with the buyers and shop-floor staff will
overwhelming sales, for which the buyers undoubtedly help visual merchandisers prove
may take the credit, attributing the their worth and expertise. Together they
success to the products they selected. should be able to share the success of the
However, a window that performs badly store’s visual merchandising.
will undoubtedly be blamed on the visual
merchandiser.
In the overall scheme, it is important for
retailers to realize that changing the window
display may not generate sudden sales, and
that the long-term effect of how the brand is
evolving through the use of consistently good
windows and in-store displays is more
important. Quick wins can often be achieved;
however, a structured, achievable plan –

Above
In Colette, Paris, simple but effective
bust forms are dressed to inspire and
inform the customers of the latest
seasonal trends. The collections
are strategically placed close by.
Store Design
32

What is
store design?

retailers saw the necessity of offering

its customers the same experience
in-store. Store design became crucial to
success. Today, many designer outlets
in particular spend as much time and
investment on their store’s design as
on their collections.
Store design unites all aspects of visual
merchandising: window display and interior
design as well as fixtures and fittings and
lighting. Visual merchandisers, architects and
interior designers have always worked hand
in hand to create retail environments that are
inspirational yet commercial and above all,
a canvas on which visual merchandisers can
demonstrate their skills. It would be sense-
less for an architect to develop a store’s
Various department stores worldwide interior without first understanding the visual
have been moulded into amazing show- merchandiser’s needs and requirements.
stopping retail emporia. With their grand A good store design will show products to
façades, Harrods in London – whose their best advantage. Walkways, lighting and
thousands of lightbulbs glow like a signage are all major features that need to
shopper’s paradise – and Samaritaine, be discussed even before the important
once Paris’s largest department fixtures are designed. Some retailers may
store, have always stood the test of also enlist the help of interior decorators,
time. With the invention of visual mer- lighting designers and artists to help create
chandising during the 1980s, however, the in-store ambience.

Above Below
The architects of the Prada store Great care and attention has clearly
in New York, Rem Koolhaas’s OMA at the touch of a button. The ramp been given to the lighting in this hidden. A pillar with a surrounding
(Office for Metropolitan Architecture), that opens up to reveal a stage for store for Alexander McQueen in Milan, seat anchors the whole space and is
did not stop at just providing a back- performances is situated opposite a designed by William Russell. Lighting used as a centrepiece for movement
drop for the merchandise; they also fixed seating area, creating a sense of is completely concealed in the ceiling around the floor, while muted light
created a retail space that can be theatre and providing an ambience to and along the perimeter walls, with all colours provide an easy backdrop for
converted into a performance space attract customers to the store. plugs, lightbulbs and unsightly grilles any fashion collection.
Store Design 33

Why is store
design important?
The design of a store can help support
the brand image as well as underpin a
successful retail strategy. Retailers rely
on the design of the store to entice
customers inside. While some retailers
prefer a more subtle store design, others
like to shock and inspire, creating stores
that generate hype and discussion.
Before choosing which road to go down,
a retailer should first consider the demograph-
ics of its customers. Traditional shoppers
would possibly not be impressed if their
local department store turned futuristic and
contemporary. Most multiple retailers have a
proven set format that they use when opening
stores. Established retailers such as Britain’s
Marks & Spencer would perhaps suffer if they
unexpectedly designed an avant-garde store;
the risk would be too high and might unnerve
their loyal following. There are times, however,
when it may be advantageous to break the
mould. In September 2003, for example,
Selfridges embraced a more contemporary
outlook and departed from the turn-of-the-
twentieth-century style of its Oxford Street
building in London when it opened a futuristic-
style store in Birmingham, England. The
building was part of the rejuvenation of the
city’s 1960s Bullring shopping centre. With
hundreds of silver discs adorning the blue
organic shell, the new store is either loathed
or loved by the locals, but, as Gordon
Selfridge would have appreciated, at least
it is noticed and opinions are formed.
Some retailers will invest more money in their
flagship stores. A flagship store is usually
situated on a busy shopping street, where it
will attract the most customers. Oxford Circus
in London boasts the best flagship stores in
the country, with the likes of Topshop, Nike because of its greater floor space. Many have
and H&M taking up prime space. A flagship a dedicated visual merchandising team that
store will also have a larger budget for window sets the standards for the rest of the chain’s
displays and a wider selection of merchandise stores nationwide.

Above
Future Systems’ design for the
Birmingham Selfridges, UK, which entrance. Gordon Selfridge himself
opened in 2003, has become an said that the store didn’t need a name
iconic part of the city’s architecture. – everyone would know the building
Like the flagship store on London’s by its very design – and the new store
Oxford Street, it does not have its in Birmingham follows the precedent
name emblazoned across the in spectacular style.
34

Who designs
the store?

At some time all retailers will have experience in store design because of
to consult with an architect, either to their knowledge and proven track record.
design a new store, renovate an existing Others, however, may challenge young
one or rejuvenate an area of their shop. talented designers to create their stores.
Normally, they will consult an architect
In designing stores, many architects will add
experienced in commercial practice,
their signature style, which more often than
which differs from domestic architecture
not is why they were commissioned in the
due to the need to take public access
first place. When the famous French crystal
into consideration. On most occasions,
manufacturer Baccarat approached the noted
retailers will choose architects with
designer and architect Philippe Starck to

Above
IT Beijing Market is as impressive at
night as it is during the day, with clever
lighting and innovative graphics.
Store Design 35

design its headquarters in Paris, the directors be aware of the product items to be sold and
must have foreseen that his opulent yet the stock densities for each fixture, because
quirky creation would create waves among fixtures need to be functional as well as part
their existing loyal customers. To enforce of an overall design concept. Product adjacen-
his design, Starck also created an exclusive cies are also key in creating a cohesive floor,
collection of crystal for sale in the store. and of course the all-important cash desks,
stockrooms and offices need to be incorpo-
Before starting on the store design, the more
rated in the final design, all of which are
information the architect is given about the
part of the remit of the visual merchandiser
product and the brand, the easier it will be
(see page 120).
to understand the task. An architect needs to

Above
Here Philippe Starck has created
a juxtaposition of free-standing
modern cabinets against the backdrop
of a traditional-style fresco, which is
sympathetic to the style of the
Baccarat collection.
36

An architect will start by preparing concept whole process. Contractors will include
ideas for the client to approve; the initial ideas builders, electricians, painters and carpen-
will seldom be what may have been expected. ters. Between them lies the responsibility
Once the designs have been approved, the to ensure that the deadline for the store
architect will produce floor plans and a opening is met.
timeline of how the overall building work will
be completed, as well as the ever-important
budget. The architect will also suggest
building contractors and specialists to build
the shop fit and will manage and oversee the

Above
Water and electricity don’t usually
mix, yet here in Maison Baccarat’s
store in Paris, Starck has suspended
a lit chandelier in a contemporary
aquarium, creating a quirky yet
stunning visual.
Store Design 37

Pop-up shops

Pop-up shops have been popular since the Gucci launched a pop-up shop selling just
turn of the twenty-first century. They trainers in a disused store in Covent Garden,
started as a marketing tool to increase London. It received a lot of media attention,
brand identity outside the retailer’s which no doubt increased awareness and
traditional surroundings. A pop-up shop, confirmed the brand’s street credibility and
as the name suggests, appears for a reputation for innovation. In 2011 the
limited time in a temporary space. Many businessman Roger Wade opened BOXPARK
retailers take advantage of derelict in trendy Shoreditch, east London. This
premises in prime locations or use mobile collection of refitted shipping containers
units, such as shipping containers. forms an urban pop-up shopping mall

Above
Launched in 2011 in London’s trendy
East End, BOXPARK is a collection of
retailers trading from recycled shipping
containers.
38

consisting not only of fashion brands but mortar store in the form of a temporary
also of lifestyle stores and cafés. The whole pop-up shop.
concept is in keeping with the ethos of
Shoreditch’s vibrant multicultural community.
The people of Buenos Aires, meanwhile,
woke one morning to discover a huge Adidas
shoebox in the centre of town with the lid
half open. This pop-up store received huge
media attention across the globe. Even the
online trader eBay opened its first bricks-and-

Above
To coincide with rap star Kanye West’s
New York shows, he opened a one-off
pop-up shop selling his Yeezus
merchandise.
Store Design 39

Above and below

The pop-up Nivea lab, which appeared
in the centre of Milan to the
amusement of locals, not only
promoted Nivea products but also
included a hairdresser.