Introduction
Visual Merchandising
Visual Merchandising emphasises visual elements on a presentation of goods in retailers. Visual Merchandising It is a vital part of any retail operation. The main focus is to capture the attention of customers, It steers shopping stoppers in their tracks as they admire a window display at the front and throughout the store towards the season's key buys. An effective visual merchandising can improve the brands image and dramatically increase sales.
Visual Merchandiser
Is also known as Window Dressers who are employed by retailers to create display either within window spaces or on a shop floor. Whilst to the untrained eye it may appear that the work of a window dresser/visual merchandiser is an exercise in artistic expression, the underlying purpose of the displays they create are to attract, engage and encourage the customers towards making a purchase. There are many tasks involves before the final window installation.
Window Display
The window display is the most important part of the store design because it's the first meeting place the customer has with the brand and it also give passerby an impression of the store. A passerby can hold an opinion on the type of merchandise sold inside. The layout of the window should not take focus away from the clothes and it should suggest a feeling. Window display are crucial, they are a mix of art, fashion, design and marketing. They must compel customers to enter the store by defining a brand's imagine.
Window display plays an important part in visual merchandising, so ensure that these objectives are showcased when creating a window.
Window display plays an important part in visual merchandising, so ensure that these objectives are showcased when creating a window.
- Good Lighting
- A Theme
- Impact
- Rhythm
- Composition
Types Of Window Display Techniques
- Repetition (can be a good thing in a window)
- Balance and Symmetry
- Balance
- Colour
- Triangle Pyramids
- Balance and Asymmetry
- Proportion
- Focal Point
The window display is the most important part of the store design because it's the first meeting place the customer has with the brand and it also give passer-by an impression of the store. A passer-by can hold an opinion on the type of merchandise sold inside. The layout of the window should not take focus away from the clothes and it should suggest a feeling. Window display are crucial, they are a mix of art, fashion, design and marketing. They must compel customers to enter the store by defining a brand's imagine.
Window display plays an important part in visual merchandising, so ensure that these objectives are showcased when creating a window.
- Good Lighting
- A Theme
- Impact
- Rhythm
- Composition
There are a few things to consider before your official application to make an effective window display.
- Odd numbers are most pleasing to look at in a window, so cluster together items of three's, five or seven in a group
- Keep it clean
- Lighting is crucial for both day and night
- Use Repetition of shapes and colours (this will attract customers attention)
- Keep it simple
- A bit of height and depth of items in a window can carry eye throughout the display (eye level buy level)
- Update window ever 6wks or refresh every 2wks (Change display to keep it fresh)
- Use Lights to highlight signs and individual items
- Focus on the theme or an item (don't try to put everything in at once)
If you have more than one window you can continue the theme to balance out the display and give the storefront a bit coordinated look and also bare in mind if you clutter everything in a window it can automatically loses its appeal and would hardly attract any passer by.
Visual Merchandiser (Tool Kit)
- Metal staple gun box
- Staple Remover
- Pliers
- Measuring tape
- Too Box
- Nylon thread 7lb
- Cup hooks
- Small claw hammers
- Scissors
- Craft Knife
- Tracing paper
- PVA glue
- Spray mount
- Pins
Week 1 October 03, 2017
- Talked about Visual Communication
- Visual Merchandising Elements and Objectives
- Tool Kit
Mind Map
A mind map is created before you develop a marketing plan which is commonly used for brainstorming and visualising ideas. There is no such thing as a bad idea, treat this exercise as a brain dump and it doesn't have to be perfect the first time.
In Class we were given Five themes for a window display from the following list, We should do a research on all plus brainstorm ideas around one theme.
- Melted Metallic
- From Day to Night
- Glitter Reflection
- Sheer Translucent
- All White On The Night
Melted Metallic
All White On The Night
Glitter Reflection
Sheer Translucent
Week 2 October 09, 2017
- Mind Map
- Concept around a theme
- Make a moodboard for each theme (homework)
Evolution Behind Visual Merchandising
Fashion Innovator
Charles Federick was an English Fashion Designer born on October 13, 1825. He was known for Haute Couture and considered as many fashion historian as the father of haute Couture. He also had his own label called House of Worth, one of the foremost fashion houses of the 19th and the early 20th centuries.
In 1845 Charles Federick Worth moved to Paris, In, 1852 Worth was a sales assistant in Gagelin-Opigez & Cie, a prestigious Parisian firm that sold silk fabrics to the court dressmakers, also supplying cashmere shawls and ready-made mantles which is a garment worn my catholic priest known as a cloak. While working at Gagelin worth met Marie Vernet who became his wife in 1851. They had two sons Gaston Lucien in 1853 and Jean Phillippe in 1856. By that stage, Worth was eager to establish himself.
Worth started to sew dresses to complement the shawls at Gagelin, these were simple designs but his expert skills at tailoring caught the eyes of store's clients. Gagelin then granted Worth permission to open a dress department, that was his first entrance into the dressmaking world.
Shortly before a Centenary Exhibition in London, A 1958 article in The Times published the opening of his Parisian fashion house noted that the young worth was full of ideas and having great success at Gagelin that he was refused share in the Gagelin business, even though he had helped build the company's international reputation by exhibiting prize-winning designs to both The Great Exhibition in London and the Exposition Universelle in Paris where he displayed a white silk court train embroidered in gold.
In 1860 Worth designed a ball dress for Princess de Metternich. The dress was admired by Empress Eugénie who had asked for the the dressmaker's name and demanded to see him the next day. Worth then became Empress Eugénie official dressmaker. She had him on call to create dresses for events she attend which was extravagant evening dresses, court dresses, and masquerade costumes.
By the 1870's Worths designs were recognised internationally and in high demand, appearing in fashion magazines read by a wider society. At the height of his success Worth reformed the highly popular trend, the crinoline. It had grown increasingly large in size, making it difficult for woman to manage such as, walking through doors, sitting, caring for their children and holding hands. Whilst the crinoline was a major success. Worth abandon the crinoline altogether, creating a straight gown shaped without a defined waist that became known as the princess line. Worth created a shorter hemline that was seen to be radical but practical for woman who enjoys long walks and meant to be adopted over time.
Worth was also the first designer to label his clothing sewing his name into each garment he produced, This made him the first person to develop brand logo on clothing. He also changed the dynamics of the relationship between clients and clothes maker. His approached to marketing was so innovative, he was the first one to use live mannequins in order to promote his gowns to clients. Charles Federick Worth's dresses were known for their lavish fabrics and trimmings and for incorporating elements from period dresses. He creates unique pieces for his most important clients and showcased them by live models, that then could be tailored to the clients requirements in his workshop. Overtime, Worth clientele had grown wealthy american women flew to Paris to have their entire wardrobe made by Worth, that meant morning, afternoon and evening dresses. Worth also produced garments for popular stars such as Lillie Langtry, Sarah Bernhardt and Jenny Lind. Prices at House of Worth were dizzying for the time, clients could pay a bill sum from 300 to 2250 francs.
By the late 1800's, Worth had established characteristics of a modern couture house and brand extension through the franchising of patterns and fashion plates. Worths sons gaston and Jean joined the business in 1874, to help with management, finance and design, leaving Worth more free time off in his later years. On March 1895, Charlies Federick Worth died from pneumonia. After his death, House of Worth was now an established entity, its most successful years were those flanking 1900. During this span of time woman was ordering 20-30 dresses at a time. By 1897, clients could order a garment by phone, by mail or by visiting one of Worths branch stores in London, Cannes or Biarritz. The company's annual turnover was placed at over five million francs at the time of the century.
A Charles Worth Gallery opened in his home town at Bourne, Lincolnshire, in April 2006, containing a display of documents, photographs and artefacts relating to his life and times including copies of several of his dresses meticulously re-created by a team of local seamstresses. The gallery can be found at the Heritage Centre run by the Bourne Civic Society in South Street and is open on Saturday and Sunday afternoons from 2 a.m. until 4 p.m. or privately by appointment.
In 1845 Charles Federick Worth moved to Paris, In, 1852 Worth was a sales assistant in Gagelin-Opigez & Cie, a prestigious Parisian firm that sold silk fabrics to the court dressmakers, also supplying cashmere shawls and ready-made mantles which is a garment worn my catholic priest known as a cloak. While working at Gagelin worth met Marie Vernet who became his wife in 1851. They had two sons Gaston Lucien in 1853 and Jean Phillippe in 1856. By that stage, Worth was eager to establish himself.
Worth started to sew dresses to complement the shawls at Gagelin, these were simple designs but his expert skills at tailoring caught the eyes of store's clients. Gagelin then granted Worth permission to open a dress department, that was his first entrance into the dressmaking world.
Shortly before a Centenary Exhibition in London, A 1958 article in The Times published the opening of his Parisian fashion house noted that the young worth was full of ideas and having great success at Gagelin that he was refused share in the Gagelin business, even though he had helped build the company's international reputation by exhibiting prize-winning designs to both The Great Exhibition in London and the Exposition Universelle in Paris where he displayed a white silk court train embroidered in gold.
In 1860 Worth designed a ball dress for Princess de Metternich. The dress was admired by Empress Eugénie who had asked for the the dressmaker's name and demanded to see him the next day. Worth then became Empress Eugénie official dressmaker. She had him on call to create dresses for events she attend which was extravagant evening dresses, court dresses, and masquerade costumes.
By the 1870's Worths designs were recognised internationally and in high demand, appearing in fashion magazines read by a wider society. At the height of his success Worth reformed the highly popular trend, the crinoline. It had grown increasingly large in size, making it difficult for woman to manage such as, walking through doors, sitting, caring for their children and holding hands. Whilst the crinoline was a major success. Worth abandon the crinoline altogether, creating a straight gown shaped without a defined waist that became known as the princess line. Worth created a shorter hemline that was seen to be radical but practical for woman who enjoys long walks and meant to be adopted over time.
Worth was also the first designer to label his clothing sewing his name into each garment he produced, This made him the first person to develop brand logo on clothing. He also changed the dynamics of the relationship between clients and clothes maker. His approached to marketing was so innovative, he was the first one to use live mannequins in order to promote his gowns to clients. Charles Federick Worth's dresses were known for their lavish fabrics and trimmings and for incorporating elements from period dresses. He creates unique pieces for his most important clients and showcased them by live models, that then could be tailored to the clients requirements in his workshop. Overtime, Worth clientele had grown wealthy american women flew to Paris to have their entire wardrobe made by Worth, that meant morning, afternoon and evening dresses. Worth also produced garments for popular stars such as Lillie Langtry, Sarah Bernhardt and Jenny Lind. Prices at House of Worth were dizzying for the time, clients could pay a bill sum from 300 to 2250 francs.
By the late 1800's, Worth had established characteristics of a modern couture house and brand extension through the franchising of patterns and fashion plates. Worths sons gaston and Jean joined the business in 1874, to help with management, finance and design, leaving Worth more free time off in his later years. On March 1895, Charlies Federick Worth died from pneumonia. After his death, House of Worth was now an established entity, its most successful years were those flanking 1900. During this span of time woman was ordering 20-30 dresses at a time. By 1897, clients could order a garment by phone, by mail or by visiting one of Worths branch stores in London, Cannes or Biarritz. The company's annual turnover was placed at over five million francs at the time of the century.
A Charles Worth Gallery opened in his home town at Bourne, Lincolnshire, in April 2006, containing a display of documents, photographs and artefacts relating to his life and times including copies of several of his dresses meticulously re-created by a team of local seamstresses. The gallery can be found at the Heritage Centre run by the Bourne Civic Society in South Street and is open on Saturday and Sunday afternoons from 2 a.m. until 4 p.m. or privately by appointment.
Gallery Of Charlies Federick Worth Dresses
|
|
|
|
Jamaican Architecture in the 1800's - 1900s
In the 18th century Georgian style houses was very popular on the island. The design was functional and appropriate to tropical climate and elegant, Some common features to this style include balustrades, veranda which come call a porch, ornate and deep fascia boards, contrasting lattices, and pineapple shaped finials located above roof-lines and cornices, which gave the combined design an elegant appeal. Jamaican Georgian quickly became the default style across the island, and was used to design major public buildings, from railway stations to simple domestic houses. Individually, houses differed according to the architect’s personality and the owner’s taste and wealth. In contrast to other houses in the English-speaking countries of the Caribbean, Jamaican houses were elevated using stilts or pilings to give room for air circulation. This was an effective technique to prevent rot; to keep the ground floor cool and to prevent insects, rats, scorpions, and snakes from entering living areas. Devon House in Kingston is a classic example of Georgian style architecture, with its neoclassical form, symmetry and wide, sweeping stairways.
History Of Fashion - Era 1920's
The decade of the 1920s was an era of vast change; women shocked their men as the hemlines gradually rose, reaching the predominantly mid twenties flapper style. The American dream dominated an age rich in entertainment, full of crime and prohibition. Makeup became popular and the hairstyles became shorter. The notorious flapper girl is known by all and the short sleek hair, above the knee straight shift dress and the boyish figure will never fail to be remembered.
A Style Icon
Gabrielle Coco Chanel
Gabrielle Bonheur "Coco" Chanel was born on August 19, 1883, was a French fashion designer and businesswoman. She was the founder and namesake of the Chanel brand. Chanel’s lifelong ambition fueled her ideas of how modern women should look, act, and dress. She both achieved financial success as a businesswoman and catapulted to social prominence in French high society, thanks to the connections she made through her work.
Throughout her career, Chanel succeeded in marketing her own personal attitudes and style, making her a key contributor of women’s taste throughout the twentieth century.
The very name of Chanel defies all concepts of time, the house of Chanel has dressed a century and lasted a century, and kindly agreed to satisfy our curiosity and help us to interpret the house icon and symbols.
The Suit
The Chanel suit is ageless. A uniform of style, it is absolutely unique, easy to wear and easy to personalise and recycle. The suit is associated with the woman who created and wore it first in 1913, turning into what she herself called the "fashion statement the century". A classic symbol of French elegance, the suit is constructed according to a precise code, strict lines, a fitted cut articulated at exactly the right places to allow ease of movement, braid trimming on the jacket, sleeves fitted precisely at shoulder level, real pockets and enduring range of colours, beige , navy blue, black as well as pink, cherry red or pale green, a consistent choice of fabrics jersey and tweeds are daring combinations but it was worth the risk. The jackets and skirts are always cut from the same piece of fabric to avoid colour variations. The skirts are mounted on grosgrain, at the hip level, not on at a waist-level belt, which would have resulted in unnecessary thickness. Braids and trimmings underline contours of the jacket redefine it, edge the pockets are cuffs always was impeccable style.
The concept of a coordinated suit is believed to have been initially inspired by the first tailor-made suits for woman created by English Designer John Redfern in the late 19th century. From the very start, young Gabrielle Chanel imagined the suit in jersey, a fabric that society women of that period considered cheap and demeaning. Flexible, comfortable, simple, the suit was an expression, As soon she entered the world of fashion, Coco Chanel established herself as an ecumenical revolutionary, strongly opposed to the frou-frou of the époque which was never her style.
Iconic Style
The Flapper Dress
Women’s fashion changed dramatically in the twenties. The iconic flapper style didn’t debut until 1926. The androgynous, masculine look was the complete opposite of the previous ladylike demure from the 1900 and 1910s. With genders bending, ‘boyish bob’ and the ‘garconne frock’ were staple fashion phrases. The classic flapper girl wore a short shapeless shift dress, short sleek hair and had an exceedingly flat chest. The flapper demonstrated her rebellious style by wearing makeup and playfully applying it in public. She was seen brandishing cigarette holders and exposing her limbs while dancing unrestrictedly in jazz clubs.
|
|
Jazz and Art
Jazz had become a popular music in America. After First World War ends, Although older generation consider the music threatening to old culture values. The 1920's is also known as the Jazz era. Louis Armstrong and Duke Ellington were hugely popular in the music industry and art changed with the start of the Art Deco influence. This was seen through stain glass windows all the way to architecture.
Famous architects include Frank Lloyd Wright and the design company Bauhaus who structured buildings and interiors with linear lines. The Art Deco influences gave clear inspiration to twenties fashion: the structured lines, squares and pyramid shapes from the architecture can be clearly identified in the style of the short, drop shouldered dresses popular for the period.
Art Deco
Art Deco started in the Europe and then it became very popular and spread widely across North America.
Poster and magazine pictures
|
|
|
Week 3 October 23,2017
- Researched A Fashion Innovator behind Visual Merchandising
- Researched about Architecture in the 1800 & 1900s (I did mine about Jamaica) (homework)
- Researched 1920's Fashion Style
- Research Art & Culture of the 1920's
- Researched Fashion Icon of the 1920's (homework)
Fashion in the 1950s & 1960s
The 1950s took a new direction for women. They left their homes to work in offices and factories, earning and managing their own money. Clothing was heavily restricted throughout and just after the war. Everything from the length of skirts to the size of collars was regulated. This resulted in a slim, straight silhouette. Women wore comfortable clothing like suits and shirtdresses,and even began to regularly wear pants, especially to work. They had to make do and mend, buying or sewing well-made clothing that had to last and fixing garments that were past their prime. In 1947, Christian Dior permanently changed the fashion industry, as well as created the look that would dominate the next decade.
The 1960s fashion was extremely stylish and women had attitude from the start of the decade to the end. In the early years, Jackie Kennedy was the fashion idol. By the the middle of the decade, supermodel Twiggy had women freeing their minds and bodies into clothing that didn’t require any extra thought or effort. From modest to there is no such thing as too short.
The fashion of the 1960s was very youthful. Women wore shapeless mini-dresses baby doll style, oversized collars, big bows, pastels, polka dots and delicate trim with Mary Janes Shoes , Kitten heel pumps or flat sneakers, making women look like little girls. The more innocent the better. Colours and prints were at first inspired by the pop art and modern art. Checkerboard, stripes, colourblock, and Campbells soup cans were all placed on short shift dresses. Eventually “pop” settled down into soft pastels, pique fabrics and gingham checks made for a gentler “girly” appeal.
Short dresses for women became a sign of how confident she was. Hem length was directly proportional to how women felt about their own sexual liberation. Anything above the knees was known as a mini skirt. Short skirts wasn't meant to attract men, but instead it was a way to attract the attention women wanted.
Week 4 November 06,2017
- Research fashion of the 1950s and 1960s (homework)
Lighting in Window
- Set the mood ( for e.g.. you can use light gels to create a mood)
- Fit the theme
- Reflects your brand
- Bright light will create a more modern feel
- Soft light will create a subtle feel
- Creates Impact
- Great for dark evenings
- Show details
- Create a favourable first impression
In Store Lighting
- Add depths and interest
- Look Dynamic
- Guides customers to specific areas
- Illuminate specific areas
- Certain lights create shadows and drama to your surroundings (such as gel lights)
Floor and Wall Covering
- Staple Gun
- MDF sheets changed for themes
- Suedes, PVC, felt- flame and fire retardant
- Must be done properly and neatly
- Other essentials - staples, nylon thread, wire scissors, staple remover, sellotape, measuring tape, hammer, screwdrivers, nails, screws and drill.
NB!! Everything that goes into a window should be fire proof.
Planograms
- Functional
- Easy to shop
- Work well with aesthetic of the store
- Make good
- space for the best selling as generates revenue
Recovery and Housekeeping
- Windows Checked daily
- Morning recovery in store
- Sensible handling of store
Presentations - Verbal and Visual
- Flooring
- Signage
- Graphics
- Height
- Grouping
- use Key words
- lights
- Pyramids Principle -odd numbers
- Speak about your key audience
History for Fashion Photography
Helmut Newton was a prolific photographer who became renowned for his use of provocative sexually charger imagery throughout his career. With so many images to choose from I have chosen this image of Charlotte Rampling which he took during their first shoot ever shot together in 1973.
Aries Portrait of Charlotte Rampling 1973
Rampling went on a to play muse to Newton over a number of decades featuring in dozens of campaigns an publications. This image is notable not just as the time they worked together but the dramatic black and white tones that were common throughout Newton's work. Here, the use of light and shade as well as props to tell the story of the portrait are used to great effect. As much as the portrait engages the viewer to think about what went before and what was yet to come.
Over exposed chandler lights, open shutters and a large mirror accentuate the hidden yet powerfully exposed subject. The disposed cigarette packet and solitary wine glass tell a story of the subject alone with their thoughts when caught in the moment. Although caught in the moment there is no sense of fear of cowering in the powerful image. Newton and Rampling collaborated successfully for many years and Rampling spoke fondly of this their first meeting in 1973.
Week 5 November 13, 2017
- We learnt the importance of lighting in a window and in-shore
- We learnt about whats needed for Floor/Wall Covering
- We learnt about layouts in Visual Merchandising
- We talked about Recovery and Housekeeping
- We learnt about Verbal & Visual Presentations in VM
- Research A Helmut Newton Photo taken in the 1970s and talk about it (homework)
How To Make A Good Presentation Effective
Show your passion and connect with your audience
- Show your passion for the subject
- Know your subject
- Be honest
Focus on your audience
- What they want to know
- Focus on their response
- React to their response
Keep it simple
- 30 seconds elevator summary
- What is the key message or 3 key points
- Keep it brief
Smile and make eye contact
- Build a rapport
- Helps you to feel less nervous
- Make sure you are seen (dress to impress)
Start strong
- Hook your audience
- Images, quality not quantity
- Entertain and be creative
10-20-30 rule for slides
- Guy kawasaki of Apple
- No more than 20 minutes
- No more than 10 minutes
- Use a font of no less than 30 points
Sell your idea
- Link your idea to an image
- Convince your audience
- Know your idea inside out (use your panels like symmetry)
Use your voice effectively
- Vary the speed
- Emphasise: change your tone (if needed)
- Hold your audiences attention
Use your body
- Be confident
- Move naturally
- Do not cross your arms, hands in pockets and no pacing
Relax breathe and enjoy
- Concentrate on breathing
- Pause for breathe/ collect your thoughts
- As you relax your audience will enjoy.
What to Know - Era of the 1980's
Week 6 November20, 2017
- Learnt 10 steps towards a great presentation
Practical in class
When we got back to college we started doing pratical activity in class like dismantling mannequins and assembling them, covering dress forms with fabric just incase we need to and also practise window techniques how to position mannequins. We did this for 3 weeks in January.
Road Trip with my class
Me and my classmate went to the RDS to see Irish businesses and also to get a sneak peak and there display layouts. There was some real good ones but the jewellery stands caught my attention there was simply but also eye-catching and i loved it. Later that afternoon we all went back to the college and practised more on dressing a mannequin, doing flat-lays and suspending.
Our assignment for that day was to write about one the business we saw at the RDS that day and i choose to write about a candle company called Celtic Candles because i have gotten some great insight of the business after meeting and talking to the son who is also the CEO.
Our assignment for that day was to write about one the business we saw at the RDS that day and i choose to write about a candle company called Celtic Candles because i have gotten some great insight of the business after meeting and talking to the son who is also the CEO.
Flat Lay
Made flat lays with what had inside our hand bags at the time in class.
Guidelines of other brands
H&M
Folkster
We go the opportunity to walk around the city centre and take pictures of brands showcasing their visual layouts and i got loads of ideas for setting up visual ideas and also ways to stay with a budget.
Pop-up shop for a Charity
Me and my classmate got this great opportunity to do a pop-up shop in Ranalegh for Second Avenue with is a consignee boutique that sells high-end labels in an association with the Peter McVerry Trust. Its a charity that helps homeless people. Each of my classmates got an area where they should set-up and I got half of a window because i had to share it with my classmate.
With this project we only had 3hrs to set-up quite nerve-recking but we did as a team and was very proud of the work we've done on site. For this project i made a signage showcard and also made 100 paper flowers from newspaper using PVA glue to stick all the petals together which was a very messy job but with late hours and longs days I got them done within 24hrs.
With this project we only had 3hrs to set-up quite nerve-recking but we did as a team and was very proud of the work we've done on site. For this project i made a signage showcard and also made 100 paper flowers from newspaper using PVA glue to stick all the petals together which was a very messy job but with late hours and longs days I got them done within 24hrs.
Final Installation for the window
Poster For Peter McVerry Trust
I made a little flyer in photoshop to promote the Charity for the Pop-up shop.
I also made a poster to promote the pop-up shop for marketing strategies.
