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.
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.
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.
Types Of Window Display Techniques
Repetition (can be a good thing in a window)
Balance and Symmetry
Balance and Asymmetry
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
Nylon thread 7lb
Small claw hammers
Week 1October 03, 2017
Talked about Visual Communication
Visual Merchandising Elements and Objectives
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.
From Day to Night
All White On The Night
All White On The Night
Week 2October 09, 2017
Concept around a theme
Make a moodboard for each theme (homework)
Evolution Behind Visual Merchandising
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 GreatExhibition 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 Housein 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 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.
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 started in the Europe and then it became very popular and spread widely across North America.
Poster and magazine pictures
Week 3October 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.
Shift dresses was casual wear for home, running errands or going to the beach. They were not office friendly. They were too short. Anything above the knees was known as a mini skirt. Short skirts were not meant to attract men for the sake of sexual interest, but instead were a way to attract attention so that a woman could be the one to decide if his attention was wanted. Sexual power through fashion. Hem length was directly proportional to how women felt about their own sexual liberation. Short dresses for women became a sign of how confident she was.
The jumper dress was a Mary Quant invention that captured the youthful, playful,
Week 4November 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
Great for dark evenings
Create a favourable first impression
In Store Lighting
Add depths and interest
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
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.
Easy to shop
Work well with aesthetic of the store
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
use Key words
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
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)
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
Do not cross your arms, hands in pockets and no pacing