Visual Merchandising and Retail in Fashion Market

Visual Merchandising and Retail in Fashion Market Sara Minelli

a course provided by

I S T I T U T O

I T A L I A N O

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D E S I G N

©2020 Stampa – Press Up, IT10922761001 Via Cadu� sul Lavoro, 01036 Zona Industriale Se�evene VT ©Is�tuto Italiano Design Anwa S.r.l. (IID Srl) – Editore Come da revisione dell’ogge�o dello Statuto Sociale effe�uata con A�o Notarile registrato in Perugia in data 2 gennaio 2019 ed iscri�o al Registro delle Imprese di Perugia il 9 gennaio 2019 protocollo n. 25, contenente il nuovo Statuto Societario Sede legale in Perugia (Italia), Via Galeazzo Alessi n. 1, 3/A e 11 – 06122 Dire�ore Responsabile Do�. Ing. Andrea Lenterna, pubblicista iscri�o all’Ordine dei Giornalis� di Perugia dal 30 maggio 2013 (già Dire�ore Responsabile di: “Cerco & Trovo”; “Art & News”) Approvazione del Comitato Scien�fico IID Grafica e Illustrazioni: ©IID Srl Proge�o Grafico: Diana Magri I diri� di traduzione, di memorizzazione ele�ronica, di riproduzione, di ada�amento totale o parziale, con qualsiasi mezzo (compresi i microfilm e le copie fotosta�che), sono riserva� per tu� i Paesi. Le fotocopie per uso personale del le�ore possono essere effe�uate nei limi� del 15% della presente opera rispe�ando in ogni caso le previsioni della legge 22 aprile 1941 n. 633. Le riproduzioni diverse da quelle sopra indicate (per uso non personale- a �tolo esemplifica�vo commerciale, economico, professionale- e/o oltre il limite del 15%) potranno avvenire solo a seguito di specifica autorizzazione rilasciata da IID Srl. L’elaborazione dei tes�, anche se curata con scrupolosa a�enzione, non può comportare specifiche responsabilità per eventuali errori o inesa�ezze.

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Contents TODAY FASHION BUYING I.

Buying & Buyer.................................................................6

II.

Buying & Merchandising..................................................8

III.

Collec�ons.......................................................................12

IV.

Ou�it for Buying Office...................................................22

V.

Calendars & Selling Campaign........................................26

VI.

Designers & Merchandiser..............................................30

VII.

Types of Retailer..............................................................33 VISUAL MERCHANDISING AND RETAIL

VIII. Defini�on of Visual merchandising..................................37 IX.

Visual merchandising guide lines.....................................38

X.

Windows.......................................................................39

XI.

In store set-up...................................................................42

XII.

Mannequins & ou�its.......................................................44

XIII.

Windows calendar............................................................46

XIV.

In store displays layouts...................................................48

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Š Alessandra Stasi

Introduction Today Fashion Buying The role of buying is not easy but it’s also very interes�ng for whom wants to work in fashion retail.

What I want to do in this first part, it’s to walk through the buyer’s role to show you what is and what do a buyer, the instruments useful for this job, how a buyer can cooperate with other important roles in the fashion retail. This will be the overview to give you an idea of this world but most of all I would love to share with you my experience. For some years, I’ve worked in a buying office and I want to share this with you to give you my idea of buying and I would love to know what you think about this world and how you can feel this complicated but interes�ng world.

It was not easy for me to write this part, especially because it was, some�mes in contrast with my first love that is the visual merchandising world; this because it’s very hard to put together numbers and crea�vity.

Let’s start this lessons together to discover this world.

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I. Buying & Buyer

The business of buying clothes from manufactures and selling them to customers is known as retail. In the retail industry, a BUYER, is and individual who selects what items are stocked.

Buyers usually work closely with designers and their designated sales representa�ves and a�end trade fairs. wholesale showrooms and fashion shows to observe trends. They may work for large departments stores, chains stores or smaller bou�ques. For smaller independent stores. a buyer may par�cipate in sales as well as promo�on, whereas in a major fashion store there may be different levels of seniority such as trainee buyers, assistant buyers, senior buyers and buying managers, and buying directors.

For buyers and department stores like for example Harrods or Saks, responsibili�es may include ensuring that the store is properly stocked with a wide variety of designers clothing. The role of a buyer is influenced by the type of retail and business. A buyer is required to possess visual crea�vity, analy�cal skill, nego�a�on skills, business acumen and keen awareness of fashion.

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Generally, buyers typically specialize in one type of merchandise such as women’s dresses or skirts or other specific item.

However, in a smaller retailer, a buyer may buy for a larger, less specialized range such as women’s casualwear which include shirts, skirts, pants and jackets. The larger the retailer, the more specific the product area is for a buyer. Large companies that have a broad range of products o�en have separate buying departments for menswear, womenswear and children wear. A buyer at a smaller retailer may buy name brand products while a large company buyer have the opportunity to be involved in the design and development of the products. A buyer with experience will travel to learn new fashion trends and to visit clothing suppliers. Assistant buyers play a smaller role in the selec�on of merchandise; they may help senior buyers with basic aspects of retailing and may also be in charge of orders and shipments, supervise sales personnel, keeping records and dealing with customers who are returning of exchanging merchandise.

It is important to know that if you work for a luxury segment you should know the “luxury pyramid” to be�er understand the buying.

Source: Altagamma Worldwide Market Monitor

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II

II. Buying & Merchandising

Buying and merchandising team structure differ by the type, history and size of the organiza�on. The tradi�onal structure of a team assigns a buying team and merchandising team to a specific product area, and there are controllers tasked with direc�ng teams across various area. Buying teams are further divided based on the product area (athle�c wear, leather goods etc.), organiza�on division (men’s wear, woman’s wear etc.). A buyer can have frequent mee�ngs with the buying manager to discuss the development of the range of garments. Buyers also interact o�en with the merchandising, design, quality control and fabric technology departments. A buyer meets with the finance, marke�ng and retail sales personnel on a less frequent basis.

Some buyers meet regularly to update each other about price ranges as well as to receive or give advice. Buyers o�en travel together or with the merchandisers to coordinate ranges. For instance, a buyer for woman’s jackets may coordinate with the buyer for woman’s blouses since the two garments are frequently worn and purchased together.

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Aim of retail is to meet changing needs of the consumer whilst also ensuring the cost of product enables to retailer to achieve maximum profit: • Buyers and merchandisers combine to achieve profits.

• Buyers spend more �me on sourcing and product.

• Merchandisers organize selling process and distribu�on.

• Both use computers: planning, placing and processing orders.

Important factors for a right buying and merchandising process: • Right product; • At the right price; • In the right quan�ty; • Of the right quality (for market sector); • In the right place (store environment); • At the right �me (on season and on trend).

Buyer’s func�on: • To acquire right goods for correct target consumer with the best possible profit margin; • To accurately interpret buying policy (formulated by buyer director using market research and past results); • To research constantly for new products, manufacturers and trends; • To maintain a reliable supplier base and quality of product; • To make financial forecasts (stock, sales, budgets); • Nego�ate with suppliers for best terms/payments and discounts as well as price.

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The skills required to be a good buyer are, for sure, ini�a�ve, enthusiasm and determina�on, foresight and planning skills, to have a leadership and communica�on skills and a big and important integrity.

Merchandiser’s func�on: • Long range forecasts, plans, sales margins, stock levels; • Keeps accurate records: purchases, returns, transfers, markdowns; • Maintains budgeted stock levels; • Controls purchases (re orders); • Implements trading and pricing policy;Assists with selling process, communicates on stock mix available for promo�onal events.

The skills required to be a good merchandiser are, for sure, sound understanding of finance, ini�a�ve and leadership, foresight, analy�cal approach to planning and to have a team of allocators to assist in goods distribu�on.

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11 Š Alessandra Stasi

III III. Collec�ons

Buyers predict months and in some cases years in advance what accessories and apparel will sell and at what prices. The buyers need to stay current with the fashion industry. Depending on the item and season, buyers purchase merchandise six months before it sold in stores. Therefore, they must be able to an�cipate fashion trends and consumer needs.

In order for buyers to an�cipate future trends, they familiarize themselves with current merchandise in catalogs and line sheets and travel to seasonal fashion weeks and shows to view new styles.

Companies (for example Zara or H&M etc.) have dras�cally shortened the buying and product �me lines. It is also necessary for a buyer to know his/her customers and they can achieve this by viewing sales records and by spending �me on the selling floors.

Fashion buyers interact frequently with other departments within the company to get advice. It is important to have a large fashion range and to achieve that requires team effort. Buyers coordinate and discuss ideas with the merchandising, marke�ng, and quality control departments. The internal departments are dependent of one another and they need to work together if the company is to be successful.

Find below some examples of instruments for a buyer’s role and work: • Collec�on’s descrip�on (BC SS12); • Catalogue; • Ou�its; • Press release.

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Example of a collec�on’s descrip�on Technical Walk-Through the Ss 12 Women’s Collec�on Topic of the new Brunello Cucinelli Spring Summer Women’s collec�on is sleek luxury characterized by menswear-style and Bri�sh-style with focus on feminine details. The concept of purity flows like a wave: simplicity is mainly expressed through purity of shapes and materials with transparent gauze in contrast with embroidery and tricot. In details in the collec�on are used oversized and so�ly flowing shapes, box cuts, ‘T’ lines and �ght shapes.

Matching (to match with double Tshirt short oversize, boxy cuts Tshirt or �ght, ribbed cashmere/silk).

Shapes: Skirts Skirts have hemlines; close fi�ng and flowing (combined fabrics: leather/co�on – silk/linen with details (monile).

Shapes: Dresses Length: • 92 cm (no close-fi�ng, oval shape, top of the knee); • 115 cm (just below the knee for day �me and more close fi�ng); • 125 cm (ankle-length for day �me); • 153/140 cm (ankle-length for evening).

Matching (to match with waist jackets).

Shapes: Trousers Ge�ng through the latest trousers news: ‘chinos’, masculine trousers with long crotch (with/without pinces) and ‘H’ lines (shapeless).

Silhoue�e: • Medium leg trousers and fluid silhoue�e; • Round leg (fold less and pincesless); • Wide leg (classical but more close-fi�ng); • Cigare�e trousers (with details: monile around waist, sa�n waist or chat, waist band).

Shapes. Oversize, Coats, Pea coats Matching (to match with dresses 92cm long and boots or to match with shorts and moccasins).

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Concept of Color In knitwear and sweatshirt there is a large use of mélange shaker color.

The concept of purity flows like a wave in every shade of white (stone): ecru C132, chalk C2215, rice C2340, sand C058. There are small touches of reassuring color that are never too bold. The collec�on presents some colors of nature (gerbera C2330, coral red C2312, cucumber melon C2337, geranium C2316, carrot color C2258, lime, mint, straw, chamomile, lagoon, turnip). There is the use of light and natural colors (shell, sand mélange and champagne).

shapes (like in knitwear) M0PCH. Jackets: ‘A’ line pea-coats, oversized suede bomber jacket with feather details, details of studded jacket and trench coat; silk jackets with a technical look MB978.

Outerwear materials: A) waxed co�on waterproof MS538; B) marbled co�on (look washed, ma�, not too much vintage); C) water resistant wool and grisaille; D) sanded co�on; E) nylon look-fabric; F) light waterproof, MS539; G) co�on Prince of Wales MB556; H) co�on/silk with couture style MB555; I) co�on crêpe MB975; J) brushed crêpe MB978; K) double M0B03; L) grisaille wool M0S01 stretch; M)wool gauze MB554; N) stretch silk; O) suede M0PCH; P) buffed calf leather M0PBC; Q) calf leather washed M0PLL; R) washed napa leather M0PNL; S) superlight napa leather M0PCA.

Concept of Lightness and Layered Looks These concepts are present in transparencies, gauzes, naturalness, box shapes. Layered looks are in lengths too; natural fibers are combined with silk, sa�n, crêpe…

Outerwear Coats: they are short and more masculine matched with masculine shoes (derby shoes and moccasins) M0B03.

Overcoats: they are the epitome of femininity, proposed with dresses 92cm long.

They are egg-shaped or balloon shape with cuts that emphasize the

Silk Tops Silk tops in jersey and sa�n: reversible (novelty in the collec�on) and leather (suede MPCHL, washed napa leather M0PNL; superlight napa leather M0PCA).

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Heavy Knitwear Ultralight yarns (tricot); raffia with a hand –kni�ed look. (es: M38387804 Feather co�on sweater with raffia inserts and M85377006 Raffia cardigan with silk insert and Irish embroidery or M85376006 Raffia cardigan with silk insert).

are reversible with internal pocket.

MBCCD. NAPA LEATHER and SILK: so� calf leather. Opaque look. MBZMD. KNITTED FABRIC: handmade bindings of co�on with napa leather and silk inserts. MB38D. CRUST: used big lambs, so� leather oiled to become smooth. It is very resistant. MBYD. BUFFED CALF LEATHER: thin leather similar to the outerwear. Not consistent color. MBBCD. “MINIMALIST” LEATHER: minimal look; delicate leather slightly scratch resistant. MBOJD. PYTHON LEATHER: opaque look, similar to suede. MBQBD. “CAVALLINO” LEATHER: leather form the goats. MBCLD.

Bags LEATHER: all bags are covered with fabrics of shirts or outerwear.

CRAQUELÈ LEATHER: calf wrinkled leather, thick leather suitable for travel bags. More sporty. More resistant than crust leather. MBTD. CALF LEATHER WASHED: not threaded leather used for tradi�onal BC’s bags. Color and look not consistent. MBMWD. SUEDE: polished leather: two models

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Example of Press Release of a collec�on: Rus�c luxury Rus�c luxury: a seemingly contradictory concept that embodies both luxury and simplicity, which can actually be defined as rus�c.

The new Brunello Cucinelli Women’s Collec�on a�empts to tell the story, with passion and humility, of both an ancient and modern world in which the simple and the rus�c are united with luxury to create a natural concept of beauty that is similar to a rough diamond or uncut stone. Confiden�al and in�mate, the sweater plays a key role and, in this collec�on, becomes the must-have piece. Presented in a mul�tude of varia�ons, the sweater expresses a fusion of different inspira�ons, influences and references that share one common denominator: the “naturalness” of the precious cashmere fiber. The more tradi�onal and masculine s�tches include fisherman’s rib and braids that create new sleeveless silhoue�es or pieces embellished with marmot fur collars to convey a more glamorous look.The voluminous and unexpectedly “weightless” tricot is lined, zipped, hemmed and worn as an outerwear choice, marking a departure from the tradi�onal dictates of high-tech fabrics.

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© Alice Mario�

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© Alice Mario�

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© Alice Mario�

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© Alice Mario�

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Silk ribbons and silver threads are intertwined in Irish s�tch pa�erns to enhance the texture and feel of cashmere. The flexibility of this noble fiber is best expressed in a three-dimensional way. Generous or embracing volumes and draped lines create tunics and elongated silhoue�es to be worn with leggings. The outerwear collec�on includes goose down jackets paired with “flannel effect” technical fabrics and double outerwear pieces that can be layered or worn separately throughout the year. The accessories embellish and enhance the collec�on’s volumes and shapes. An alterna�ng use of metals and rough stones give the necklaces and jewelry a sophis�cated yet natural feel. The distressed scarves are reminiscent of the free spirit of nomadic tribes. The bags are oversized and ultra so�. The boots can be high and fit like a glove, or low with a sporty feel. The shoes are so� and casual, made of nappe, nubuck leather or shearling.

The color pale�e is faded and greyish, reminiscent of the shades of marble and stone. Green, amethyst, grape pomace, midnight blue and moss become drops of color diluted in a variety of solid greys that range from light shades, such as salt and stone, to dark hues like lava and slate without omi�ng intermediate tones like smoke and iron.

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IV IV. Ou�it for buying office

There are other important details and work materials of buyer’s work.

During the selling campaign the buyer works with the designer office and with the merchandiser to create the ou�its for the stores, the windows, the press release to ensure the image and the collec�on’s mood to the retail net.

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© Helga Raspa

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During the collec�on’s presenta�on by the designer office, the buyers create also the “ordine �po”: the buyer study the en�re collec�on (shapes, materials, details etc) to iden�fy the main items that every single store should have on the selling floor and to help the buyers during the selling campaign.

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V V.

CALENDARS & SELLING CAMPAIGN

Before the beginning of the selling campaign the buyer manager creates a specific calendar with all the details of clients, appointments, budgets, OTB, notes etc.

The buying can be: 1. Central Buying (Ex. Zara, Top Shop, Brunello Cucinelli, H&M); 2. Local Buying (Mul�brands stores, Owners of more stores).

Central Buying This buying is mostly used by some store groups.

Advantages: • Larger discounts for bulk purchasing; • Buyers concentrate on a single product area; • Buyer has be�er knowledge of specialist area; • Merchandise id delivered to central point for distribu�on; • Stores are free to concentrate only on selling.

Disadvantages: • Distance from end-user, local

• • •

needs neglected; Warehousing costs are high; Local managers frustrated with mix; Computer results cannot show what customers feels or thinks.

Local Buying This second type of buying is largely used by small chains and independents.

Advantages: • Buyer is close to customer, can react to local demands; • Has direct control over buying and selling methods; • Stock is held in store for easy refills; • Be�er and quicker customer feedback.

Disadvantages: • Smaller orders; • Less preferen�al terms and discounts; • Buyer has less �me to research and buy when he’s also running sales management.

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OTB (Open to Buy) The clearest and simplest defini�on is that it is a financial budget for retail merchandise. Let’s have a look at this more closely.

• OTB relates directly to retail merchandise, is structured specifically to address the needs of retailers, and is a tool designed to assist retailers manage and replenish their most significant asset, their inventory investment; • OTB is a budget, and involves the full range od budgetary func�ons. It begins with the planning process, is future oriented, provides guidance on how much to buy and provides benchmarks for evalua�ng progress and adjus�ng future plans; • OTB is a financial tool and it can be �ed back to the financial control process; • OTB can work on any level that a retailer needs it to. It can be used to track merchandise at the company, department, classifica�on or sub-classifica�on level. In rare cases for a small retailer, it can even be used to track an individual item.

It is important to note from the start that as a replenishment tool, an OTB is not appropriate for all categories of merchandise. It is most appropriate for fashion merchandise where the specific items may change, but the departments, classifica�ons and sub-classifica�ons remain rela�vely stable and seasonal merchandise where inventories are brought in at the beginning of the selling season and need to be managed down to pre-determined ending level at the end of the selling season.

In the case of fashion or seasonal merchandise, an OTB answers the ques�on of how much to buy, but not necessarily the ques�on of which specific items to buy.

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For that a detailed assortment plan is necessary, which lays out exactly what items will be coming in when and provides a plan for how all of the individual items come together to form a compelling merchandise assortment. Like any budget, an OTB starts with a plan, then compares actual results to that plan and quan�fies any variances. Carefully considered planning is the cri�cal first step in construc�ng an OTB. The planning process begins with building a sales plan.

The ques�on to ask is this: “How much inventory do I need at the end of each month to support the next month’s sales as well as maintain effec�ve merchandise displays?” Finally, from the plans that have been developed, an inventory receipt plan that answers the ques�on: “How much inventory do I need to bring in to cover my sales, markdowns and adjustments given my planes beginning inventory in order to end up with my planned ending inventory?”. The inventory receipt plan serves several important func�ons.

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•

First it serves as the inventory purchasing plan for future months.

While it doesn’t tell you specifically what to buy, it does tell you how much you need for receipt in each month; Second because inventory purchases are typically the most significant cash ou�low for a smaller retailer, the inventory purchasing plan serves as a cri�cal input into a financial cash flow plan.

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A “well structured” OTB will present both the plan and actual results and allow management to track the progress as the season goes along.

Like any good budget an OTB needs to have a future orienta�on. It needs to be able to tell management how much inventory is needed in any future month to make sales and ending inventory plans, given the current purchase order commitments for that month. Like any management tool, an OTB is merely a tool to help a small retailer be�er manage their inventory. It requires an ini�al investment in �me and a�en�on to build out a realis�c plan and diligence to maintain it as you go through the year or a season.

But it can yield drama�c results quickly in most situa�ons, from increased sales to leaner inventories and reduced markdowns and overstocks. It’s a tool that in the hands of a fully commi�ed small retailer can profoundly improve financial performance.

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• • •

Methods: Buyer and merchandiser formulate sales plan; Total spend is distributed across months to peak at correct �me to meet peak sales; Es�mated opening and closing stock figures for season are planned; A large carry-over of unsold stock from previous season would impact on and reduce available OTB; A sharp downturn in sales during season also decreases OTB. A sudden upturn in sales increases OTB; A faster rate of stock turn than an�cipated lowers stock level and increase OTB. Once OTB is set, you can then quan�fy your range plan: Product range divided into categories; Within categories further divided into price points; Buying quan��es can then be determined by style.

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VI. Designers & Merchandiser

The structure of the buying office: • Buying director – makes policy; • Buying controller – translates this to plans for mix and to spend; • Buyers – do the deal; • Merchandisers – ensure correct mix gets to right stores; • Assistant merchandisers and allocators – distribute goods; • Assistant buyers – assist in progressing orders, appointment and administra�on

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Source: © Alice Mario�, Collec�on Presenta�on

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Source: © Alice Mario�, Collec�on Presenta�on

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VII VII.

Types of Retailer

In commerce, a retailer buys goods or products in large quan��es from manufacturers or importers, either directly or through a wholesaler, and then sells individual items or small quan��es to the general public or end user customers, usually in a shop, also called store. Retailers are at the end of the supply chain.

Marketers see retailing as part of their overall distribu�on strategy.

Shops may be on residen�al streets, or in shopping streets with li�le or no houses, or in a shopping center or shopping mall. Shopping streets may or may not be for pedestrians only.

Shopping is buying things, some�mes as a recrea�onal ac�vity. A cheap version of the la�er is window shopping (just looking, not buying).

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1

The Independents

A) These are the retailers who operate as small independent businesses who do not have more than 10 branches.

B) Normally run by the proprietor who may be the buyer or designer.

C) many are designer orientated or brands with an accent on quality rather than price.

D) try to offer be�er customer service with higher concentra�on on original design and store ambience.

E) opera�ons are handled in store by owner or manager (buying, selling, visual merchandising, training, stock control.

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The Mul�ples

A) Group of retailers who have more than 10 branches.

B) Variety chains who sell other products as well as fashion (M&S).

C) High turnovers, these are predominantly shopping centers and high street stores.

D) High experienced buying and product development teams.

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Department Stores

A) Independent with and independent strategy to all aspects of the store opera�ons controlled by the store director or general manager or buying directors (Harrods or Rinascente).

B) Ability to reflect tastes and regional differences of consumers into the buying policy since the buyers are store based and in direct communica�on with local consumers.

C) Centralized policy, centralized buying/merchandising and marke�ng strategies.

D) Prolifera�on of branches in most ci�es and prime loca�ons.

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4

Concessions

A) Receive the benefit of expanding diversifica�on without many of the risk and certain concessions may act as an a�rac�on to consumers who appreciate premium brands or designer labels.

B) O�en agreements are linked to a fix contribu�on based on a % of turnover.

C) A minimum base percentage rate has to be guaranteed by the concessionaire.

D) Contracts renewed seasonally or yearly and rates and terms con�nually re-nego�ated.

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Franchising

A) The gran�ng of sole selling rights to an exis�ng retailer within a specific geographic area.

B) The franchising company provides the stock packaging and pos material.

C) The franchisee pays a fixed franchise fee for a % of turnover.

D) Franchisees are o�en helped to find a loca�on for the store.

E) The franchiser provides training, marke�ng ini�a�ves and adver�sing.

F) The franchiser gives the franchisee license to use the trade mark.

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VISUAL MERCHANDISING AND RETAIL

In this Second Part I will explain the visual merchandiser’s world. This is my experience in fashion retail, what I’ve learned about visual merchandising, windows, layouts, sets-up, mannequins and all the details concerning this amazing world. Not only fashion but also a study to learn how it will be the best exposi�on of an item. Fashion retail is full of brands, windows, collec�ons and the difference is made by the visual merchandiser’s job. I will try to spread my love for this job, what I’m today is made by all my experiences all around the world.

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VIII VIII. Defini�on of visual merchandising

Visual merchandising is the set of opera�ons to arrange/set the product inside the store together in harmony with the format (or commercial strategy) and it concern the way to expose, the se�ng, the ligh�ng, the graphic (“ar�s�c produc�on” project oriented to realize products for the visual communica�on. The literally transla�on is “merchandise’s visualiza�on” but it means more, a set of more complex opera�ons a crea�ve commercial language.

In general, it is the atmosphere creates by the sensory input the product gives to the client to draw more a�en�on and increase the selling’s volumes.

To create these sensory inputs, i twill be use the 5 senses of a human being: SIGHT: it is the most important because it is the first to arrive to the consumer, everything has to be perfectly visible with a glance/look.

HEARING: using music or sounds that represent the brand’s philosophy.

SMELL: thanks to the fragrances’ use that s�mulate the consumer’s brain.

TOUCH: fundamental to break down the barriers between consumer and brand; all the products have to be “touchable”, from fashion to technology.

TASTE: thanks to the possibility of “tas�ng” the product is close to the consumer.

It is important to remember that all these senses have to follow a logic thread and follow the brand’s mood. Thanks to the visual merchandising’ techniques it is possible to have assisted sales and free sales. Moreover the visual merchandising is a technique to help the pre-selec�on and the purchase of the consumer, displaying products in a logic sequence.

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IX IX.

Visual merchandising guide-lines

A good visual merchandiser should know and always have in his mind, in all the working areas, these important things: • Merchandising’s technique: layout’s a�rac�veness and organiza�onal aspects, visual communica�on outside the store such as site, loca�on, road signs analysis, facade, entrance and windows, dis�nc�on between adver�sing for the commercial market and for the luxury market and a big focus on the windows product’s exposi�on.

• Store’s layout: visual communica�on’s elements inside the store such as layout’s analysis and the alloca�on of spaces according to sales goals.

Iden�fica�on of the ideal route of the consumer in the store through the space, the product and the set up and the importance of the products’ grouping.

• Se�ng up techniques: the wall, the displays, sales, analysis of “how the consumer feel/perceive” the products in the store, ver�cal or horizontal crea�ve layouts, client’s loyalty, a�er sales techniques and the focus on the “whole consumer’s experience”.

The features that a good visual merchandiser should have are the following: • A big crea�vity to try new paths to be always original and never predictable and obvious • Some marke�ng skills and knowledge useful to set up the products to let the consumers buy also products they didn’t have the idea to buy • Dexterity and technical knowledge to be able to use materials and accessories useful to set up windows and inside layouts or walls.

• A good adaptable approach towards the market: what is fashion today will probably not be tomorrow and what impressed the consumer this season will probably be obvious next season. A good visual merchandiser should never underes�mate the market’s trend not even the fashion connected to the market.

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X X.

Windows

Windows are the visi�ng card of the store. If a window is well structured, with a cool and detailed layout, it will be a winning window and i twill be a�rac�ve for the consumers to let in the store.

In general, windows should always tell a story, a philosophy and mood of the F/W or S/S collec�ons.

It is always important to define the image’s ou�its and the commercial’s one.

In general, some rules a visual merchandiser should keep in mind:

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If the thought is that, to a�ract the consumer, the visual merchandiser has to put on display the best products or he has to fill, the more he can, the window to have the right product, we have to change the mind. You can’t sa�sfy everyone/ every consumer: this is a fact.

Therefore, also if a visual merchandiser set up �dy, this will be not enough to capture the consumer’s a�en�on. We have to look at the window with different eyes. This because it’s not the quan�ty or the beauty of the products to let the consumer stand in front of the window but it’s how the visual merchandiser work to let the window be a�rac�ve, how the visual frames the products. When we think how to set up a window, the first ques�on toy should ask is: “This month which product will be the core one?” It is the product the only protagonist/star of the window. Everything will be rotate around the selected product. Obviously it depends also on how many windows a store has.

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How set up a window to capture the consumers’ a�en�on? Crea�ng a story with the scenography. This is a key element to stand out and let the consumer stand in front of the window. The best thing might be having a theme every month. The props, elements, objects are fundamental to create a spectacular window. The visual merchandiser can choose objects that represent something real or something unreal, the most important thing is to use them, few elements are enough to change the window’s look. These elements/objects are important to amaze the consumer, to let him dream e live something special. People are not used to see spectacular windows and if the visual merchandiser want to keep the a�en�on of the consumer, he has to do something that other visual don’t do, something unique. The scenography should wrap the product. Decora�ons are important and they should have the 50% of the whole window.

As soon as the visual merchandiser has decided the theme, he has to decide the colors to match. Colors are very important because they play with the consumer’s subconscious, they are elements that cause emo�ons. So when the visual has decided colors always remember to match them with the theme, so the percep�ons that the visual wants to infuse are more accentuated.

The most important and delicate zone of the store to light up is obviously the window because is the first impact that the costumer has with the store, so the visual merchandiser has to enhance the products in the windows with the right lights. Lights are a fundamental element of the window because they be able to highlight the products during the day but also during the night: with an accurate window with the right lights the client gets ready to be posi�ve to have a look at the products and be a�racted to buy them. The lights’ equipment has to be placed in the right way to create the right impression and effect.

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The predominant element of the windows, as we said before, has to be decora�ons with the 50%, 10% products, 30% empty space (break) and 10% adver�sing. This not means that the visual merchandiser has to fill up the window with decora�ons, always remember the rule “less is more”.

To make always the key point available to the consumer, it is the middle of the window the high 1,5 mt. It is the first point that the client sees.

The eye moves like this: from the middle to the right and then to the le�. Based on this the visual merchandiser can �dy up everything in the right way.

Always remember that a window, to be presented in the right moment or period of the year, has to be prepared and realized one month before the beginning of the season or the fes�vity (an example: Christmas has to be realized at the end of November). Always remember to organize the job in the right way!

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XI XI.

In store set-up

Set up a store doesn’t mean simply �dy up products: the visual merchandiser’s job is based on specific techniques to a�ract the client with the windows to let him/her feel comfortable once the client is inside the store.

Today the visual merchandiser is an essen�al posi�on in a store that wants to give a good image of the brand/company. The visual merchandiser is responsible of the whole store, windows but also the inside displays. When a client, a�er have seen the windows, decides to enter the store, or when a client wants to buy one product but he/ she buys three items, it is thanks to the visual merchandiser’s job.

Se�ng up a special and a�rac�ve window, the visual merchandiser has seduced the consumer’s eyes and, �dying up the products in a proper way, the visual merchandiser has increased the sales’ chance.

Unless the store has par�cular architectural elements such as pillars or mezzanine, the visual merchandiser will be more free to set up the store, always remembering to maintain the personality of the whole store. Example: if the store is for men and women, the two areas has to be set up with the same “mood”, so the store will have the same personality and each area has to be �dy up with the same details: matching colors, matching materials, matching objects. If the store has two or more floors, is recommended to have near the collec�on all the accessories (belts, shoes, bags, scarfs etc…).

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The visual merchandiser’s job starts from his/her crea�vity, so from his/her brain or head, but it is expressed throughout a con�nuous and some�mes exhaus�ng manual workshop. When the collec�ons arrive in the store, the visual merchandiser, with the stockroom’s team, has to organize and to divide the items and to decide which one is for the windows and for the in store displays. It is not easy: it is necessary a good sense of colors but also a good sense of the market and in which direc�on the fashion is going, what product will be the best seller and so which product will be the core business of the store.

Cleanliness and �diness are essen�al: when the client is in the store, having a look on displays and racks, they have to be perfect, always, so the consumer will have a “luxurious” view of the products.

When the visual merchandiser �dies up a store, he/she has to divide the items following colors and then to maintain a clear, clean and balanced view. Remember always to alternate strong colors with light ones, to achieve a delicate but luxurious presenta�on. Try always to display two sizes of each piece, if possible the most sold ones.

Displaying only two sizes of each piece the visual merchandiser gives more visibility to details.

Hang up the collec�ons in a balanced and logic way, always remember to create ou�its, matching the items to a�ract the client (an example: jacket/sweater/pant).

The visual merchandiser is free to dress up jacket with t-shirts, tops or blouses but in both sizes displayed.

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XII XII. Mannequins and ou�its

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Use the seasonal catalogue as your first source of inspira�on (color and combina�on wise).

When merchandising the windows, try to create a consistent color story, for instance one outspoken color (example above “pink”) mixed with more neutral colors (grey, beige, brown, off-white). In the example above the pink color is the “theme” of the presenta�on and returns on all mannequin’s in a subtle way.

You can place some merchandise around the mannequins in order to create a true lifestyle presenta�on. Bags, small leather goods and scarves are perfect items to use in these cases. Try to keep it clean however by not placing too much merchandise on the floor.

Always try to use the most suitable sizes when dressing the mannequins. For the men mannequins use a pant size 48, top 48/50 or M/L. For women mannequins use a size 38/ 40 depending on the fi�ng, tops size S. We believe that showing more body shaped makes our merchandise look fresh and contemporary.

When styling the men mannequins, you can use some pins or clams in the back to make the clothes even more fi�ed to the body. Be aware for product damage however (pins in nylon or leather items are never a good idea).

When styling the women mannequins try to respect the intended shape of the model. For instance, several knitwear or outerwear shapes are supposed to be oversized, pins are hardly ever needed.

Items are always enriched with many subtle details, try to show them when doing the merchandising. On this page you can find some examples. A reversible vest with orange inside lining which matches with the purses/clutches and merchandise on the shelves. By slightly opening the jacket and vest you can actually see the belt and pleads in the pants. Choose a pair shoes that fit well with the look, �e the laces and insert some socks that match nicely with the rest of the look (in this example the �e). Try to use your VM items in a smart way, the colors in the seasonal frames are o�en linked to the collec�on. This look is literally copied from the seasonal catalogue.

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Source: © Alice Mario�, Por�olio

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XIII XIII. Windows’ calendar

As we already said, the visual merchandiser’s job has to be well organized and planned. One important tool is to have a calendar to plan all the windows and in store sets up to have the whole control of all the stores.

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XIV XIV. In store displays layouts

The in store displays has much importance as the windows. The client has to feel the same mood looking at the windows and at the in store set up.

When placing the merchandise in your store, always try to divide the merchandise by color theme in order to keep a clear and clean overview.

Try to alternate outspoken colors with neutral colors crea�ng a delicate color presenta�on.

On the rack some brands prefer to display two sizes of each item, maintaining a clean overview. Always display your most commercial sizes avoiding unnecessary visits to the stockroom.

Some brands (especially luxury brands) prefer to display only one size, to give importance to the single and special item.

Please hang the merchandise in a logical and balanced way, always star�ng with outerwear, then knitwear, then pants, etc. Also have a look at the color sequence which has to be balanced.

Feel free to display shirts or knitwear underneath outerwear pieces as long as it is repeated consistently in both sizes matching with the surrounding color theme.

The shelves have been styled in a clean manner by displaying a maximum of two sizes of each item. The items are grouped by color theme and knitwear items are o�en accompanied by shoes, gloves, heads, scarves and bijoux in order to create a complete lifestyle presenta�on. By using various product categories and VM materials, we try to create a complete, luxurious and comprehensible lifestyle display, varying �dy shelves with more “spontaneous” shelves. A maximum pile of two sizes. Using a matching scarf Smart usage of a VM item displaying a necklace. An alterna�ve way of displaying a pant (and belt).

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ISBN 978-88-944763-4-7

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788894 476347 >

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