Consistency in Inconsistency: Design Approaches to Branded Environments

An Undergraduate Thesis Faculty of Design, CEPT University, Ahmedabad

Consistency in Inconsistency Design Approaches to Branded Environments

By Vaidehi Ghatwai Guided by Ruchi Mehta

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Acknowledgment I would like to thank my guide, Mrs. Ruchi Mehta, for introducing me to the world of retail and guiding me through this thesis. It wouldn’t have been this much fun without you.

I would like to express my sincere gratitude to Krishna ma’am, KP sir, Amal sir, Snehal ma’am for inspiring me and encouraging me to learn and strive for more. KD sir and Chandra ma’am for always helping us out through all the issues and being there for us always.

I will forever be thankful to my Aai and Baba for always inspiring me, motivating me, and believing in me that I could still do better. With all my love, I would like to thank Pragati for being the perfect roommate and support system throughout the five years. Also, copains and Chaman chintus for being there for me always!

Last but not least my best friends, Aditi, Adi and Ashu for being my everything!

Introduction A brand is a label under which a product or service is sold. Moreover, it is the differentiating factor between the same category of products/services.

While brands need this point of differentiation to create their distinct positioning, it also needs an overarching strategy to communicate the brand values consistently across its touchpoints that its customers are in contact with. One of the essential touchpoints is a branded environment. It is the manifestation of a brand’s experience or distinguishing characteristics into a physical space. Thus the design of the branded environments needs to be aligned with the brand’s unique positioning as well as the core messaging in its branding strategy. The onus on the design of the branded environments is to create a novel experience for the customers. With the increasing demand for new retail designs, it essential for brands to have a consistent brand image in their stores to maintain trust. The need for a consistent message and a novel experience appear to be contradictory goals.

Furthermore, because of the idea of Internet shopping, a clear understanding of shopping has gotten all the more vigorously interlaced with other public encounters. Understanding that Internetbased business has made shopping continuously significant, retail designers are focusing on revamping the experience that the stores give. With the trends of flagship stores and experiential stores, a wide range of experimental designs has opened up. It leads to a position where the brands need to maintain consistency in their spatial experience and yet create new designs. This brings in the role of interior designers to understand the brand and introduce new elements in their store design, such that every store has a fresh idea yet portrays the same brand image.

A major factor that governs the viability of these goals is the brand’s positioning in the market. A new entry brand will try to position itself and will not risk their image. Therefore, these categories of brands usually adopt a cookie-cutter (denoting something mass8

produced or lacking any distinguishing characteristics)1 design approach to maintain the consistency. They use manuals and pre-designed concepts for their store design. Brands that are well-positioned but still striving to improve it have a semi-experimental approach to their store design. They establish design elements that they use in their stores and create probably a permutation and combination of them for different stores. The brands with a secure and un-temperable image lookout for experimental store design with new concepts because they are well-positioned.

A definite shift from the cookie-cutter design approach, as seen in the design of food outlets like McDonald’s or Subway to the experimental design approach seen in the design of Camper, is becoming evident. This study will thus focus on various design approaches that allow brands to communicate consistent messaging while in the pursuit of novel spatial experiences. In other words, the study of the design approaches that the brands have developed in the design of their Branded Environments to achieve Consistency in Inconsistency.

1 Cookie Cutter: Meaning of Cookie Cutter by Lexico. (n.d.).

Retrieved from https://www.lexico.com/definition/cookie_cutter

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Aim The research focuses on the study of elements that provide consistency of brand image throughout various stores of a brand.

Objectives 1. Study the aspects of the role of brand strategy in driving the design decisions of a branded environment.

2. Look at the aspects that create the possibilities or need of inconsistency in the design, like the typology and context of the branded environments.

3. The idea is to compare three brands of similar categories and study the approach to their store designs.

Scope and limitation of study 1. The scope of the study is to identify the factors of interior design that are used to create a consistent brand image throughout the stores. It is done through the analysis of two stores of three brands each.

2. The study only looks at the approaches taken to get consistency in various scales of stores.

Research Questions 1. How do brands design store without having cookie-cutter design yet have an essence or brand image being reflected in them?

2. What are the different ways of designing a store and yet achieving the same image of the brand?

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Methodology of study This thesis focuses on the study of the design approaches taken by the brands to design their branded environments and achieve consistency in inconsistency.

The first part of the study thus comprises parts that enable and contribute to achieving the consistency in the design of the branded environments, i.e., the role of brand strategy. It is followed by a study of parameters that drive the inconsistencies in the design of branded environments like the significance of the store and brand typology along with the effects of context on the store design. The implication of these studies is analyzed through case studies of three brands. The case studies are carried out to understand the different approaches to branded environments and analyze the design elements that contribute to achieving consistency in inconsistency. Various typologies of stores like flagship, mall, and franchise were analyzed. The interior and exterior elements that were studied are: 1. Zoning and layout- Space planning, Circulation (zoning, furniture, layout) experience path/ broad zoning, volume, and density 2. Space defining elements- Floors, ceiling, walls, partitions, material/color palette, furniture design, light fixtures, and lighting.

3. Visual merchandising- Environmental graphics, Branding, Logo, product segmentation/density of display, display methods, use of mannequins, signage, and environmental graphics.

These elements together form the store environment.

The study includes the use of aspects in stores, in the same or different methods, to create the image. The study is carried out through theory, analysis through visuals, and diagrams. A conclusion is drawn from these studies that the brands use certain elements to enhance and maintain brand image throughout the stores accurately.

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Acknowledgment Introduction Chapter 1.

Design of Branded Environments: Role of Branding Strategy

C O N T E N T S

1.1.

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What is Branding Strategy 1.1.1. Brand Image 1.1.2. Brand Positioning 1.1.3. Brand Communications 1.1.4. Brand Touchpoints

1.2. Expression of Branding Strategy in Branded

Environments

1.2.1. Aesthetic Aspects

1.2.2. Functional Aspects

Chapter 2.

Design of Branded Environments: Significance of Typology and Context 2.1.

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Typologies of Branded Environments 2.1.1. Based on Product/Service Segment 2.1.2. Based on Operational Models 2.1.3. Based on Size and Location

2.2. Significance of Context 2.2.1.

Cultural Context 2.2.2.

Local Competition

2.2.3. Demography

2.2.4. Time

Chapter 3.

Design of Branded Environments: Various Approaches 3.1. Various approaches to store design

3.1.1. Cookie cutter approach

3.1.2. Semi-experimental approach

3.1.3. Experimental approach

3.2. Case Studies

- Selection Criteria, methodology, scope and limitations

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3.2.1. Camper

3.2.1.a. Camper Store by Nendo, New York

3.2.1.b. Camper Store by Asketik Studio, Moscow

3.2.2. Nike

3.2.2.a. Nike FieldHouse Store, Santa Monica

3.2.2.b. NikeTown Store, Seattle

3.2.3. Skechers

3.2.3.a. Skechers Store, Santa Monica

3.2.3.b. Skechers Flagship Store, Mumbai

3.2.4 Inferences

Chapter 4. Conclusion

List of Figures

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Bibliography

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Chapter 1: Design of Branded Environments: Role of Branding Strategy

- Introduction

1.1.

What is Branding Strategy 1.1.1. Brand Image 1.1.2. Brand Positioning 1.1.3. Brand Communications 1.1.4. Brand Touchpoints

1.2.

Expression of Branding Strategy in Branded Environments

1.2.1.

Aesthetic Aspects -Visual Aspects -Sensorial Aspects -Visual Merchandising

1.2.2.

Functional Aspects -Layout and zoning -Shopping Process -Parallel activities

Introduction The success of a branded environment depends majorly on the brand’s strategies. The development of a branded environment begins with tactical planning and involves the role of designers, architects, branding experts, marketing teams, and media. It also depends on the type of business and aims that the brand wants to achieve. For example, retailers use it as a medium to create experiences, communicate their brand’s values, and differentiate themselves from the competitor brands.

An unyielding brand strategy involves reliable branding techniques. Branding is not just limited to the name, logo, or tag-line; it is the medium of communicating the values and emotions, creating recognition in the industry, and imparting the visual identity of the brand.

Effective branding is used to create novel experiences, considering the customers and the stakeholders associated with the brand.

There is no characterized approach to brand a business; however, these days, it is essential to put resources into this advantage to be active and stand apart from the competition. Branding endeavors can be acted in numerous manners, both online and offline. The branded space is an area where individuals communicate with the brand. As indicated by this view, space is being knowledgeable about or without the existence of branding components, implying that not conveying brand values and identity through space can be considered as a botched business chance.

This chapter looks at the factor of branding strategy and the various parts of the branding process, their importance and relevance to design a branded environment. Furthermore, the two aspects of the expression of branding strategies are discussed, namely, the aesthetic and functional components. These components add value to the concept of a brand’s store design.

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1.1 What is brand strategy?

Brand strategy is the comprehensive plan of a brand for a specific goal - success and development. It includes the use of tangible and intangible methods of creating and maintaining the brand. The idea focuses on the delivery of core values through these strategies. These strategies help to enhance the unity of the brand (internal branding), improve the influence of the brand on the customers (brand image, communications), and strengthen the position and competition (brand positioning) through the touch-points.

These strategies develop through an interdependent framework of brand positioning, brand value, and brand equity management. The brand positioning requires a distinct brand identity in the market and a powerful brand image perceived by the customers. It is an essential factor to influence the customers, drive sales, and position the brand. Following are the aspects that are considered in the process of development of these strategies: • • • •

Research: Clear mission and objective Strategy: Consistent messaging Touch-points: Right target audience Assets: Competitive awareness and employees as the face of the brand • Design: Powerful identity

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analysis,

Fig. 1.1. Brand strategy framework

As observed by Lynne Mesher, branding is an approach to promote the products and services of a brand. The concept is linked to marketing and influencing the subconscious desires of the customers. It is a culture followed worldwide due to consumerism and for people to classify their ways of living, preferences, and options by buying particular products. People identify the brands that are familiar and are a part of their daily lives. Many brands have gone way ahead in branding methods and become a name associated with the product. The identity of the brand is sold to the public through marketing.

Every brand has a set of core values to which the target audience can associate. Everything about the brand, right from the colors, graphics, the style of the product to the interior, must be consistent. Consistency makes a brand’s message stronger and assures the brand’s worth.

A branded environment is considered to be successful when it can inform, engage, and inspire customers. To be able to impart these qualities, a thorough study of marketing strategies like brand image, positioning, and brand touch-points, is essential.

1.1.1 Brand Image, Identity and Personality Company

Brand Image

Brand Identity

Customer

Fig. 1.2. The inter-relation of brand image and identity with the brand and its customers

Brand image is the insight of the brand in the minds of the customers. It develops over time through interactions and experiences with the brand. A sharp brand image helps the customers to associate with the brand, and it also attracts new customers. It is the culmination of principles and views of the brand. Brand image can sometimes be confused with brand identity. It can be the same or different to brand identity. Brand identity is the way the brand represents itself and how it wants to be perceived by the customers, whereas the brand image is the perception of the brand by the customers.

It is achieved by the collective effect of brand identity and personality together. For example, brand identity includes logo, tag-line, slogan, etc., whereas the brand image is the association a customer has with a brand.

Brand identity is active because it is a controllable aspect, and the brand image is passive because it is perceptional.

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The term, visual identity was coined in the 1980s. It came to mean virtually anything on the planet with a capacity to continue a fascination or impact among individuals.

It comprises graphical elements that help in creating a format that allows us to recognize and represent the brand. The aspects of a brand’s visual identity include Logo, typeface, colors, and symbols.

Visual and verbal identity is an integral aspect of brands and branding. An identity needs to be studied more often and kept up like any other quality. In contrast to pure science, identity is a belief backed up by verification. Its subjectivity is the very asset that permits a brand to be strong and pull it off. The verbal identity of a brand involves the words or terms it uses to describe its service or product, for example, tag-lines, the voice of the brand, etc.

“The interior should be an extension of the visual identity in a physical environment. It should expand the understanding and perception of the brand – while generating internal pride.”

-Karl Martin Sætren

Strong branding can help a brand to be distinctive in the competition and increase the trustworthiness of the customers. To give a depiction of this concept, Kapferer made a framework called Brand identity prism.

He used a hexagonal prism to express the aspects of brand identity. The prism demonstrates six components that compose the brand identity: physical elements, personality, culture, relationship, reflection, and selfimage.

Fig. 1.3. Kapferer’s brand identity prism for Levi’s

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1. Source vs. Receiver: A decent brand is considered to be a person with form and character and also as the customer that will acquire the reflection and self-image.

2. Externalization and internalization: A brand has external factors like physique, relationship, and reflection associated with it and also the internal factors that the brand incorporates in itself, like the self-image and personality. Fig 1.3. is an analysis of the elements of brand identity prism using Levi’s as an example.

Fig. 1.4. Jennifer Aaker’s brand personality framework; The Five dimensions of Brand Personality

Overcoming any issues among customers and brands requires a degree of affect-ability and regard that goes past conventional reasoning. There are various studies and books composed on the subject of brand adaptation and how brands that show progressively recognizable human qualities are better adjusted to connect with their target groups. People are more responsive to correspondence conveyed by someone they have a passionate association with than another whom they do not identify. Brands can produce comparative associations with their audience by really receiving a few basics of human conduct and qualities, resulting in progressively excellent responsiveness. Jennifer Aaker developed a framework to explain and measure the personality of a brand. It is called the Five Dimensions of Brand Personality, each divided into sub qualities. It is a framework to demonstrate a brand’s profile using a human analogy.

Brand Personality

Sincerity

Excitement

Competence

Sophistication

Ruggedness

Down to earth Family oriented Small town

Daring Trending Exciting

Reliable Hard working Secure

Upper class Glamorous Good looking

Outdoorsy Glamorous Good looking

Honest Sincere Real

Spirited Cool Young

Intelligent Technical Corporate

Charming Feminine Smooth

Tough Rugged

Wholesome Original

Imaginative Unique

Cheerful Sentimental Friendly

Up-to-date Independent Contemporary

Successful Leader Confident

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1.1.2 Brand Positioning Brand positioning is defined as the position that the brands want in the minds of the target audience. A beneficial brand positioning strategy maximizes the relevance for the customers and distinctiveness in competition.

It also maximizes a brand’s value. This factor governs the importance and need for branding and maintaining it. Brands that stay consistent and honest with their brand values tend to survive in the competitive world.

The image perceived due to this positioning helps in determining the kind of experience needed in the stores.

A retail store is a device of dialogue - the best location to express quality messages to ideal customers. “Retail stores are naturally the showplace for new ideas, new concepts, and new products. As such, the physical store becomes a selling stage for those new products”.

Retailers seize the essence of that excitement and impart it through the method of visual merchandising.

The focus of stores remains on the presentation of the product and the experience. For example, Coca Cola has created such a sharp image and identity through its branding techniques. The brand used two branding strategies to reach out to the audience: Targeting the emotions: Coca-cola created such an association with the customers that they prefer it over its competitors. In a test between Coca-cola and rival Pepsi, people chose the taste of Pepsi over Coke when they did not know what brand it was. However, as soon as the labels were shown, people preferred Coca-cola.

Good branding always overpowers the Good branding goes past selling of the benefits of products and services of the brand. On the contrary, this campaign was used

by Pepsi to bring a new campaign called Take the Pepsi Challenge” to show that it tastes better.

Fig. 1.5. “Take the Pepsi challenge” by Pepsi

Fig. 1.6. Audience actually preferring the taste of Pepsi when its labels are hidden.

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Fig. 1.7. This campaign supported the brand’s image of being rooted in bringing people together and friendship.

Maintaining the message: The brand aims to focus on its message of friendship and bringing people together.

The #ShareACoke campaign turned an everyday event of having a soft drink, into a highly personalized and captivating customer experience. It gained over 600,000 posts on Instagram and supported the brand to be on top of the mind of its customers while maintaining a share of voice against competitors. The values that the brand stands for becomes the foundation of marketing across all mediums (Chue,2018).

1.1.3 Brand communications Brand communication is a vital part and tool of management. Brands inform influence, educate, communicate, prompt, and develop the information of their participants about its strength, values, products, and services. The participants include customers, employees, investors, and sponsors. These people are closely related to the brand, and the manager communicates with them regularly about the happenings and essential matters. Brand communication is a component that strengthens the participant’s relationship on a long-term basis. It is the core activity of the management strategy to have an ingenious and healthy dialog and promote the brand. It includes the mixed-use of traditional channels like newspapers and television along with present-day media like social media, blogs, and digital marketing. If the brand communication is weak, it might hamper the brand image and positioning. It is one of the notable systems of the business to manufacture the one of a kind and best representation of the brand in the focused audience and the general industry to achieve the ideas and goals of the brand. (Bhasin,2019) Trust is the greatest asset: It only arises when the customer has a consistent, credible brand experience at all brand touchpoints. Consistent brand touchpoint management is, therefore, a critical control tool of brand communication. The so-called context-based brand correspondence has progressively developed as a key to accomplishment in the computerized media world, proving the importance of brand messages by deliberately adjusting them to the context. Brands use focusing on strategies for moving toward target groups 21

to achieve this. In any case, the best method for gaining the customer’s trust are a brand’s representatives, when they go about as (prepared) brand envoys, and solidly live and impart the brand values and brand positioning.

This can be unmistakably illustrated by utilizing the Apple brand for instance: The expression APPLE is used as an abbreviation for approach, test, present, end, it signifies attracting the customers, examining them about what they need, introducing an answer, listening to criticism, and ending the discussion with a warm greeting to return.

Another method of communication is done by providing information through various levels of vision of the customers. This includes global information at 8’, process information at 4’-8’ and point of sale communication at the product level, at less than 4’.

For example, Zara and H&M use very different brand communication strategies. Zara emphasizes on using store and retail outlets and word of mouth, instead of traditional print media and advertising as a brand communication strategy. Whereas H&M focuses on all aspects of advertising, be it online or offline. The common thread between the two is the usage of the social network to associate with the customers.

Brand Communication

Reason to exist

Positioning and mantra Brand Identity Broadcast and conversation (All output)

Fig. 1.8. Brand communication strategy

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1.1.4 Brand Touchpoints

Fig. 1.9. Bata’s newspaper advertisment for promotional sales.

Fig. 1.10. TV Commercials

Fig. 1.11. Retail outlets

The systems where the brand and the customers connect and interact are called touchpoints. Laura Patterson, the founder of VisionEdge Marketing, proposed another definition: “A touchpoint is any interaction (including encounters where there is no physical interaction) that might alter the way that your customer feels about your product, brand, business or service.” There are three stages of any interaction between a customer and the brand: pre-purchase, purchase, and post-purchase.

Every stage of decision making is an opportunity for the brands to influence the customers. Therefore, it is essential to maintain a consistent image across all the touchpoints. The following are considered to be a part of the touchpoints: • Advertisements • Branded Environments - Stores • POS - Direct marketing • Sales and service staff • Word of mouth online and offline • Promotional Events

Advertisements Advertising is the representation of the brand’s message to the customers and prospective consumers.

Advertising is carried out through various mediums like television, outdoor/transiting advertising, online, radio, magazines, and newspapers. These days brands focus on promotional advertising on the other websites that people access. It also includes sales promotions like loyalty cards, coupons, product giveaways, etc.

Branded environments It is the manifestation of a brand’s experience or distinguishing characteristics into a physical space.

Companies have retail stores or service outlets where people come to experience the facilities, are also considered to be a touchpoint. They provide multiple touchpoints like merchandise, displays, staff and presentation, sensory elements, etc. The components of a branded environment include the use of environmental graphics, different finishes, materials, signages, and identifying systems. The spatial experience and the design of these branded environments helps to deliver the brand’s identity, personality, and core message.

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Fundamentally, it is conveying the essence of the brand all through numerous mediums. It is obvious – and essential – presently like never before, with individuals consistently flipping among physical and digital environments.

Sales and Service staff

Service-based brands use their staff to sell and promote things. Employees play a huge role in building the brand.

When the staff believe and have faith in the brand, the sales are affected positively. A staff’s behavior also comes under the touchpoint between the brand and the customers.

Word of mouth- Online and Offline

Online promotion of the brand, mainly through social media networks, is likely to generate new touchpoints.

Now and then, especially for all the more profoundly included items bought, buyers will talk about specific item classes and particular brands. These are all brand touchpoints – that is, the purchaser is communicating with the brand here and there. When a shopper is triggered to buy a specific item and has reached the shopping procedure, at that point, they are almost inevitable for some research. It might incorporate perusing item tests, reviews, and ratings on evaluation sites and blogs. A few shoppers will, in any case, purchase expert magazines, or read specials in papers to finish this research.

Connecting all the touchpoints, give a holistic experience. All the touchpoints do not have the same or equal value. These touchpoints are used at various stages of branding. Some of them are used together or throughout the process of branding and require a kind of rhythm in occurrence. The ones that exist separately add a splash of surprise in between. The stores or physical spaces give multiple other touchpoints like – exterior, interior, atmosphere, and staff interaction.

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Fig. 1.12. Sales and service staff

Fig. 1.13. Social Media

1.2. Expressions of branding strategies in branded environments Retail branding is a significant perspective to convey information. Likewise, the prerequisites of the buyer and the retailer give data that should be thought of while building up an idea for retail space. This is a crucial stage in the design of branded environments.

Right from its location to its size, to the spatial as well as shopping experience generated, the decisions are driven by the brand strategy, and one can see the expression of this strategy inside the store. The interior design can be looked at in three aspects: functional, aesthetic, and environmental. Not much difference can be seen between the three like visual merchandising and lighting can be considered to be used under all of them. Additionally, these components do not work in detachment; however, they produce the inclusive experience of retail space. This necessary perspective has gotten progressively fundamental and incorporates coordinating everything about it.

1.2.1 Aesthetic Aspects All the brands face an aesthetic order in the present-day market. To increase the product identity, brands focus on the design, its concept, and style to meet customer expectations and economic values. In the present-day scenario, aesthetics has become a degree of quality for the customers. Brands are investing in aesthetically pleasant stores as a measure to stay in the competition.

Aesthetics has become the one way to stand out in the race. For consistent success, brands incorporate aesthetic design and style in their overall customer experience. Retail stores are always trying to be at the cutting edge of those aesthetic components. Aesthetics is not just in vision; it is present in all our senses. There are three main categories of elements that are classified under aesthetics, visual and sensorial aesthetics, and visual merchandising. These elements are considered to maintain consistency in the store design and deliver a consistent core message.

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A. Visual Aesthetics Visual aesthetics is the first interaction between the brand and the customer. It is the dominant sense which governs how people look at the store. It includes color, patterns, textures, proportions, and scale. Visual merchandising plays an essential role in creating the visual aesthetics of a store. The store can be divided into two parts that visually affect the minds of the customers and help in generating the brand essence in the space; store exterior and store interior.

Store Exterior Location : The location of the retail store is a crucial factor in determining the prosperity of the brand. The scale of the space and the surrounding context affects the kind of image created on the customers. The locations can vary from a store in the neighborhood to a mall, pop-up stores to standalone stores in prime locations.

Entrance : The type of entrance is one of the main aspects of the first impression of a brand on the customers. It is the first point of contact between the customers and the brand. The design of the entrance represents the brand story with the help of the window display and signages. It defines whether a brand offers affordable or high-end products.

Window display : It makes the store’s first introduction with the customers. It starts the selling procedure even before the customer enters the store. As per the comfort of the store, various sorts of window displays like shutting, open-back, calculated cornered window display, and so forth are utilized. These factors combine to form the storefront that attracts the customers towards the sore.

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1. Open-back window display: These window displays do not encase the widow space with products on the show (usually on mannequins) while likewise permitting the customer to see the rest of the store. These are generally used in fashion retail. This method is successful for well-designed store environments, as it provides a glimpse of the interiors. However, this also means that the store design has to be consistently attractive.

Fig. 1.14. Topshop’s open-back window display

Fig. 1.15. Dior’s closed window display

Fig. 1.16. Arcade window display

Fig. 1.17. Prada’s corner window display

2. Closed window display: A closed window display obstructs the rest of the store off from being seen by customers, putting the full spotlight on the products.

This is turning into the standard all through numerous segments of retail because of the idea of improved strategies for lighting up illustrations and catching attention. This type of window display creates curiosity amongst the customers to explore the store.

3. Arcade window display: Arcade windows are frequently pre-decided spaces, with a territory on either side of an entryway, that transforms into a curved panel as customers arrive at the center of the window. This is a zone where visual marketing groups are increasingly imaginative, as displays are regularly represented by store or focus the executives, and have restricted space to work in. These windows draw attention from afar and are usually used by the brands that have a strong visual identity.

4. Corner window display: Corner windows offer brands the most chance to convey a story, as customers stroll around the outside of the store. This brings about increasingly creative displays that keep consideration concentrated on the window for something beyond a flashing look. These displays show the prominence of the location and make use of its advantage.

Store interior Store layout : There are various ways a store is planned.

Every layout allows retailers to influence traffic flow.

Store layouts have four zones that influence the visual language of the store: 1. Decompression zone: A buffer zone at the entrance, that gives a transition space between the exterior and the interior.

Fig. 1.18. Power wall displaying accessories at a Nike store

2. Power wall: As soon a person enters the decompression zone, it is observed that 90% of the customers tend to turn towards right irrespective of the layout type. Moreover, therefore, premium and promotional products are placed in this zone to attract customers1. This zone is like a canvas for experimenting 1 Orvis, G. (2017, January 18). The Ultimate Guide to Retail Store Layouts.

Retrieved from https://www.shopify.in/retail/the-ultimate-guide-to-retailstore-layouts

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with visual merchandising. It plays an essential role in creating an impact on the customer’s perception.

3. Billing Zones: The placement of the cash counter plays a vital role in how the customers navigate themselves and help in creating an experience path.

Colors : Color is one of the most significant bits of tactile information we take in. Colors help to shape our everyday encounters and are frequently the explanation that we respond to specific circumstances in particular manners.

A lot of how we see and distinguish brands depends on the color. The color a brand picks influences how shoppers decipher the personality of an organization, its expectations, and add to its reputation. In this way, the colors must remain consistent throughout the marketing strategy. The correct store colors can make an unmistakable brand story that is difficult to neglect.

A study shows that color builds brand acknowledgment by up to 80 percent. From numerous points of view, store colors become a quiet language that subliminally impacts customers’ image insights. That is the reason it is critical to discover consistency when utilizing store colors.

Material/surface treatment : Materials utilized in the development and interior structure can be consoling and aesthetically satisfying. For some retailers, the materials used in the arrangement become some portion of their image and are utilized over and over all through their chain stores.

Light floors are progressively agreeable for customers, so the deck is a significant thought. The solace off these floors urges customers to remain on the shop floor for more. The more extended the shopper is in the store, the better the opportunity that they will make a purchase.

The decision of color is another significant thought.

The retailer, as a rule, chooses color plots that highlight the products and don’t overwhelm them. Color is a fundamental fixing in interiors and exteriors. Numerous retailers change the interior color regularly because the color of occasional merchandise is frequently totally different.

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Lighting: The significance of lighting in visual merchandising is fundamental. Making a visual and aesthetic mood with lighting, not just influences the perspective of the customer, also, it can likewise drastically adjust the presence of the items in manners that can cause them to appear to be progressively attractive. Some essential information on lighting hypothesis will prove to be useful when attempting to minister the store outwardly. Some key elements to consider are the luminance (splendor) of the light, the visual ‘temperature’ of the light, and the bearing and focal point of the light. The items on the premises and their arrangement will likewise impact decisions somewhat; hardware and innovation may suit cooler, more beautiful fluorescent lighting, while a bookshop may require the warmth of tungsten bulbs in singular fittings.

B. Sensorial Aesthetics

Sensorial aesthetics refers to the manipulative use of elements that involve the use of human senses to create an atmosphere and ambiance. Customers these days seek a memorable experience from their shopping process. Through intricately vivid visual merchandising that flashes feelings inside purchasers, the cutting edge retail environment has figured out how to adjust to the exceptionally competitive digital space by playing into it. It includes the use of other senses apart from sight, i.e., olfactory, touch perception, hearing, and sense of taste. It is a method to enhance the experience of the space. In 1986, Julie Baker derived a framework of environmental elements in three dimensions: design, social and ambient components. The ambient factor comprises environmental elements like music, aromas, noise, and temperature. According to Kotler’s theory of atmospherics, there are four main dimensions of an atmosphere. They are as follows:

1. Visual Dimension: Includes the use of elements like color, brightness, size, and shapes to enhance the visual dimension of space. The visual dimension leaves a stronger and long-lasting impression on the minds of the customers. Various color schemes in a retail store can likewise make blended feelings from customers.

Customers know two key color schemes around the 29

globe; cold and warm. Utilizing various color palettes in a retail location is open to interpretation by customers and can give blended feelings. For instance, using blue, green, and white near one another is related to tranquil, delicate, and quieting implications while utilizing red, gold, orange, and yellow near one another are identified with passionate, energetic, hot, dynamic, and strong detects. Studies have demonstrated that customers have higher buy goals with ‘cool’ hues, explicitly blues, than with ‘warm’ hues, explicitly reds. The color scheme of a store can fundamentally affect and create an impact on the customer’s shopping conduct and buying choices (Chebat and Morrin, 2007).

1.Aural Dimension: Music is the most widely recognized atmospheric variable contemplated because it has a considerable effect on an assortment of customer shopping practices. It incorporates sales, energy, perceptions, time consumed in the store, instore footfall, and the impression of visual advertising in the store. Music is an essential factor for retailers to concentrate on while settling on the right atmospheric elements of their store since a wide range of music can influence customers. Factors like the age of the customer, their music inclination and recognition of the music, the beat of the song, and the use of background music can significantly affect a customer’s conduct and buying choices (Turley and Milliman, 2000).

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3. Olfactory Dimension: The aromas in a retail store can likewise unequivocally influence a customer’s shopping conduct. Studies have indicated that a considerable effect of scent originates from the nearness or nonattendance of aroma in a retail store. At the same time, the idea of the smell does not substantially affect customers’ practices. Aromas in a store, regardless if they are pleasant or unpleasant, can influence and impact sales, reflecting time, looking for the variety, and the customer’s apparent time consumed in the store (Turley and Milliman, 2000). As a fragrance turns out to be progressively intense, customer’s responses and practices will, in general, become increasingly negative.

Scents are a noteworthy atmospheric component for retailers to concentrate on as they make good or bad shopping practices from customers (Turley and Milliman, 2000).

Fig. 1.19. Point of sale

4. Tactile Dimension: The temperature is another atmospheric component that can impact a customer’s shopping conduct. Warmth, although, is an environmental component that gets overlooked by customers except if it is fixed at unacceptable levels for the customer. For instance, temperatures fixed at obnoxiously high or low levels might be seen by customers and can account for them distress while shopping. Interestingly, pleasant temperatures will not be seen by customers (Wakefield and Baker, 1998).

C. Visual Merchandising

Fig.1.20. Dump bin displays

Visual Merchandising is the specialty of displaying products in a way that attracts the customers. It sets the backdrop of the product in an aesthetically appealing manner, presenting them in a manner that would change the window shoppers into customers. In-store visual promotion is used to attract the notice of buyers as they are in the store, a first part of the dynamic buying procedure. To accomplish the contribution of the customers, the retailer must think about their demands during this system. Variables that add to the in general in-store design incorporate the store format, store planning, placement and display of merchandise, and signage. Right when applied successfully to a store, these components can address the issues of the purchaser and give a positive in-store buying condition.

1. Point of purchase (POP): It is a type of product display to draw the attention of the customers. It is usually a standalone type of display which is kept in a prime location in the store. There are various methods of displaying the products, for example: Dump bins: Huge bins or boxes are placed in between the aisles in open spaces. They usually contain smaller products that are on deals or special offers. They are placed strategically to be viewed from all angles.

Fig. 1.21. Gondola display

Freestanding Display: These are organized free-standing display systems. They usually have slightly expensive products than the dump bins. They are smaller in size.

Display cases: These cases are closed with glass or plastic from all the edges. Therefore, to buy a product,

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customers tend to interact with the sales staff. Due to security purposes, these cases are usually used for valuable and expensive products.

2. Gondola Display: These are two-sided displays, placed in the middle of the store. They are freestanding and movable. They are customizable as they have adjustable shelves. These units are usually used in grocery stores to display items.

3. Table Display: These kinds of displays are commonly used for clothing display. They provide more areas for display and have low height so that the products can be viewed from above. It is used to display the new collection or theme of the brand. These feature a culmination or grouping of a variety of products.

4. Mannequins: Mannequins are the encapsulation of visual merchandising. They show items in a setting that gives the customer a visual of the item being used. To benefit from this representation, merchandisers utilize the best of their items to make trendy outfits customers will need to wear themselves. Mannequins advance hasty purchases as they feature to the customer numerous things that they might not have been looking for in any case. In this way, items are placed close by so that customers do not miss out on a sale or deal.

Fig. 1.22. Table display

Fig. 1.23. Free-standing apparel display racks

5. Apparel display racks: Clothing racks are one of the most widely recognized kinds of apparel displays. In any case, not all items of clothing racks are the equivalent — some are round, some have various levels to hang things on, and some incorporate racks with them too.

Moreover, merchandisers do not merely hurl the item onto the rack and leave. There are numerous approaches to arrange garments on the clothing rack to catch a customer’s attention.For instance, gathering things by color is outwardly engaging and makes it simple for the customer to see their alternatives. In layered racks, cross-merchandising products give the customers an idea of outfit they can assemble with those items.

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6. End cap Display: End cap displays are the racks placed towards the end of a two-sided retail stand, which the customer passes by while moving between different aisles. It allows displaying the products apart

Fig. 1.24. End Cap display

from the typical aisle spaces. They additionally give a prime area to draw in attention — customers strolling through a prime alley can see these items without going down the walkway.

Fig. 1.25. Grid wall display

7. Grid wall Display: Grid wall offers a reasonable, practical, lightweight, and sturdy retail store display. It is produced using a wired grid that conveys an open and sleek look that can be utilized in a retail environment, for instance, rebate stores, general stores, pop-up stores, kiosks, public expo displays, etc. Regardless of whether set on the wall or kept freestanding, the unit gives a powerful approach to show stock. It likewise offers an incredible method to show regular or select products and can even fill in as end caps or permanent displays all through a store. Perfect for quick-paced retail environments, the grid wall is effectively removable and can be reused in various spaces. It is a space saver and can likewise be put away for sometime later. They come in different widths, statures, and hues.

1.2.1 Functional Aspects Functionality implies to the limit of all components to support the viability of tasks. Spatial association and functionality impact customers’ buying conduct, his/her degree of fulfillment, the connection towards the brand, and, thus, the brand’s worldwide performance. Spatial association and functionality of the retail location add to the brand building from acknowledgment, accomplishments, portrayals, and emotions. From the point of production, customers are progressively keen on a promptly conveyed service inside an ergonomic and functional space.As a result of the upcoming trends and designs, it is necessary for branded environments to be flexible and to be able to integrate the changes, new designs, and other alterations to the existing store. The retail store requires an occasional update and change in concepts to compete.

Layout and zoning

The layout of the store plays an essential role in creating a smooth transition for the customers, entering from the exterior into the interior space. It governs the way the customers use the space, right from the entrance to the way they navigate. Store layout involves the planning of

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the floor space and positioning of the products/zones to ease the shopping process. A consistent layout affects how customers perceive the brand image. For example, when a brand has a consistent layout, regardless of the location, it builds trust within the minds of the customers.

It also helps to create an easy recognition and indicates the clarity and purpose of the brand.

Grid Layout: The grid layout format is the most popular store design found in retail. Utilized in general stores, drugstores, and some big-box retail locations, it issued when the brand has a lot of items (especially various types of products), or when a retail store needs to maximize space. It is used to categorize products and its more accessible for the customers to navigate through it. It is efficient, creates familiarity, and increases the visibility of the products and other spaces.

Racetrack or Loop Layout:This is a forced path layout that leads the customers to spend more time experiencing the products. It is used to control the sequence of experiences that the customer sees. This encourages the customer to browse more. The traffic flows in one way due to the planning. This makes the design so ideal for executing promotions. The retailer knows where the customer is going to look straight away, and promotions are organized in like manner – eye level and a little to one side.

Free Flow Layout: This is a layout that can follow any shape or pattern. It is random planning of the store layout. The only consistent factor is the customer’s behavior after entering the store. It is useful for brands that sell small scale merchandise. Due to the absence of rigidity, the layout can experiment, and new experiences can be created. The issues faced in this layout is the traffic flow. If the store does not follow a logic behind the randomness, then it may leave the customers confused.

However, it eases the browsing process and encourages impulse buying.

Fig.1.26. Grid layout

Fig.1.27. Loop layout

Shopping Process

The process of grouping the products according to how the customers will buy them helps the designers/ planners to create a store layout that works well across 34

Fig.1.28. Free-flow layout

multiple stores. The shopping process determines how the zones and spaces are created in the store.

Sometimes brands wish a particular shopping process to be followed and hence design the path accordingly. The functional aspects that are incorporated in a retail store like cash counters, the changing rooms, the storage area must be in-obtrusive.

The buyer purchasing process involves successive steps the shopper follows to arrive at the last purchasing choices. Generally, customers follow a normal purchasing process. A marketer must know how customers arrive at the ultimate choice to purchase the item. By knowing the shopping process of customers, brands can stage required experience at the pause points of this procedure.

Parallel Activities Retail stores provide immense opportunities for attracting customers apart from just retailing. As a part of the marketing strategy, retailers are incorporating activities that attract and engage the customers to stay longer in the stores and have a memorable instore experience. It builds the customer’s devotion and, in turn, increases sales.The following activities can be seen commonly in stores these days to keep up with e-commerce to maintain a balance of experience between the two interfaces:

Purchase online, pick up from the store According to a 2018 study conducted by BigCommerce and Square, 18% of US consumers hate paying for shipping, 15% say they hate waiting to receive their product, and 12% think the product return process is difficult when shopping online.1 Therefore, by giving an option to pick from the store, brands compete with the other brands that do not have a physical space. This option also allows the customers to return the product right away. Another benefit of this option is that it allows the customers to see more items and might lead to impulse buy.

Fig.1.29. Buy online, pickup in store service

by Walmart

1 Salked, A. (n.d.). Best Ways to Attract New Customers to Your Retail Store:

SimpleTexting. (2020, April 3). Retrieved from https://simpletexting.com/ best-ways-to-attract-new-customers-to-your-retail-store/

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Hosting workshops and events Many shoppers consider shopping as entertainment.

Brands benefit from this by facilitating events or workshops at the stores. They also provide lounge areas and cafes with free wifi for people to stay longer in the stores.

For example, Looking at Apple’s “Today at Apple” event includes workshops and expert help in an area ranging from videography and photography, design, music, and much more. It helps the customers to connect with the brand personally. Similarly, some apparel brands host fashion shows where customers or people from across the community can participate.

Fig.1.30. Workshops at Apple stores

Bata : Example of expressions of brand strategy Retail branded outlets are an essential touchpoint for a brand. Right from its location to its size, to the spatial as well as shopping experience generated, the decisions are driven by the brand strategy, and one can see the expression of this strategy inside the store. For example, In the case of bata, its stores are usually located in malls and easily accessible neighborhood locations and usually range between 1500sq ft - 2500 sq ft size. This gives the image of bata being an economical brand.

Similarly, the spatial experience within the store can be described as welcoming, simple, and sophisticated.

While the presence of easily accessible product displays and supporting visual merchandising creates the image of it being reliable, it’s zoning, product display density and the presence of color and material palette gives the feel of it being a genuine and trustworthy brand. Even the lighting and music contribute to the experience of harmony. Thus as seen in this example, the overarching brand strategy is manifested in the store design at multiple levels.

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Fig.1.31. Bata Store

Chapter 2: Design of Branded Environments: Significance of Typology and Context - Introduction 2.1. Typologies of Branded Environments

2.1.1. Based on Product/Service Segment

2.1.2. Based on Operational Models

2.1.3. Based on Size and Location 2.2. Significance of Context 2.2.1.

Cultural Context 2.2.2.

Local Competition

2.2.3. Demography

2.2.4. Time

Introduction As elaborated in the previous chapter, an overall branding strategy is at the core of aesthetic and functional design decisions taken into account for the design of branded environments. With an overall strategy to guide the decisions, another crucial aspect of being considered is that these aesthetic and functional aspects may have different meanings in different cultures.

“The behavior of an individual is determined not by his racial affiliation, but by the character of his ancestry and his cultural environment.� ~ Franz Boas Branding strategies thus have to adapt to the local conditions when developing a design for branded environments at various locations. These adaptations require a thorough understanding of the context in which it is going to operate as the preferences and expectations of its target audiences would vary based on the context and thereby the impact it could generate through the design of branded environments. The design of Branded Environments can also vary based on the typology of the outlet. In some countries, it might be beneficial for a brand to open multiple small-format stores as compared to big stores in other countries. In some locations, it might operate on a franchise model while in some locations, it might see merit in a brand operated outlet. Thereby, the design decisions would have to adapt to these aspects too.

Thus, in this chapter, the aspects that play a significant role for the brands to adapt to the local situation are elaborated. These aspects can be broadly categorized based on the typology of the outlets based on the brand’s product and service offerings, based on its operational models as well as based on its size. The significance of the local cultural context and its demographics and the local competition the brands face in various contexts are also discussed. At the heart of this discussion is how the brands adapt to local situations while giving the customers a similar range of feelings and emotions in every location.

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2.1.1. Based on Product/Service Segment Branded environments can be identified and designed through various product and service segments. These segments are broadly categorized under - food (includes the evolution of markets to supermarkets and specialty food stores); fashion - apparel, footwear, accessories and beauty products; home - furniture, decor, and cookware; and leisure and entertainment - sport, travel, and tech. (Mesher, 2018)

Food

Fig.2.1. Department stores

The food industry provides tremendous retail opportunities. It can be seen through cafes, restaurants, supermarkets, and coffee shops. Food retail is a colossal industry, apparent in each town and city through its bistros, cafĂŠs, coffeehouses, and markets. Today, massive companies and retail chains rule food sales in the Western world, with some notable brands pitching against one another and autonomous retailers for local trade. The design language of these retail environments, frequently reused from town to town, can at first seem dull. However, for a considerable lot of us, they are a piece of our regular daily schedule for sustenance. Dive further into the ideas of such spaces, and an energizing procedure starts to rise. These spaces have developed from social influences and global customs and have been deciphered into a systematic, practical store environment.

For example, numerous cafĂŠs and eateries reflect European bistro culture, exploiting the warm atmosphere with open facades and outside seating; correspondingly, supermarkets use the techniques of product display similar to that of street markets where the products are stacked high, and colors and packaging is used to drive the sales. The planning of aisles, as well, navigating customers in a specific way, is set out likewise to the market, nonetheless in a substantially more controlled way.

Fig.2.2.-2.3. Food brands feel more compelled to create cookie-cutter designs since the experience is directly linked to the quality of food.

The marketplace was one of the significant factors in the emergence of cities in history. It was the place where the food and essential items were traded to the masses. The marketplaces are still a hub of many cities. It is a spot for engagement, making a buzz with its richness, sounds, hues, scents, and experience. The market is transient, ever-changing, and is a piece of the urban landscape.

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Market stalls are developed from straightforward casings to take into consideration flexibility, dismantling, and capacity. Every corner resembles a little shop with the overhang overhead, making an inside space and protecting merchandise from the components.

They are useful and take into consideration the display of products at table stature, with vessels of food heaped high, and hanging for clothes. Here the item sells itself instead of the design of the display.

Fig. 2.4. Reliance Fresh

With the change in the needs of the people, the evolution of markets took place. They were converted to market halls with smaller permanent structures as shops. The location of the halls was fixed. In the mid1920s, a rise in supermarkets eradicated the need for markets. It became a convenient option to get everything in one place. The planning of the stores was done logically to ease the navigation for the customers.

Fig.2.5. Specialty stores

The plan of some specialty food stores can be effectively connected to the experience of the market than general stores can. Displays are progressively intentional in making a market atmosphere and do not have the imperatives of the large chains. Like some market halls of today, these spaces connect both the retail and relaxation segments; the items are yearning and make an impression of a way of life. They can join a blend of contemporary and conventional interiors with character and appeal.

Fashion

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Fashion is an essential segment of the retail sector.

It covers a massive segment of the consumer in the fashion industry, including apparels, footwear, accessories, and beauty products. These segments dominate a significant part of retail. The fashion world is developing and demands spaces or stores that appeal to the target audience’s expectations and experiences.

The fashion market is dominated by women and is often seen as social interaction or a day out.

Fashion brands can be seen in three categories; premium fashion labels that create experiential and innovative stores; boutiques, where the store interiors are styled according to the fashion designers; mass-consumed fast-fashion brands that require quick interior changes according to the theme or season.

Fig.2.6. Food hall

Fig. 2.7. LV concept stores - Premium Fashion

Fig. 2.8. Anita Dongre’s store in Delhi - Boutique

Fig. 2.9. H&M Store - Commercial fashion

Premium fashion The exclusive fashion brands with one or more designers working under them, usually focus on creative and innovative spaces that influence the customers into buying. This process involves the fusion of architecture, interior, and fashion. These brands have a premium store in the fashion capitals of the world, i.e., Milan, London, Paris, and New York.

The collaboration between a fashion designer and an architect leads to a unique store design that reflects the designer’s identity. However, these collaborations are usually possible with designers that have a strong brand identity and are willing to narrate a story through their stores. These kinds of stores have a huge budget, and therefore contemporary designs are possible to experiment with.

Boutiques The boutiques evolved from being a department in a large clothing store that provided an entire range of clothing, from custom couture to cheap wholesale clothes. However, the boutiques nowadays house custom-made, specialty pieces that are different from the premium brands. These are small scale stores, designed according to the clothing and accessories.

Commercial fashion Fast-fashion brands have many identical stores in significant locations of towns and cities. These are high street and affordable. Their interior is often inspired by premium brand stores and requires a frequent change to evolve with the trends and customer expectations.

The brands hire retail designers and marketing experts to design a store that reflects the brand’s identity and build a relationship between the store and the brand.

Fig. 2.10. Hermes Store - Premium Fashion

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Home

In the 1950s, post world war II, consumer culture emerged in America. The advertisements were encouraging women to get back to their homes after working in factories. It created an impression of a suburban homemaker and led to the need for kitchen appliances and gadgets. In 1951, during the Festival of Berlin, a new “Contemporary style” was introduced, which was derived from the American design but infused with British traditions. The campaigns aimed at British women were successful. Products like furniture were sold by high -street retailers through small shops. These designs were made to suit the new government housing schemes that were being constructed then. Due to the rise in Interior decoration as a post-war occupation, the sale of products like wallpapers, furniture, flooring, and paints increased. It led to a positive impact on the industry.

Home Decor and impact of mass consumerism During the 1960s, the British encountered the flat-pack concept featured in Habitat, a furniture collection by Terence Conran. The collection was introduced as an alternative to the expensive domestic furniture range. The store was inspired by the markets of Italy and brought a diverse range of inexpensive lifestyle products. The homeware products were stacked like one of the European market stalls, and this concept later was recognized as the Habitat retail concept. This was the beginning of creating settings/arrangement to display the furniture.

Fig. 2.11. The first habitat store

During the recession in 1974, Habitat came up with its Basics Range that had a collection of 100 home-ware products at a low cost. It became a huge success, attracted new customers, and got the brand our of recession. In 1982, this range was relaunched in Japan, by Habitat.

The Japanese cherished this idea, and with permission, they launched a similar concept store under the name of Muji. It is now one of the leading retailers with “nobrand” affordable items that have simple packaging and emphasize on the reusing and “no waste.”

Fig. 2.12. Muji Store in a mall

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Introduction to flat-pack and its use in IKEA The rise in interest in designing of homes led to an increase in the mass production of products. In the 1940s, Gillis Lundgren designed the concept of flatpack furniture. IKEA developed its first store around this concept in Sweden in 1958. They promoted the idea of cheap, mass-produced furniture, and easily accessible home accessories. This kind of furniture was easy to store and assemble, therefore affecting the design of the store.

Fig.2.13. IKEA stores

IKEA stores have a showroom, marketplace, and a warehouse in the stores. The concept of the store layout is to encourage people to go through all the products and room sets and inspired. Further, they note down the reference of the furniture that they want to purchase.

Through the short cuts in the store, customers can select the products from the marketplace and select the furniture from the warehouse before paying. This was a new retailing store concept that promoted the idea of mass consumerism and availability.

Leisure and entertainment

The leisure and entertainment sector has developed in the last few years. The retail design of this sector, whether it is a product purchase or an experiential destination, surrounds the brands. The leisure sector include sports, technology, and automobiles.

Sports

Fig.2.14. Niketown New York featuring activities Lately, sports brands are coming up with store and new designs to encourage customer designs that represent their brand image by enforcing involvement

brand identity. Retail stores in the sports segment are meager in items and are show-like in the way that the participator moves around the zone and interfaces with displays. The graphical language is visible all through, and the theme showing youth and genuineness confides the brand message.

Fig.2.15. Adidas Flagship store featuring interactive designs.

Sports brand Nike has introduced a progression of Nike Towns around the globe, every Town taking its inside influence from the encompassing city. In 2002, Reebok additionally opened its base in Boston, USA. The Reebok brand confides in its base. It is strengthened throughout the Reebok structure – from apparel to the shop – on each high street.

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Technology The utilization of innovation in the home and working environment has grown as progressions have occurred, and items have become the must-have devices. Products, for example, cell phones, games consoles, MP3 Players, and home PCs, have made the shops equipped towards the innovatively minded and youth. A significant number of these brands are worldwide and need interior space and visual language that will attract on all levels.

Fig.2.16. Apple neighbourhood store.

The Apple Store currently exists universally and strengthens the Apple brand. The stores are progressive in innovation and focus on being easy to use and a place where items can be tried and tested. The stores have a section for children, a theater, and a solutions center as a component of the store idea.

The cell phone is, additionally, now a fundamental standard item. Cell phone stores are ordinary on the high street and regularly offer individual help with consultation zones, display similar to an exhibition, and brand messages. The requirement for the buyer to stay aware of innovation implies that cell phones are routinely supplanted, keeping the market steady and consistent.

Automobiles The automobile business is experiencing considerable changes in the manner it exchanges. Today, vehicle producers are getting on board with the fleeting marking trend and are making retail experiences for the purchaser. Flagship stores are developing with display spaces, bistros, and cafĂŠs as a significant aspect of the offer. Purchasing a vehicle nowadays is about buying a lifestyle.

The eventual fate of vehicle retailing is said to be in displaying vehicles to specific crowds as opposed to having physical showrooms. This thought prompts the purchase on the web. The impact of this extreme move will see the vehicle showroom vanish from the high street. Automobile sales will get more amicable towards people in general and less corporate in their selling procedures.

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Fig.2.17. McLaren Store interiors creating an image of sports oriented cars

Fig.2.18. BMW Store interiors creating the image of a lifestyle for its target audience

2.1.2. Based on Operational model Every brand puts a lot of hard work and perseverance in running it successfully. When it comes to the franchise, it brings a whole new set of challenges for the franchisee and the brand. The primary concern is to give a consistent experience. A franchise must provide a consistent brand experience throughout all its locations. Every business has three types of franchise models : 1. COCO - Company Owned Company Operated 2. FOFO - Franchise Owned Franchise Operated 3. FOCO - Franchise Owned Company Operated The type of franchise is another factor that affects the store design. Brands have their store design manual that they provide to the franchise owners with all the possible solutions for the location.

Company own company operated

Fig.2.19. McDonald’s Flagship store in Chicago, a COCO model

The organization’s staff manages this model. The brands/organization deals with the redesign cost, interior, arrangement, equipment, foundation, furniture and fixtures, ceiling and ground surface, in addition to task cost, reimbursement, power, store upkeep, phone costs, pilferage, and so on. In this case, specific income is essential to make the store self-sustained, so location becomes significant and consequently, the increment in lease. Frequently it has been seen that regardless of whether the COCO store is not profitable, it is continued running; in any case, the brand will have an awful name under the closure of the store. The advantage of this model is that each procedure is followed intently. The customer gets a direct experience of the brand in the retail chain. The COCO model includes more ideas behind the utilization and nature of the store structure.

Excellent materials and plans are utilized in the stores.

(Massetti, 2013)

Franchise own company operated

Fig.2.20. McDonald’s store in Hong Kong, a FOCO model

In this model, the cost for the setup is given by the franchise. Therefore the brand saves on the value of infrastructure and interior components initially but covers up in the revenue earned. The brand only spends on the enhancement of the store. Brands who are particular about their tasks and do not mean to put 45

their funding to raise a store, offer the FOCO model.

Compared with generic establishments Like the FOFO models, the Financial specialists, whose favor FOCO model essential wellspring of salary is something different.

Franchise own franchise-operated For this model, the company charters the brand to the franchise, and for this, a particular non-refundable amount for a pre-agreed period is charged. The company decides prices and merchandise. Marketing in national media says print and electronics are taken care of by brand. The FOFO models are owned and run by different people. Therefore, to maintain the consistency of brand image, brands use manual or cookie-cutter design for this model. The set of elements is fixed. The only flexibility is to choose from the options of store layout provided by the brand.

COCO FOCO FOFO

Fig.2.21. McDonald’s store in China, a FOFO model

• Company owned company operated • Company operates the store • Thought put into the store design • Minimal chances of losing the brand image

• Franchise owned company operated • Company operates the store • Frequently used franchise model • Liberty of choosing the vendor

• Franchise owned franchise operated • Franchise operates the store • High chances of messing up the brand image

Fig.2.22. Operational models - Types of franchise

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2.1.3. Based on size Brands use various scales of retail stores to reach out to their customers. To bring in a change in the existing store design, new concepts are used to experiment and create awareness amongst the customers.

Concept Stores These stores are designed differently from the usual retail stores and aim at enhancing the user experience and increase sales. Innovative ideas and new retailing techniques are explored in specific locations, where sales are high. These locations are selected based on acceptance from the customers. Such stores aim to attract new customers and also to see if the existing customers prefer to visit new stores. The success of such stores is measured through sales. If the sales increase, the concept store becomes successful.

Fig.2.23. Concept store, Shanghai- Under Armour

Fig.2.24. Dyson store interior; The components of the products are used to create art installations.

While numerous brands guarantee to have concept stores, there is some disagreement regarding how true it is. For instance, perfectionists will contend that the Dyson concept store propelled in London not long ago -cant guarantees the title. The store, which grandstands the brand’s innovation portfolio, urges customers to try the items before they purchase, and permits customers to perceive what goes on in Dysons designing labs, has been advertised as an idea store. In any case, as all the items on offer are from Dyson’s range and are not curated around a specific reason or focused on a particular way, it very well may be contended that its anything but a genuine concept store. In any case, with an everincreasing number of retailers hoping to make stores that offer curation, experience, and personalization, there is little uncertainty that the customary meaning of what makes an ideal store is evolving.

Flagship stores These stores promote the brand in central retail locations.

It is an extension of the existing retail store’s design with higher specifications and unique features that act as a brand statement. These stores generate an exhibition like experience due to limited products on display. It is more of a tourist place rather than a shop, where people come to experience the other aspects that the brand has to offer. These stores are used as a marketing tool that

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subconsciously creates an image in the customers.

The design of the store is thoughtful, and renowned designers/architects are selected to design a store that enhances the brand presence and brand image. The main aim is to experiment with the store design. Flagship shopping itself is less about looking for a reason, increasingly about buying for relaxation and joy. The flagship store gives a chance to clients to encounter the brand imaginatively and memorably, so raising brand mindfulness on a genuinely personal level. The flagship store is likewise the most adaptable when contrasted with other store models. Just as making a solid brand statement, it might be utilized to test the market, re-position the brand, try new items, assess retail store design ideas, or go about as host venue for a scope of PR exercises.

At 133,000 sq ft in size, apparel, and home-ware retailer Primark’s Madrid flagship nearly feels like its own mall.

The structure weds the unique subtleties of the structure with neon lighting and innovation, including 11 related straightforward screens in the chamber that make a 360-degree experience. All through the store, there are striking structure subtleties, with every region having its exciting style and personality, which assist clients with losing themselves in the experience.

Neighbourhood Stores As the name suggests, these stores are found in the associated neighborhood that is easily accessible to the customers. These stores are meant for sale and do not focus much on providing different experiences.

These stores are usually small scale. The design of these stores gets reinterpreted across same scale stores.

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The Adidas Neighborhood Concept stores are situated far and wide. However, they are comparative in structure, and all stores help their different local components that encapsulate in the neighborhood that they are situated.

For the Queen West area, Adidas Canada cooperated bespoke craftsmanship establishments for the new store. For the dispatch, the organization similarly worked with the planners from NOR BLACK/NOR WHITE and craftsman Mango Peeler on modified tees that were accessible as a selective gift with purchase during the opening.

Fig.2.25. Under Armour Flagship store in Baltimore

Fig.2.26. Primark’s flagship store in Madrid.

Fig.2.27. Under Armour’s neighbourhood store

Fig.2.28. Under Armour’s pop-up store in

Fig.2.29. Huda Beauty’s science-fiction based pop-up in Covent Garden, London.

Pop up stores These stores are temporary setups for retail. They are easy to execute and involve fewer investments. They are introduced in places different from the associated locations. It is an opportunity for retailers to showcase their exclusive product range. The setup structure is often deployable and can be re-assembled on the next site.

Huda Beauty, one of the world’s quickest developing beauty brands, ran a vivid retail experience pop-up directly in the focal point of Covent Garden, London, to launch another item range and approach new customers.

Huda utilized the area (sourced by Storefront) to convey a science fiction themed involvement with the help of their new eye-shadow palette Mercury Retrograde.

The exterior of the pop-up looked like a multifaceted, metallic mass of geometrical shapes. It was resounded inside with different galactic components, all way of reflected surfaces and sparkling fixtures and components.

2.2. Significance of Context The significance of context is essential in retail as it is one of the aspects of the marketing strategy. As a basic understanding, an excellent location acts as a primary element that can attract customers. The location of a retail store is decided considering the social, cultural, and economic factors of the context. These factors are different for every location, and therefore the meaning of the brand will be different based on the context. For example, a store in a mall has a different footfall of customers than a stand-alone store due to their locations.

As apart of the process, brands go through an in-depth analysis of locations, before finalizing on to one. It includes the analysis of the market and the nature and presence of the competition. The marketing budget is an essential factor that determines whether the store is a miss or hit. A store located in a prime location costs a fortune to the brands. Whereas a store situated far from the street needs additional marketing activities and collaterals. The prime location increases the visibility of the store and does not require new marketing.

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The decisions about where to find a store are fundamental to any retailer’s prosperity. Location choices are especially significant because of their considerable expense, extended haul duty, and effect on customer support. Picking a specific location type includes assessing the progression of trade-offs. These trade-offs, by and large, incorporate the inhabitance cost of the location, passer-by and vehicle traffic related to the area, and the ease of the place for customers.

Retailers have plenty of sorts of destinations to pick from. Each kind of site has pros and cons. Numerous central business districts, downtown, and Main Street locations have become more practical alternatives than in the past because of the improvement of the territories and the absence of competition. There likewise are a wide variety of shopping mall types for retailers.

They can situate in an encased shopping center or ethos, specialty, concept, outlet, or center. Other nonconventional destinations are virtual locations, airports, resorts, stores inside a store, and temporary locations.

2.2.1. Cultural Context A culture works basically by defining boundaries for people’s behavior. Culture, in reality, gives the system inside which people and families work. A critical result of culture is its effect on the utilization patterns of people and organizations. Contingent upon the hidden social way of thinking, buyers will, in general, follow specific consumption patterns.

Existing brands have had the option to adjust their branding techniques under this popular social way of thinking and mesh their brands into the social fiber.

Regardless of the worldwide similarity in numerous retail environments, the customers are contrasted.

How shoppers see their reality, the inspirations that drive them, and the reasoning methods that influence their decisions and choices are impacted by culture in essential manners. Culture affects the qualities that customers hold (Hofstede 1984), the objectives that they seek (Markus and Kitayama 1991), and the methods in which that they see, arrange, and reason about their environment (Nisbett et al. 2001).

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Fig.2.30. Starbucks store in downtown

Fig.2.31. Starbucks store in downtown

Cultural difference is a significant factor that impacts the success or failure of a brand. As brands enter various cultures, it gets basic for them to step the normalization customization continuum cautiously. They make sense of how to keep up the original brand character, which is the very reason behind their affirmation across business segments, yet likewise, get the brand segments (pictures, promotion, channels, and others) to draw in the neighborhood tastes and tendencies of customers.

Social factors like communities and socio-economic status of people influence the retail business of brands.

It helps them to identity their customer group and their living patterns. These factors influence business decisions like what to display in the store, location of the store, and whether there is a need for web-based selling alternatives. Every culture or group of people will have a different response to a product according to their preferences.

2.2.2. Local Competition

Fig.2.32. Fast food chains have a tough competition in India, the local street food.

Fig.2.33. Aram Vada Pav, Mumbai, giving a competition to fast food chains nearby.

The location of the store is always judged upon the competition. It can either be a boon or a bane for the brand. Shoppers usually prefer going through the options and then selecting one. Therefore, a location with similar product brands can help in comparison shopping. The absence of competition may result from hindrances to entry, absence of market demand, or failed endeavors by past brands.

Levels of competitions change by country and district. In certain regions, retailers face a lot of stiffer competition than in different territories. As a rule, the more industrialized a nation is, the higher the degree of competition that exists between its boundaries. One of the ecological impacts on the success or failure of a retail foundation is how the retailer can deal with the upper hands of its competition. Retailers look at the indirect and direct competitors in the market, the products and services they have to offer, and their brand image. The competition includes comparative exercises attempting to attract customers. Even though the base of comparison between competition is the price, two more strategies impact the price factor. They include market coverage and the range of expansion.

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Market Range Activities offering similar products involve locations in view to convey products or services to the entire zone.

This perspective is clarified by the central location theory and applies well to areas where the spatial market scope is a development technique (inexpensive food, coffeehouses, etc.). The scope of every location will be a component of customer density, transport costs, and the location of different contenders.

Expanding the range Existing stores attempt to extend their extents to attract more customers. Economies of scale bringing about more extensive retail exercises are a trend, especially since the development of shopping centers. Taken separately, each store would have a constrained range. Nonetheless, as a group, they will draw in new customers from an increasingly broad range. Initially, the complementaries of merchandise or services are advertised. A customer would accordingly think that its advantageous to have the option to purchase garments, shoes, and personal items at a similar location. Second, a variety of similar products or services is offered regardless of whether they contend between different brands. Third, other related luxuries are given, for example, security, food, indoor strolling space, entertainment, and parking spot.

2.2.3. Demography While designing a retail environment, context is a crucial factor. Every store design should appeal to the target audience, but there is a reverse equation for this. The location of the store is determined based on the target audience and their involvement in that particular location. The assessment of the local marketplaces is an essential factor in looking at the spending graphs of the local target audience.

Demography is the examination of people’s characteristics that depict purchasers. Retailers secure information about the customer’s age, sexual orientation, pay, guidance, family characteristics, occupation, and various things. These portion factors help in choosing parts, which become the intended interest group for the retailer. Fundamentally, demographics help retailers 52

in recognizing and concentrating on potential clients in specific geographic areas. Retailers follow various client slants by analyzing changes in demographics.

Associating it with physiological and lifestyle characteristics helps retailers with finding unequivocally who their buyers are. For example, a country like India would be an alluring business sector for setting up a retail outlet for the IT sector as India has a transcendently youthful populace who is an IT canny.

The segment structure is rarely static for long, and changes in its creation regularly. Further, these progressions impact the conduct of buyers, which directly affects the retailer’s business. So, retail firms persistently quantify the changes - subjective just as quantitative - that are occurring in the populace structure.

2.2.4. Time

Fig.2.34. Old Bata store design

Fig.2.35. Revamped Bata store design

With the changing times, brands need to revamp their store designs, which might lead to the addition of new materials and technology. This factor also leads to creating an inconsistency between the new and old stores. However, even in the changed store design, new elements are used to create the same spatial experience and impart the same brand image. The base element that gives consistency in both cases is the core messaging and core concept of the brand. The need for remodeling can also be a resultant of a revamped brand image.

For example, Bata, in the run to revamp its brand image, is renovating all its store to give a conteporary look and attract the youth using new materials and upgraded lighting systems and technology.

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Chapter 3 Case Studies 3.1. Approaches to store design

3.1.1 Cookie cutter Approach

3.1.2 Semi - Experimental Approach

3.1.3 experimental Approach 3.2. Case studies

3.2.1. Camper

3.2.1.a. Store 1: New York - Nendo

3.2.1.b. Store 2: Moscow - Asketik Studio

3.2.2. Nike

3.2.1.a. Store 1: Nike FieldHouse - Santa Monica

3.2.1.b. Store 2: Nike town - Seattle

3.2.3. Skechers

3.2.1.a. Store 1: Santa Monica

3.2.1.b. Store 2: Flagship store, Mumbai

Introduction Spatial branding is particularly significant in the retail business since the in-store plan and the method for exhibiting items impact the buying process of customers. Branded environments give a profound comprehension of the brand and its products, amp the customer experience, and cultivate trust. These elements add to advancing items, advocating premium costs, and expanding sales.

The design of the store views as a component of the general retail brand strategy. An outwardly engaging store configuration helps in the portrayal of the brand and fills in as an instrument to pull in new customers.

Preferably, a brand having numerous stores ought to give the customers a similar range of feelings and emotions in every location.

The physical condition is an essential resource to speak with clients in retail stores. Customers are eager to follow through on a higher expense for items bought in an increasingly good condition. Simultaneously, stores that have a poor design may prompt diminished shopping delight, bringing about a reduction of bringing customers back. Making a cordial environment makes shopping simpler for customers, consoling the redundancy of buying.

As seen above though a consistent brand strategy guides all the design decisions, brands need to adapt and evolve, resulting in apparent inconsistent designs.

Thus the focus of the third part is to review different design approaches between the cookie-cutter to comprehensive experimental design approaches and look at the design elements that contribute to bringing consistency in inconsistency. Three case studies are selected, each representing a different design approach.

For this study, three international shoe brands that also have a significant presence in India are selected. The design approach for Skechers stores is reviewed for its cookie-cutter approach, Nike is reviewed for its semiexperimental approach, and the Camper is reviewed for its experimental approach to store design. All the stores are either COCO or FOCO models, to consider the involvement of the brand in the design decisions as well.

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3.1.1. Cookie Cutter When stores are designed with the same style or approach without giving much attention to individual elements, its called a cookie-cutter design approach, it has been a national approach to brand roll-outs over the years. During the entry phase of the business, brands usually focus on having a cookie-cutter approach to store design. It is said to be a safe option to impart a brand image. This approach leads to the creation of a brand manual, which has all the possibilities of the store design. They provide all the details of the furniture, materials, and layout execution variations. These manuals differ in models according to the size of the store, but the base elements remain the same. There is very little flexibility in terms of store design.

Miniso, a Chinese low-cost retailer brand, has been compared to its competitors like Uniqlo, Muji, and Daiso for the similarity in their store aesthetics, branding, and products, and the Japanese influence on their store concept. It is a departmental store thats sells affordable lifestyle products. The display fixtures are standard and are used according to the site. The stores follow a datum of 7ft; products are stored above this datum.

The consistency of brand image is achieved through their display fixtures, brand colors (red ad white) and materials palette.

Fig.3.1. Miniso Store, Japan

Fig.3.2. Miniso Store, India

3.1.2. Semi experimental The brands which are in the transit of trading up or enhancing the brand image, usually opt for this approach, where they are trying to break the notion of being the same old brand. The process of store design begins with the same elements and materials that remain constant, but yet the flexibility of playing with the scale and proportions is present. The layouts and planning of the store differ. The brand provides a manual for the store design, but yet designers get to imply their interpretation of the brand image and values.

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Nicobar store has committed spaces for women’s wear, menswear, home, and travel lines. Remaining consistent with the quintessence of the brand, the store is a new, textured blank area punctuated with metal accents,

Fig.3.3. Nicobar Store, Bangalore

Fig.3.4. Nicobar Store, Delhi

smooth marble, sporadic jute weaves, the tonal play of pine and acacia wood, and the impeccably blemished concrete finish. The new Nicobar store makes it somewhat more straightforward for their guests with an in-store style studio. The thought is to make clients feel calm and make the most of their time at the store with staff help with assembling a full search for them, with a blend of Nicobar styles and one’s pieces they are free to bring along. Portions of the store are intended to be multi-useful spaces that can be changed totally, from a smaller than expected performance center for film screenings and a craftsmanship display to an assembly hall for book readings and a business visionary center.

Welcoming guests to wait and not feel constrained to surge out, there is a book corner with a curated choice of titles.

3.1.3. Experimental

Fig.3.5. Vans Store,London

Fig.3.6. Vans Store, London

This approach of the experimental store design is helpful for brands as it shows the strength of their branding and brand recognition in the market. The store design in this approach varies from site to site. Brands usually create a whole new theme or concept for such stores.

They are essential to support the brand equity. One approach to refocus attention to the experience of stores is through experimentation of different store formats. Innovative store concepts do more than just than improving the customer experience. This approach usually creates a buzz about the brand and also lets to test new ideas.

The House of Vans in London satisfies the organization saying of being off the wall. An area where craftsmanship, music, BMX, road culture, and style combine, one can discover nearly all that one can envision over the 30,000 square feet building. Among a film, bistro, unrecorded music setting, and craftsmanship display, the base floor holds the most remarkable component of the structure: the concrete ramp, smaller slope, and road course. Nothing preferable exemplifies the Vans brand over a space where youngsters can shop as well as immediately mingle. The House of Vans is the ideal case of how experiential retail can be utilized to enable a shopping experience.

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Case 1 Camper Experimental approach to store design Product - Shoes Style - Between formal and casual unisex shoes • Small product allows more experimentation with store design and display systems. • Does not use any form of environmental graphics or visual merchandising techniques.

3.2.1. Camper Camper has continued to push the boundaries and break the conventional retail design. The products have a strong identity of their own that has remained consistent in any continent. Whereas, their store design has changed and evolved since their first sales store in Barcelona in 1981.

The plans have always been innovative and reflect the idea and the values of the brand,i.e., imagination walks.

While most of the brands are trying to maintain their brand identity by using the same concept for every store, Camper has acquired its name by the variety and expressive store designs. The new stores reflect the individualism of the architects with the latest concepts and modern styles, which makes the stores unique.

They introduced a new model of collaboration where they partner with renowned architects and designers to create exclusive stores and product ranges. They ditched the idea of maintaining the same visual language from store to store; instead, every store image depends on the designer’s or architect’s perspective of the brand.

“Camper Together” reacts to another worldwide reality that requires the ability to coordinate through design, various cultures, and innovative expertise into one project along with an association fit for conveying and circulating one of a kind activities to a select global commercial center. It reflects how different architects and designers from different countries and cultures approach the same design brief for the physical space and the products. This is how Camper has differentiated from its competitors and has remained fresh out of the box.

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Camper is a Spanish brand that originated in 1877. It is a home-grown family business that focuses on the traditional craftsmanship and heritage of Spain. The Mallorca family combined the original artisan roots with industrial Lorenzo Fluxa continued the inventive drive to and created the brand Camper in 1975.

Fig.3.7. The tagline for the brand; suggesting that it is meant for walking and not running(sports).

They started with unisex casual footwear that diminished the boundaries between sporty and savvy. Crossbreed models are eminently included over the collections and are a fundamental trait of its contemporary footwear.

Camper is now one of the leading brands in the shoe sector with stores across Europe.

T

Brand Perosnality: Sincerity and excitement

FUNCTIONAL

U

IMAGINATION

DURABLE CULTURE

MODERN

COMFORT VERSATILE

STYLISH

O

AESTHETIC

CREATIVE

CRAFTS

A

B

TRADITION

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Product Poster: Camper has a creative and witty approach to its posters. They are selfexplanatory and straightforward with easily relatable graphics. Every poster depicts one quality of the product through innovative graphics. The logo is featured at the bottom along with the tagline “Extraordinary Crafts,� promoting the importance of craftsmanship in their products.

Fig.3.8.

Fig.3.9.

Fig.3.10.

Target Audience: Camper does not have a specific target group as they focus on unisex designs. Some collections have gender-based products. People who associate with exploring new products and more personalized products are targeted. It is more of a lifestyle that people would want.

Luxury

Fig.3.11.

Fashionable

Affordable

Fig.3.12.

Promotional Events: Design Museum featured an exhibition of Camper : Life on foot, showcasing the journey of the brand. Its poster indicates the thought process from a sketch to the final product. It signifies an equal amount of importance given to the design process and craftsmanship of the product.

Equal proportions of red and white are used to indicate a balance between the processes.

The poster does not feature the brand logo.

The product is placed such that the name of the brand can be seen. This shows that the brand is identified by its product itself.

ADVERTISMENT

Functional

The most famous Pelotas shoe is featured to highlight the association Fig.3.13.

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ADVERTISMENT 62

Frame 1: Character introduction and how he feels- Expressive

Frame 2: Reason of excitement, first day at school - Exploring

Frame 3: Knowledgeable Uncoventional

Frame 4: Enacting excitement Symbolic

Frame 5: Product - relating to the qualities of the character.

Frame 6: Certain of the feeling Confident

Fig.3.14. Courtesy: (“Helix | S/S 2018 Campaign�, 2018)

Frame 7: Brand name displayed at the end.

As part of their new ad campaign for the Spring/Summer 2018 collection, Camper used the idea of the yearbook of the 80s and 90s. The characters have dorky and eclectic personalities that complement their choice of footwear.

The campaign shows that every personality has its own footwear type. Every photo creates a relation between the footwear and the personality using similar color schemes.

Fig.3.15. Other characters of the ad campaign.

Fig.3.17.

Tagline Website

The name of the brand is written in red signifying that it is associated to Camper.

Fig.3.16.

Print Media: Newspaper cover page Fig.3.18.

Packaging: The packaging elements are designed to promote brand values - simplicity and functionality. Every element features a play of proportions of red and white color, and yet signifying Camper.

Fig.3.19. Public Relations: Public transport gives a vast opportunity to attract new customers and promote the brand to the fullest.

Fig.3.20. Public Relations: Prime locations of a city are selected for advertising. Use of bold and quirky graphics to represent the brand.

ADVERTISMENT

Logo is featured on the sides.

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3.2.1.a. Camper Store by Nendo Location: New York Size: 1400 sq ft Year: 2013 Nendo designed this store, and his minimalist hallmarks can be seen. The concept focused on the product display, inspired by an art installation. The designer has followed an idea of shoes walking on air, which was developed for small scale stores in Osaka, Paris, San Francisco, and Moscow. The store has a coherent and opulent design that endeavors to make a tri-dimensional example into the walls through the reiteration of one of the most popular Camper shoes, made in resin, and fastened to the walls. In this white scene, the items can be the primary core interest.

1. Movement and direction:

{Space planning, Circulation (zoning, furniture, layout)} Fig.3.21. Facade

The store follows a simple loop layout, with the display on the walls and pedestals in between. These elements are used to create different movements and Circulations for lesser traffic at a point of sale. The store forms a loop of premium products displayed on the walls. The billing zone is pushed at the back, such that people visit the entire store and then make a purchase. The benches are flushed with the wall. The brand has unisex shoes and therefore does not have any space distribution.

2. Space Defining elements:

{Floors, ceiling, display, platforms, walls, partitions}

Fig.3.22. Mortar flooring

The store has a seamless mortar flooring. It adds to the simple interiors and compliments the display pedestals.

The ceiling and walls are painted white to highlight and give a background to the products. Space has a high ceiling due to which the store has a datum followed at the height of 1600 mm above which the white resin models of Pelotas shoes are used as an element that adds character to space. When the light falls on them from the facade windows, the play of shadows adds texture to the walls. The store has two large pedestals placed in the center of the two axes of the store. The shoes on sale are placed randomly in between the white Pelotas shoes. The store has two large pedestals placed in the center of the two axes of the store.

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Fig.3.23. The store follows simple concept of display; to highlight the products.

The shoes on sale are placed randomly in between the white Pelotas shoes. This method highlights the product and draws more attention to it. Even after adding so many pieces of products, the store does not create a feeling of being overly stuffed.

The balance between the products on sale and the white shoes creates harmony in the space.

The walls have white paint finish to act as a background for the shoes. The non-structural walls between the storage space and service room have flushed doors with the shoes protruding from the door panels as well. Wall displays play an important role in retail design. This unique art installation for display is a different approach apart from the regular use of shelves. The current collections are displayed amongst these replicas in spaces at the base of the walls where customers can reach.

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Fig.3.24. The color proportions aid the differentiation between display and products.

fig.3.25. Mirrors are used to create an illusion of a larger space.

3. Visual communication:

Fig.3.26. The display method in unique and true to Camper’s concept of “Imagine Walks”.

Fig.3.27. The check out counter adds the brand identity and a pop of color to the store.

{Visual merchandising, Branding, Logo}

Environmental

graphics,

The concept of the store design does not require the use of environmental graphics. The interior is a statement in itself. This thought of displaying the shoes on sale along with the iconic Pelotas shoes is a part of visual merchandising as well. The store has no logo displayed apart from the cash counter, which shows that the brand does not need to remind people about the brand.

4. Product design

{Furniture (tables, storage, seating), VM (racks, Cash counter, Display elements)} The bench is created like a niche in the wall. This kind of seating helps in reducing space consumption, giving more area for clear circulation. More seating options are provided right next to the central pedestals for the ease of trial.

One of the most striking elements of the store is the red cash counter. Just the use of the patent colors of the brand adds identity to the store. It is located at the corner of the L-shaped store. It allows a clear vision throughout the store. The store has two storage spaces with racks to stack the stock. The designers have used mirrors on corners to give the illusion of a larger and denser space.

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The shoes above the datum (1600 mm) are secured and fixed to the wall.

Concealed lighting to highlight the accessories.

Fig.3.28.

Fig.3.29. Flused display system for accessories

Fig.3.30. Installation detail of the white Pelotas shoes on the wall

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Datum followed throughout the store Display Elements

Fig.3.31. Elements of store design

Key Observations: 1. Use of color plays an important role to create the identity and maintain the consistency 2. The unique methods of displaying the products are consistent.

3. The store design is visually functional and straightforward.

5. Ambience:

{Material and sensorial} The store interiors reflect the designer’s take on the brief provided by the brand. The store is organized, polished, and bright. The use of multiple Pelotas shoes to cover the wall also serves the purpose to cater to the acoustics of the store due to its high ceiling. Even after adding so many pieces of products, the store does not create a feeling of being overly stuffed.

The balance between the products on sale and the white shoes creates harmony in the space.

The store has large facade windows that provide natural light. Multiple ceiling lights used to give an ample amount of light in the store. The niche for display has fluorescent lights. The use of patent red and white colors gives the store the identity. The concept of camper shoes being a casual shoe type reflects in the store.

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3.2.1.b. Camper Store by Asketik Studio Location: Moscow, Russia Size: 345 sq ft.

Year: 2018 Russian designer, Maxim Maximov and the team of Asketik studios brought a new store design for the “Camper Together� venture. The store features in one the malls in Moscow. With a simple and minimalist aesthetic , the store has a clean interior design and offers maximum functionality. He wanted to create familiarity with Russia along with being stylish and modern like in Europe. The designer incorporated features like industrial warehouse like display system and used tiles that were associated to supermarkets in Moscow.

1. Movement and direction:

{Space planning, Circulation (zoning, furniture, layout)}

Fig.3.32. The black metal and glass facade, frames the store interior and creates a clean look.

The store follows a simple loop layout, with display on either walls and pedestal display in between. These elements are used to create different movement and circulation for lesser traffic at the point of sale.

The premium products are displayed on the central display. The billing zone is pushed at the back, such that people visit the entire store and then make a purchase.

2. Space Defining elements:

{Floors, ceiling, display, platforms, walls, partitions}

Fig.3.33. Every corner of the store has a different method of display.

The store has a seamless concrete flooring. It adds to the simple interiors and compliments the shelving system. The walls are clad from floor to ceiling with white 15x15 tiles to follow the geometry of the space.

The tiles are continued above the datum of 1800mm throughout the store. An arched doorway at the back of the cash counter leads to the back staff room and storage. A striking red curtain is used instead of a door.

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3. Visual communication: {Visual merchandising, Branding, Logo}

Environmental

graphics,

Follows the 150x300mm

grid

of

the

tile;

The concept of the store is simple and a painting is added at the back wall of the store to add a pop of colors. The shoes are displayed perpendicularly to display a pair and parallel to the customer to show a single The store has no logo displayed apart from the cash counter and facade.

4. Product design

{Furniture (tables, storage, seating), VM (racks, Cash counter, Display elements)} The designer has used minimum forms and colors to give maximum functionality to the space. The designer has used four different ways of display.

1. On the left of the entrance, a shelving system is used to display the products along with storage for boxes of stock.

2. One of the display system includes shelves protruding from the wall, clad with the same white tiles.

3. White powder coated metal shelves on the right of the entrance have same size and thickness of the tile, which gives an effect of a unified base.

4. The pedestal display has two levels to it; the base pedestal is topped with corian and the raised platform is made by bending metal plates.

Fig.3.34. White powder coated metal plates used for shelving. Plate is fastened to the wall using screws.

One of the most striking elements of the store is the red cash counter. Just the use of the patent colors of the brand adds identity to the store. It is located at the back end of the store. Accessories are showcased in the cash counter. The store has two storage spaces with racks to stack the stock.

Fig.3.35.

The protruding display shelves are created in reference to the tiles.

Fig.3.36. The layout of the store is simple and functional with the zoning done on the degree of customer involvement.

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Fig.3.37.

Fig.3.38.

Fig.3.39.

Fig.3.40.

5. Ambience:

{Material and sensorial} The store interiors reflect the designer’s take on the brief provided by the brand. The store is organized, polished, and bright. The store gives an industrial atmosphere because of the materials used. The material palette of white tiles, powder coated metal, concrete flooring and the exposed ceiling with the ducts running through, gives an unified environment.

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Camper The study of the stores showed the use of different elements to project the same brand image. The elements that were common yet used differently are:

I N F E R E N C E S

Color - Red and White: The colors are a prominent aspect of visual association. The consistency is maintained through the proportions of the colors. The proportion of red and white remains the same, despite being used on different elements. The red color is used for check counters in both stores.

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Display system: Both the stores use entirely different methods of display, and this a consistent factor across all the stores. None of the Camper stores have the same display fixture. This allows the brand to experiment with their method of display and the fixture.

Association with the designer: Every store has design decisions that reflect the identity of the designer along with imparting the association of localization provided

by Camper.

Consistent Elements Camper

• Color palette - red, white

Inconsistent Elements • Material palette • Display Fixtures • Furniture elements • Placement of merchandise • Spatial planning and zoning • Response to architectural shell

Store 1: N e w York

Store 2: Moscow

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Case 2 Nike Semi-Experimental approach to store design Product - Sports apparel, shoes, equipments and accessories Style- Athletic and innovative Vast range of products requires a proper zoning and use of mannequins, focus prominently on visual merchandising and environmental graphics.

3.2.2. Nike The opening of Niketown in New York in 1996, surrendered the possibility that stores principally expected to serve to sell products and create high turnovers. With this concept, they brought a change in their retail design. Along with the full product display, the new store offered the opportunity to encounter the product: a small ball court in an enclosure and a soccer confine took up a lot of the extra room. The focal point of this concept was marketing the brand, not the product.

Niketown obscures the limits between promotional, sales, and educational spaces. Customers are triggered to spend time with the brand as a leisure activity. Also, while Nike is promoting a ‘functioning store’ that is more about brand character than just the sales, it prevails with regards to drawing in shoppers and turning them to customers.

Since 2009, TVA has teamed up with the Nike retail gathering to build up its current Direct to Consumer turn out. This procedure has included the advancement of significant Nike brand components into fabricable details that can be customized for every area and every region-specific sports market while holding congruity of the worldwide brand.

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Fig.3.41. The tagline for the brand; Suggesting that nothing is impossible.

Founded on January 25 , 1964 , the company was initially known as ‘Blue Ribbon Sports’ , a brainchild of Bowerman and Phil Knight which officially became Nike Inc. on May 30 , 1971. The name is inspired by Nike , The Greek goddess of victory. Nike is an American multinational that designs , develops , manufactures and sells footwear , apparel , equipment , accessories and services. The company’s headquarters is located in Beaverton , Oregon , in the Portland metropolitan area.

It is the world’s biggest provider of athletic shoes and clothing and a significant maker of athletic gear.

T

Brand Personality: Sophisticated, Rugged and Competence

AUTHENTIC

U

PERFORMANCE

STURDY

COMFORT

A

B

O

FLEXIBILITY

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CULTURE

RELIABLE

STYLISH RUGGED

ATHLETIC

Fig.3.42. Brand Identity Prism:

CONTEMPORARY

STABILITY

Target Audience: Males and females aged between 18-40 years old. Nike aims to target athletes and sports enthusiasts, who focus on the performance of the product.

Luxury

Fashionable

Fig.3.44. Athletes from various sports like basketball, football, running etc., are featured.

Affordable Fig.3.43.

Product Poster: Every Nike ad poster features an athlete in action, wearing or using the products. They also include messages that suggest a purpose to do the activity. Only the swoosh logo is featured which is the brand’s major identity.

Athletes in action

Fig.3.45.

ADVERTISMENT

Functional

Fig.3.46.

Message promoting to do the activity

Visual suggesting the wide range of products and essentials in one place

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ADVERTISMENT

Frame 1-3: Glimpses of the new product range- Focus on product

Frame 4-6: Athletes shown in action and working hard, product used for running- Purpose

Frame 7-9: - Brief about the product is narrated while the product is shown when in use - Thoughtful

Frame 10-18: New technology and materials are used and every little detail of the process is told - Innovation and representation of the huge amount of consideration given to product design

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Frame 19-21: Focus on product design - Dedication

ADVERTISMENT

Frame 22-26: The product is tested by professional athletes for better feedback and improvement - Improvise, Progress, Advance, Considerate

Frame 27-31: The final product is displayed as an outcome of the intensive process; just for you - Assurance, Trustworthy Fig.3.47. Courtesy: (“Nike Joyride | Behind the Design | Nike�, 2019)

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Product Personalization: NIKEiD is a service that allows tailor cut designs as per the wants of its customers. Both online and offline services are provided by the company across different countries around the world which include: UK , Italy , France , Japan , Spain , Germany , China , USA , Canada and Australia.

Bold letters used for caption, specifying the assertive nature of the campaign.

ADVERTISMENT

Every product is different and indicates the possibilities of customization Bent shoe depicting the flexibility of the product while running.

Campaign name mentioned at the bottom; easy visibility and remembrance.

Fig.3.48.

Promotional Events: Nike promotes sports and therefore focuses on sports event that can involve maximum participation. Organizing marathons and tournaments has been a major advertising event for Nike. They feature their products during these events.

Fig.3.50. Nike air zoom SuperRep training and performance checks

Fig.3.49. Nike basketball 3on3 tournament

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fig.3.51. Nike Underground at women’s world cup

Fig.3.52. Nike “We Run Mix” Marathon

Fig.3.54.

Print Media: Magazine cover page

Fig.3.53.

Fig.3.55.

Fig.3.56.

Packaging : The packaging elements are minimal and simple. The swoosh logo is such a strong identity for the brand that it does not require to put its name on the elements.

Fig.3.57.

Fig.3.58.

Public Relations: Hoardings are used to create catchy and unique methods of advertising.

Simple and easy to interpret ads are created. They feature the product and a tagline along with it.

Fig.3.59.

ADVERTISMENT

Only the logo is featured as the brand’s identity Every bag has a different message to it

Fig.3.60.

Celebrity endorsements: Increases trust and worth of the brand for the customers.

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3.2.2.a. Nike FieldHouse Store Location: Santa Monica, California, USA Architect: TVA Architects Size: 18,600 sq ft.

Year: 2015 This store in Santa Monica is the first of the new retail concept chain to roll out globally by Nike. The store is developed to set an example to be followed in the following stores. It includes programs that are established, keeping in mind the customer journey, campaigns for the branded and seasonal collections, fixtures, materials graphics, and art installations projects.

The new concept gives importance to the brand and then to sub-brands in terms of presence. The store design focuses on maintaining consistency in imparting the brand image of Nike to be represented in the retail stores. This store is a part of the brand communication system that provides a face to the brand that the customers can associate.

1. Movement and direction:

{Space planning, Circulation (zoning, furniture, layout)}

With a corner location, the store features the signature brand elements on both the facades. Glass wall on either facades of the store allows interaction between the inside and outside. The store follows a loop layout, with the display on the walls and pedestals in between forming departments for different collections and product range. Every department has a U shaped configuration of display fixtures to get maximum functionality of the space.

The ground floor features women’s products, whereas the second floor features men’s products. The floors are connected through a staircase with an atrium that features an art installation stating “Just do it”. The billing zone is present next to the entrance, which forms an easier loop for the customers to visit the entire store.

The store has a clear circulation due to the departments tucked on the walls.

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2. Space Defining elements:

{Floors, ceiling, display, platforms, walls, partitions} The store has a herringbone hardwood flooring for the ground floor and a hard concrete floor for the first floor with black stenciled lines to create a sense of a running track. The central staircase defines the configuration of the spaces around it. The white and grey ceiling with exposed services adds to the lighter aesthetic of the store. The store has different types of display systems, including a paneled wall for shoes, free-standing garment racks, and table displays that used to create areas and partitions for collections. The structural walls and columns are painted grey following the color scheme.

Men’s section has backdrop(walls) of the wall display covered with wooden panel (herringbone pattern) or grey graphics representing association to sports.

Whereas, the women’s section has varied backdrops or wall treatments, namely: grey paint, black paint, wooden herringbone paneling, and a grey horizontal panel wall. The division/partition between sections is created through the display systems itself.

Fig.3.61. Every corner of the store has a different method of display.

The standard fixture creates a datum in the space

Fig.3.62. The art installation in the double volume is made out of reclaimed wood from a gym; Nike promotes the idea of recycling and sustainable designs, hence this element stays true to the belief.

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Fig.3.63. Nike emphasizes on the use of position mannequins to display their products and this has become one of the essential aspects of their store design.

3. Visual communication:

{Visual merchandising, Branding, Logo}

Environmental

graphics,

The store features the critical use of the visual merchandising strategies of Nike. The store has environmental graphics and information boards with every collection. The use of images of athletes that people can associate to is added in every collection.

Along with the display elements, position mannequins are used to depict the product in use.

Fig.3.64.

Every collection has a set up of the products to create a narrative/story that customers can associate. The use of bundling and table displays plays an important role here in creating an impact on the customers. The store has excessive use of mannequins to display the collections.

The collections are segregated according to activities, and this makes it simpler for the customers to find the zones they would like to visit.

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4. Product design

{Furniture (tables, storage, seating), VM (racks, Cash counter, Display elements)} The store features varied kinds of displays fixtures and systems. The shoes are displayed on the wall fixtures, on the protruding metal rods. Every footwear display backdrop is different according to the color scheme and collection’s theme. Three types of backdrops are used,namely, grey horizontal wooden planks, cement panels and black waffle shaped metal panels. The corner facing the street has a two-way metal display structure for shoes. Every shoe display system has a series of cabinets below for storage.

The apparels are displayed on metal wall fixtures and free standing garment racks. The products are hung on these fixtures. The table displays are used for folded and bundled display of products. The wooden tables have staggered levels with a black top for better backdrop for the products. Apparels are also displayed on mannequins.

Fig.3.65. Wall display for customized bra fitting zone.

Fig.3.66. Various types of display fixtures used in combinations.

Metal frame fixture for apparel Fig.3.68.

Premium product is displayed in an enclosed tube. This a special display for Jordans.

Black glass Fig.3.69.

Free standing rack Table display

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Fig.3.67.

Fig.3.70.

Fig.3.71.

Fig.3.72.

Fig.3.73.

Fig.3.74.

Fig. The store features different fixtures of displaying the same product.

1. Grey wooden panels as backdrop with protruding metal member for the shoes. This fixture does not have the information tag for the products.

2. The street facing corner has a two way display (metal fixture) for visibility from both sides.

3. Cement board with protruding metal members for display of casual and economical category products.

4. Waffle patterned metal panels with metal members for the display of sports shoes.

Fig.3.75.

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Fig.3.76. Use of unified color scheme and display system to highlight the product display.

Fig.3.77. Wall display for customized bra fitting zone.

5. Ambiance:

{Material and sensorial} The store interior is designed to suit the Southern California environment, and therefore a lighter and stronger aesthetic was created to maximize natural light into space. The store is well lit with substantial pendant lights for the store ambiance and a grid of spotlights for the products.

The store follows a neutral material palette and color scheme of greys, blacks, whites, and beige. The staircase adds to the ambiance of the store. The connection it draws between the floors through the atrium gives a sense of the scale of the store.

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Fig.3.78.

Fig.3.79.

Fig.3.80.

Fig.3.81.

Fig. The store features different fixtures of displaying the same product.

1. Every collection is presented with a set of mannequins to display the product.

2. Various categories of display elements are used in combinations to create a setup for the collection.

3. Footwear display along with storage provided below. Every collection has an associated word written along with it to ease the customer’s selection process.

4. Use of technology in the form of digital screens. Position or action mannequins used to represent the activity and the product in use.

Fig.3.82.

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3.2.2.b. NikeTown Seattle Location: Seattle, USA Architect: TVA Architects Size: 20,000 sq ft.

Year: 2015 Niketown is a retail concept by Nike, which focuses on the reflection of local elements that the people around can associate. The store went through complete redesign , with change in the entrance that features a neon sculpture showcasing the local sports icons and cultural symbols.

1. Movement and direction:

{Space planning, Circulation (zoning, furniture, layout)} The store follows a free flow layout, with display on the walls, pedestals and table displays in between. These elements are used to create different movement and circulation for lesser traffic at a point of sale. The store forms a loop of premium products displayed on the walls and the pedestals with mannequins displaying the new collections. The two storey store is connected through a staircase, with a transition zone at the landing, overlooking the Pike street.

2. Space Defining elements:

{Floors, ceiling, display, platforms, walls, partitions} The store has a hardwood angular flooring on both the floors. It compliments the display pedestals and creates a lighter aesthetic for the store. The staircase connecting the floors is tucked in the prime corner of the store overlooking the street. The landing of the staircase acts a mezzanine floor and has a concrete flooring. This space is used to organize parallel marketing activities.

The ceiling has panels and exposed air conditioning ducts.

The backdrops for wall display systems have various kinds of treatments : Men’s section has grey paint and exposed concrete block wall whereas the women’s section has wooden slats and white walls with graphics to support the display. The display fixtures itself are used to create partitions between different collections. The table display used for staggered display and bundling display.

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3. Visual communication: {Visual merchandising, Branding, Logo}

Environmental

graphics,

The visual obstacle at the entrance is the product exhibition of the new collection. The store has a simple window display system, adjacent to the staircase. Every collection features a graphic or image of an athlete to create the product association. The store concept majorly uses mannequins to create scenes and display the products. The women’s section on the ground floor has graphics related to sports as the wall covering.

The products are displayed and segregated into zones according to a sport, for example, basketball, football, running etc. The display includes apparel, footwear and accessories and equipments required for the sport in one zone itself. The central pedestal and table displays feature the seasonal collections and new themes.

Fig.3.83. Use of bundled display along with mannequins.

Fig.3.84. Various forms of display systems found in one collection.

Fig.3.85. The transition into the space and the location fo the staircase is a crucial decision that has affected the store design.

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Metal frame fixture for apparel Fig.3.87.

Position Mannequins

Black metal Pedestals Fig.3.88.

Fig.3.86. Every collection uses a combination of display systems from the fixed set of fixtures.

Free standing rack Table display Fig.3.89.

4. Product design

{Furniture (tables, storage, seating), VM (racks, Cash counter, Display elements)} The benches feature the famous orange colored cushioning and placed in every section. The store features varied kinds of displays fixtures and systems.

The shoes are displayed on the wall fixtures, on the protruding metal rods. Every footwear display backdrop is different according to the color scheme and collection’s theme. Three types of backdrops are used,namely, grey horizontal wooden planks, cement panels and black waffle like metal panels. Every shoe display system has a series of cabinets below for storage.

The apparels are displayed on metal wall fixtures and free standing garment racks. The products are hung on these fixtures. The table displays are used for folded and bundled display of products.

Fig.3.90. Wall display for running shoes and casual shoes, displayed on protruding metal rods.

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Datum followed throughout the store Display of brand Message

Fig.3.91. The wall is covered with wooden slats and features the message of “Just do it Seattle� above the datum followed in the store for the display systems.

Fig.3.92. Every collection is displayed in manner that it can be clubbed together. Props are kept along to generate an association with the sport.

Fig.3.94.

Fig.3.93. Proportions of metal and wood

Topwear Props Accessories Bottomwear

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Fig.3.95.

Fig.3.96.

Fig.3.97.

Staircase

Fig.3.98.

The staircase is the crucial space making element of the store. It connects the two retail spaces along with creating a space for parallel activities. It binds the space and creates a point of attraction and also offers a space around it to create setups for visual merchandising.

5. Ambience:

{Material and sensorial} The store is well lit with substantial pendant lights for the store ambiance and grid of track lights for the products. The store follows a neutral material palette and color scheme of greys, blacks, whites, and beige. Concrete for the staircase, light-colored wood for flooring, display background and stairs, glass and black metal frame for the facade creates the neutral material palette to highlight the products in the store.

The store has additional features like digital screens for finding the perfect product and other details. The staircase is the point of attraction in the store. With the prime location and the double volume around, it is the hotspot for introducing new collections.

Fig.3.99.

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Nike

I N F E R E N C E S

Nike is an ever evolving brand with multi-product categories to offer. With the growing competition in retail design due the trends, Nike has shifted to the “direct to customer� format of branding. This includes the refreshed retail design worldwide to enhance the Nike sports heritage. Irrespective of the store format, certain store design elements were found out to be consistently used in stores. To maintain the consistency across their store design, the brand has developed the following common elements:

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Display fixtures: The brand has developed display fixtures specific to the product that used in every format of their store. The retail design of Nike includes some fixed fixtures and methods of display. Every store has a permutation combination out of these elements.

Materials: Nike started with the use of orange bleacher boards for display backdrops and black metal for fixtures as consistent elements. But now with the changing store designs, Nike has introduced new materials like wooden flooring, black powder coated metal, grey cement boards, wooden slats and waffle patterned metal panels along with the use of locally available recycled and reclaimed materials.

Visual Merchandising: Nike uses a consistent method of visual merchandising techniques that are evident visually. The combination of bundled display, wall display and free-standing displays can be seen in every store.

One of the prominent feature of visual merchandising is the use of position mannequins. Nike uses action mannequins to display their products. This helps the customers to visualize the product during use. These mannequins are used for window display setups and as an installation at the point of sale.

The use of permutation and combination of the same display fixtures adds inconsistency in to the zoning and spatial planning of the store. The flexibility of configuration of elements still creates a consistent feel to the store environment. The brand focuses on the use of the same elements differently to create a consistent feel in the store.

Consistent Elements Nike

• Color palette • Material palette

Inconsistent Elements • Spatial planning and zoning

• Lighting fixtures

• Permutationcombination of display fixtures for the display of a collection

• Use of mannequins

• Visual merchandising

• Elements that include Localization

• Configuration of merchandise display

• Display fixtures

Store 1: Santa Moncia

Store 2: Seattle

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Case 3 Skechers Cookie-cutter or Manual based approach to store design Product - Sports apparel, shoes, and accessories Style- Athletic and casual Vast range of products requires a proper zoning and use of mannequins, focus prominently on visual merchandising and environmental graphics.

3.2.3. Skechers The journey of Skechers retail stores began with the first distributor owned store in Tokyo in 2001. Later in 2002, it opened its first company owned international retail stores in London and Paris marking the beginning of company owned stores. The brand has since hen focused to maintain a consistent store design. They have various store design concepts that are developed with time to add new elements in the design. These changes are then incorporated among all the stores that follow the concept.

The brand is focusing on reaching out to maximum target audience and therefore promotes their franchise models. They provide a design manual, with details provided for each and every element in the store. As stated in their design manual - “Step into any Skechers retail store and you’ll instantly understand the breadth of our brand. We design each retail location to showcase a complete range of Skechers footwear and reflect our image. Every store draws a diverse consumer base— from kids and college students to parents, boomers and working professionals.”1

1 https://sh.skechers.com/skechers/new-site/retail-licensing-CPG24833.pdf

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Skechers is a multinational American lifestyle and performance footwear brand founded in 1992 in Manhattan beach, CA. It has two segments, lifestyle and performance. The lifestyle segment features casual and walking shoes, whereas performance segment focuses on the sports enthusiasts. It also sells accessories and merchandise.

With the growing competition in the footwear sector, Skechers is focusing on positioning themselves as the affordable, functional and fashionable lifestyle shoes and athleisure.

T

Brand Personality: Excitement and competence

PERFORMANCE

U

AFFORDABLE

DURABLE

COMFORT CASUAL

STYLISH EASY GOING

O

SPORTY

CREATIVE

FUN

Product Poster: The posters focus on the product along with text about the product.

Additional features are mentioned alongside the message.

A

B

LIFESTYLE

MODERN

Clear brand message for the collection Fig.3.100.

Category of product

The character indicates a particular target audience; suggests a change in lifestyle and get comfort using their products

Highlight feature of the product

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Promoting online shop

Fig.3.101.

Target Audience: Males aged between 30-50 years, females aged between 18-30 years and kids. The lifestyle segment focuses on all kinds of audience, whereas the performance segment focuses on men and women sports enthusiasts Luxury

Functional

Fashionable

Fig.3.102.

Fig.3.103.

Promotional Events: Skechers organizes marathons to promote its performance segment.

These marathons are conducted as fund raisers and charity, and not as competitions.

Fig.3.104.

Promoting a lifestyle than the products

ADVERTISMENT

Affordable

Fig.3.105.

Fig.3.106.

Fig.3.107.

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ADVERTISMENT

Frame 1-3: Product is featured and characters are shown doing the suggestive activities - Focus group

Frame 4-6: The purpose and qualities of the product are described - Sincere

Frame 7-9: The use of new technology and thought behind it is conveyed - Purpose and Inventive

Frame 10-12: Purpose of the new product and the qualities it has to offer are informed - Honest

Frame 13-15: Different locations are shown indicating the possible activities it can be used for - Expressive Fig.3.108. Courtesy: (Skechers Stretch-Knit commercial, 2020)

A commercial for the new stretch knit product range, focusing on young women. The advertisement gives a message that the product is fit for casual activities.

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Fig.3.110.

Promoting their online shop

The brand name and logo is mentioned on all sides of the bag.

Packaging : The packaging elements are different for the two segments of their product ranges. The performance segment has a sturdy box as compared to lifestyle segment.

Fig.3.111.

Public Relations: The advertisements are simple and easily noticeable. The main focus of the brand is to promote their performance segment due to the competition.

Fig.3.112.

Fig.3.113.

ADVERTISMENT

Fig.3.109.

Celebrity collaborations : These celebrity collaborations show the two different ways of using the product by Camila. This creates an strong image for the customers to follow.

Fig.3.114.

Fig.3.115.

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3.2.3.a.

Monica

Skechers

Store

Santa

Location: Santa Monica, California, USA Size: 3000 sq ft.

Year: 2018 The store, spread across 1500 sq ft, uses finishes that are rustic and exposed thus enhancing the sporty zeal of the brand. It features metal fixtures, brick columns etc. representing concept which is vintage, modern, rich and high powered in nature. It’ll retail its wide range of footwear amongst its two-robust categoryperformance and lifestyle.

1. Movement and direction:

{Space planning, Circulation (zoning, furniture, layout)}

The store follows a combination of free-flow and grid layout with the set of display elements like table displays, free-standing racks, and furniture. Autonomous features govern the circulation. Clusters of furniture create the zones for the collections. The area surrounding the structural columns is used to create different forms of display zones along with personalization and assistance zones. The zoning of the store is based on the product category. One part of the store features the formal and casual footwear together in an enclosed zone, whereas the sports wear and shoes are displayed around the store. The store is divided into two parts by the women’s and men’s collections displayed on either walls of the store. The fitting rooms are tucked at the back end of the store to avoid hindrance in the shopping process of the customers. The billing zone is pushed at the back, such that people visit the entire store and then make a purchase. Accessories are displayed near the billing counter for an impulse purchase.

2. Space Defining elements:

{Floors, ceiling, display, platforms, walls, partitions} The store has a polished concrete flooring with black lines to demarcate the category zones. The black exposed ceiling comprises of various lighting systems and a light installation at the entrance. Display platforms

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Various walls covering have been used as a backdrop for the displays. Wooden slats, wire mesh, cement board paneling, and brick cladding has been used for different collections. The area for formal and casual footwear has brick-clad partitions with glass infill. The structural walls and columns are painted black.

3. Visual communication:

{Visual merchandising, Environmental graphics, Branding, Logo} Visuals of the products and their use are displayed on the columns to create an association with the brand. Through the use of mannequins and bundled display, new collections are presented in the store.

Premium collections are displayed in display boxes, to highlight them. The check out counter features a city-specific backdrop that links the brand and the location. Every display system has an image of the product in use. Activity specifying terms are used along with the display to ease the process of selection for the customers. The logo and the brand name is used at various locations. Every product is provided with a description tag.

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Fig.3.116. Bundled display technique used for apparel section.

Fig.3.117. The store follows a simple layout with zones differentiated using furniture and display fixtures.

Digital screens displaying visuals to target the aspired customers.

Brand logo for the performance segment displayed with the collection for easy visibility of the product category.

Accessories are displayed in between the apparel to promote purchase of combination of products.

Fig.3.120. Mannequins are presented in glass cuboid with the graphic of the activity related to the product.

Fig.3.118. Men’s and kids collections are displayed in one half of the store.

Fig.3.119. Table display featuring products at different levels according to the range.

Fig.3.121.

4. Product design

{Furniture (tables, storage, seating), VM (racks, Cash counter, Display elements)} The store features varied kinds of display fixtures and systems. Every footwear display backdrop is different according to the color scheme and the collection’s theme. Benches are placed alongside every footwear collection for customers to relax and try on the products. It has a blue cushioning and storage provided beneath it. The table displays are made of black powder-coated metal and veneer is used for the top. Two-way footwear displays are used for commercial and daily-wear products.

Shelving systems are used for the wall display.

The base for mannequins is made out of black metal with wire mesh infill. The furniture is majorly made out of metal (for the structure) and veneer (for the top). The apparels are hung on metal wall fixtures and free-standing garment racks.

The table displays are used for the folded and bundled display of products.

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5. Ambience:

{Material and sensorial} A grid of track lights is used for the products and art installations are used as an additional lighting for the store. The overall white lighting from the installations brightens the store and warm light from the track lights highlights the products.

The store follows a color palette that compliments the blue color of the brand and also the shades of the furniture. The display fixtures are made out black powder coated metal sections, wire mesh, veneer for shelves and table tops and glass infill. The shop front has two setups for window display.

Fig.3.122. Hanging lights designed specially for the concept that is used in this store.

Fig.3.123. The check out counter is tucked at the back of the store and is surrounded by the minimum involvement products.

Accessories are displayed near the check out counter

City specific backdrop for the checkout counter; representing association to the city.

Bags are placed at the back of the column.

Bags are placed at the back of the column.

Shoe care products are kept at check counter for impulse buy.

E c o n o m i c a l products are placed near the billing zone, on freesanding fixtures.

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Brick cladding Veneer clad shelves Beige for Casual shoes

Veneer clad shelves Black for Formal Shoes

Fig.3.124.

Fig.3.125. Brick clad partition with a glass infill is sued to differentiate the area for formal and casual footwear.

Fig.3.126. The name of brand is featured on a wave, created using illuminated members. The shop front has setup for new collections on display.

Screens to display advertisements featuring the celebrity ambassador in the new collection.

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3.2.3.b Skechers Flagship Store Location: Fort, Mumbai, India Size: 3000 sq ft.

Year: 2018 With a 3000 sq ft carpet area, this store marks the establishment of the largest Skechers store in India. The store follows a new concept/format of store design and interiors. The location was picked to personify the flavor of the city and therefore, Fort was chosen. The store is one of the company owned stores in India.

1. Movement and direction:

{Space planning, Circulation (zoning, furniture, layout)}

The store follows a free-flow layout, with wall displays, table displays and free standing two way display systems in between. These elements are used to create different movement and circulation for lesser traffic at a point of sale. The store has pause point in the center and therefore the zones are created around it. Loose furniture is placed at intervals according to the footwear displays.

The accessories and less investment products are placed near the check out counter. The billing zone is pushed at the back, such that people visit the entire store and then make a purchase with ease. The store is divided into two halves according to gender based display. Small clusters are formed using the autonomous display systems.

2. Space Defining elements:

{Floors, ceiling, display, platforms, walls, partitions} The store has a beige tiled flooring. The store has structural columns that are strengthened using truss columns. The surfaces of these columns are used to display visuals for product promotion. The store is located in a heritage building and therefore the architectural shell is not tempered. The store has a high ceiling and features the light fixtures. A false ceiling is created to hide the existing structure and also conceal the services. The walls are painted grey and white and act as a backdrop for the display systems. Various wall 113

coverings have been used as a backdrop for the displays. Wooden slats, wire mesh, cement board paneling, and brick cladding is used for different collections. The area for formal and casual footwear has a brick cladding.

3. Visual communication:

{Visual merchandising, Environmental graphics, Branding, Logo} Due to its corner location, one facade of the store is entirely used for window display. These windows feature setups according to the new theme or collection. Visuals of products and their use are displayed on the truss columns to create an association with the brand. Through the use of mannequins and bundled display, new collections are presented in the store. As an additional feature, the store has a treadmill to try the products for running.

The check out counter features a city-specific backdrop that links the brand and the location.

Every display system has an image of the product in use. The logo and the brand name is used at various locations. Every product is provided with a description tag. Above every footwear display, the veneer clad panel states the message “Designed in Los Angeles.� The store features a massive screen above the check out counter, that plays the visuals and videos promoting association with the brand.

Fig.3.127. Windows display on the shop front; New collections are presented on a pedestal along with a supporting visual.

Fig.3.128. Use of digital screen to project visuals and advertisements.

The Mark Nason collection presented with supporting visuals Fig.3.129. Windows display on the street facing facade.

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Fig.3.131.

Powder coated metal sections

Fig.3.132.

Veneer Laminate countertop

Fig.3.130. Use of various display fixtures like, Wall fixtures for apparels and shoes, table display for new collection of shoes and bundled display of apparel, freestanding fixtures for daily footwear.

Fig.3.133.

4. Product design

{Furniture (tables, storage, seating), VM (racks, Cash counter, Display elements)} The store features varied kinds of display fixtures and systems. Every footwear display backdrop is different according to the color scheme and the collection’s theme. Stools with blue cushioning are placed alongside every footwear collection for customers to relax and try on the products. The table displays are made of black powder-coated metal and veneer is used for the top. Two-way footwear displays are used for commercial and daily-wear products.

The base for mannequins is made out of black metal with wire mesh infill. The furniture is majorly made out of metal (for the structure) and veneer (for the top). The apparels are displayed on metal wall fixtures and free-standing garment racks.

These fixtures feature shelves at various levels (for the display of shoes and accessories) along with rods to hang the products. It is a different approach to bundling display.

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Accessories and impulse buy products are placed near the check out counter

Fig.3.134. The billing zone and the merchandise display in relation to it.

City specific backdrop as a feature that cretes association for the local target audience.

Fig.3.135. Hanging lights designed specially for the store concept that is used in this store.

Fig.3.136. The overall look and feel of the store is same as any other skechers store.

5. Ambience:

{Material and sensorial} The store has a combination of lighting systems. A grid of track lights is used for the products, and art installations are used as additional lighting for the store. The overall white lighting from the installations brightens the store and warm light from the track lights highlights the products.

The store follows a color palette that compliments the blue color of the brand and also the shades of the furniture. The display fixtures are made out of black powder-coated metal sections, wire mesh, veneer for shelves and tabletops, and glass infill. The shopfront has two setups for window display.

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I N F E R E N C E S

Skechers started a decade ago and is a relatively new brand. It is trying to reach out to the maximum audience through the concept of franchises. The brand has developed new store concepts according to as and when required for adding a new perspective to marketing. The concept is followed across all the formats that are executed at the same time. The brand has developed a concept that `has a set of elements to be used in the stores. These elements are:

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Display fixtures: The display fixtures are the same across all the stores following a single concept. The company also provides the placement of these fixtures.

Store elements: The placement of cash counters, the use of backdrops for display systems are also fixed.

The brand provides a manual with all the possibilities of configurations. The use of lighting systems is fixed.

Visual Merchandising: The visual merchandising techniques are the same and followed across the stores. Right from the placement of the visuals and setups of the point of sale is the same.

The brand follows a manual of store design that has possible configurations of store layout according to the size and locations. Additional features are added according to the type and need of the store format. This kind of an approach to store design maintains the consistency by fixing the elements prior.

The inconsistency is observed in the stores due to factors like additional features like digital screens, and the architectural shell. The new supporting columns installed at the Mumbai Skechers store are constructed to serve the same purpose, like, display of visuals and mirrors.

Consistent Elements Skechers

• Color palette - Blue, black,grey • Material palette • Spatial planning and zoning

Inconsistent Elements • Furniture • Response to architectural shell • Additional features

• Display Fixtures • Furniture elements • Placement of merchandise

Store 1

Store 2

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Chapter 4:

Conclusion

C O N C L U S I O N

This study is based on the premise that consistency in the brand image is experienced in the design of branded environments, even when the design at various locations is not the replica. Thus, this study intended to look at the interior design parameters that contribute to creating this consistent brand image for a brand. The study dwells into the processes, scope, and limitations in the designing of a branded environment through a thorough study of the various factors and approaches currently prevalent.

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The study begins with the understanding of brand strategy, which is an essential factor that governs how the brand functions. It is a comprehensive plan for the achievement of long term goals of a brand. With the emergence of trends and growing competition, it has become essential for brands to maintain the trust of the customers. Brands achieve this trust through strong brand strategies that create an image on the minds of the customers. It involves the use of techniques that help in differentiating from the competitors.

Brands communicate these strategies through various touchpoints that the customers come into contact with.

The intangible and tangible touchpoints involved include advertising, social media, and communications, retail store, point of sale, and stakeholders. Brands ensure that a consistent message is communicated across its various touchpoints as this consistent messaging is an essential aspect of gaining the trust of its target audience.

Branded Environments are an essential touchpoint for the brands now due to the rise in omnichannel retailing.

They have become an opportunity for the brands to create an innovative experience for the customers.

The onus on the design of branded environments is to create novel experiences for its target audience.

The need for consistent messaging and the need for an inventive experience appear to be contradictory goals. Nonetheless, various brands have adopted various approaches in the design of their retail branded environments in achieving consistency in inconsistency.

Consistency in branded environments can be categorized into two aspects, namely, the aesthetic aspects and the functional aspects. The aesthetic aspects include visual and sensorial factors of space design, whereas the functional aspects include the usability factors of space.

Furthermore, another critical aspect that affects the design decision of a store is the typology and the context. The typology of a branded environment is based on the product and service segment, the operational model (the type of franchise - FOFO, FOCO, and COCO) and the size of the space. The product and service segment determines the type of display and environment required for it. The franchise models can put the brand image at risk, and therefore, each category has a variety of flexibility in design decisions.

Size (area) and location are additional factors that govern the design approach of a branded environment.

The size of the store and its location determine the kind of image it might create. The decision of a location is taken based on the footfall of the potential customers and vice-versa. It can vary from a mall store to a store at the airport. In addition to the typology of the branded environment, the context/surrounding factors play a significant role in designing. It includes the cultural influences and the demography of the context along with the local competition. A product that is considered affordable in the US might be expensive in India, due to the difference in their economies.

After looking at the external factors that affect the designing process, approaches to design a branded environment are studied. These can be simplified into three categories, namely, cookie-cutter approach, semi-experimental approach, and experimental approach. These approaches are governed by the brand image and other brand strategies of a brand.

Case studies were carried out to study and analyses these approaches. As the name suggests, a cookiecutter design approach indicates similarity in the look and feel of a store. This approach is usually carried out by brands that are new in the competition and trying to position themselves. The same language followed in every.

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C O N C L U S I O N

store creates a visual consistency that gives a sense of trust in the brand. This approach does not allow much flexibility for designers to introduce changes in the existing concepts. This is usually seen in the FOFO operational models.

As seen in the case study of Skechers, both the stores are in contrasting locations. They are company-owned stores in their respective countries. Their cultural influences are different, and their local competitions are different; still, they have the same store design. Both the stores follow the “N concept� developed by Skechers, which features new elements like veneer, city-specific backdrops, and hanging lights. Their display fixtures, color palette, lighting fixtures, and material palette is the same.

The semi-experimental design approach is widely used by the brands that are already well-positioned in the competition but still want to upgrade their brand image.

These brands have gone past their cookie-cutter approach to design new concepts using those interior elements. These brands have a set of fixtures and material palettes. With the permutation and combination of these fixtures, the design of the stores is carried out.

Similarly, in the case study of Nike, the brand has a set of fixtures, lighting fixtures, color palette, and material palette that they use irrespective of the store concept.

They use the same set of elements to design the stores differently. The inconsistency is observed through the difference in configurations of the zones in the store.

Some of the elements that are differently designed but have the same underlying concept include the emphasis on the entrance and facade design and the design of the staircase as a space making element.

The experimental design approach is applicable for brands with a strong brand image. These brands have a coordinated brand strategy. It is an approach to enhance or add a new essence to the existing brand image.

The experimental approach provides a wide range of possibilities for designing a store. These brands can experiment with new concepts because they are wellpositioned, and this does not hamper their brand image.

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In the case study of Camper, the brand is a familyowned business that has evolved with a strong image.

The brand is focused on selling experience through its stores. It follows a consistency in the proportions of colors, their ideologies, and the brand message to be conveyed through the stores. Even if the store design is inconsistent, they give the feeling of consistency due to its strong brand image of craftsmanship and uniqueness of products, which is being reflected in the design decisions.

With the evolving branded environments, it has become necessary for the brands to focus on building a strong brand strategy, which can be reflected in the store design.

A branded environment can be thriving only if the brand’s strategies are compelling enough to be able to experiment.

It can be thus concluded that if the brand has a strong core messaging that the design strategy can be based on, then the brands can afford to be experimental in creating varied spatial experiences. While brands that are still new or brands whose quality of products is directly linked with the consistency in the appearance in touch-points, those brands rely on cookie-cutter and semi-experimental approach.

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126

Camper (Experimental approach)

Nike (Semi-Experimental approach)

Skechers (Cookie-cutter approach)

Color Palette

that include Localization

Use of mannequins, Elements

Display fixtures, Lighting fixtures,

Color palette, Material palette,

merchandise

elements, Placement of

Display, Fixtures, Furniture

through the use of inconsistent elements.

This approach is preferred by wellestablished brands with a strong core

Furniture elements, Placement of merchandise, Spatial planning and zoning, Response to architectural shell

messaging and image.

brand image that remains the same even

This approach involves the use of a strong

throughout the touch-points

brands that rely on visual consistency

of the store. This approach is used by

consistency in the overall look and feel

and therefore they significantly impart a

These elements have a strong image

consistent and inconsistent elements.

A balance is created between the use of

trust through consistency.

brands that are new and want to build the

approach. This approach is used by

to the location, occur in every design

Material palette, Display Fixtures,

of merchandise display

Visual merchandising, Configuration

fixtures for the display of a collection,

Permutation-combination of display

Spatial planning and zoning,

shell,Additional features

inconsistent elements are present due

Furniture ,Response to architectural

Spatial planning and zoning,

This approach focuses in the use of

Observations

more number of consistent element. The

Inconsistent Elements

Color palette, Material palette,

Consistent Elements

C O N C L U S I O N

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Websites

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LIST OF FIGURES

Chapter 1 Fig.1.1. - Retrieved from https://www.slideteam.net/business_powerpoint_diagrams/47393324style-circular-loop-5-piece-powerpoint-presentation-diagram-infographic-slide.html Fig.1.2 - Retrieved from https://www.mbaskool.com/business-concepts/marketing-andstrategy-terms/7351-brand-image.html Fig. 1.3 - Retrieved from https://medium.com/@bynugno/what-is-the-brand-identity-prism5ae71e43ab4a Fig. 1.4 - Retrieved from https://www.vemt.com/brand-personality-does-it-increase-brandloyalty/ Fig. 1.5 - Retrieved from https://hatchedlondon.com/what-we-mean-by-brand-communication/ Fig.1.6. - Retrieved from https://www.simpsongroup.co.uk/blog/what-is-pos-point-of-salemarketing-introduction/ Fig. 1.7Retrieved from https://www.indiamart.com/proddetail/gondola-displayrack-9915544273.html Fig. 1.8 - Retrieved from https://www.disneyrollergirl.net/london-fashion-week-ss15-highlightsfaustine-steinmetz-shrimps-the-gentlewoman-club-monaco/ Fig. 1.9 – Retrieved from https://in.pinterest.com/pin/125326802111333588/ Fig. 1.10 – Retrieved from https://in.pinterest.com/pin/461759768036152251/ Fig. 1.11Retrieved from https://i.pinimg.com/originals/cf/6a/54/ cf6a54d4137dabd875e1d68ce7692710.jpg Fig.1.14-1.17 - Retrieved from https://www.themarketingworks.co/blog/window-displays-visualmerchandising Fig.1.20. – Retrieved from https://www.creativedisplaysnow.com/the-hidden-treasures-ofdump-bin-displays/ Fig. 1.21. – Retrieved from https://boutiquestoredesign.com/product/single-wall-shoe-displaygondola-shelving-fittings-for-shops Fig.1.22. – Retrieved from https://in.pinterest.com/pin/841821355319270086/ Fig.1.23. – Retrieved from 1.9 Fig.1.24. – Retrieved from https://www.c2imaging.com/graphics-make-product-displays-pop Fig.1.25. – Retrieved from 1.11 Fig.1.26-1.28 – Retrieved from https://www.displays2go.com/Article/How-Find-RightStore-Layout-Your-Business-17#utm_source=pinterest&utm_medium=social&utm_ campaign=trade_show_essentials Fig.1.29.- Retrieved from https://www.fierceretail.com/digital/walmart-unveils-new-online-look Fig.1.30.- Retrieved from http://theapplegoogle.com/2018/11/thailand-apple-store/ Fig.1.31. - Retrieved from Retrieved from http://www.retail4growth.com/news/bata-launchesits-red-concept-3643 Chapter 2 Fig.2.1. – Retrieved from https://tododenegocios.es/category/empresas/ Fig.2.2.

– Retrieved from https://ph.news.yahoo.com/exactly-costs-openfranchise-14-201500093.html

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Fig.2.3.- Retrieved from https://www.dkoding.in/business/companies/subway-introducespocket-friendly-subs-for-indias-gen-z/ Fig.2.4. – Retrieved from http://oncourseworkppco.findtheengineers.info/reliance-freshmimyle8544.html Fig.2.5. – Retrieved from https://www.supermarketnews.com/deli/specialty-food-marketstays-growth-path Fig.2.6. – Retrieved from https://www.us.jll.com/en/views/food-halls-and-cre Fig.2.7- Retrieved from https://www.dezeen.com/2019/11/25/louis-vuitton-maison-seoulfrank-gehry-peter-marino/ Fig.2.8- Retrieved from https://www.delhiwire.com/top-luxury-brands-to-look-out-for-atthe-chanakya-mall-delhi/ Fig.2.9- Retrieved from https://www.themds.com/companies/hm-tries-rental-launches-theservice-in-its-flagship-in-stockholm.html Fig.2.10- Retrieved from https://www.dfnionline.com/lead-stories/far-unveils-expandedhermes-boutique-frankfurt-airport-04-07-2019/ Fig.2.11- Retrieved from https://www.habitat.co.uk/our-heritage-1960 Fig.2.12- Retrieved from https://www.campaignasia.com/article/muji-opens-first-everhotel-in-china/442553Fig.2.13. – Retrieved from https://www.dailymail.co.uk/femail/ article-1349831/Ikea-design-stores-mazes-stop-shoppers-leaving-end-buying-more.html Fig.2.14. – Retrieved from https://qz.com/836671/nikes-new-store-in-new-york-has-abasketball-court-where-you-can-test-drive-their-shoes/ Fig.2.15. – Retrieved from https://echochamber.com/article/adidas-flagship-nyc/ Fig.2.16. – Retrieved from https://true-tech.net/tag/mumbai-apple/ Fig.2.17. – Retrieved from https://www.pincon.com/portfolio/mcclaren-auto-showroom/ Fig.2.18. – Retrieved from http://www.thearchitecturecommunity.com/mercedes-benz-vadipark-showroom-boytorun-architects/ Fig.2.19. – Retrieved from https://www.archdaily.com/902945/ross-barney-architectsclt-design-for-mcdonalds-expands-the-possibilities-of-timber-construction?ad_ medium=gallery Fig.2.20. – Retrieved from https://www.contemporist.com/this-is-the-most-remarkablymodern-mcdonalds-weve-ever-seen/ Fig.2.21. – Retrieved from https://www.business-standard.com/article/companies/mcdonalds-ups-the-ante-in-quick-service-restaurants-117030901179_1.html Fig.2.22. – By author Fig.2.23. – Retrieved from https://www.archdaily.co/co/02-325008/under-armour-marcthorpe-design Fig.2.24. – Retrieved from Fig.2.25. – Retrieved from https://www.vmsd.com/content/going-distance Fig.2.26. – Retrieved from https://www.dreamstime.com/madrid-plaza-mayor-statue-kingphilips-iii-madrid-plaza-mayor-statue-king-philips-iii-spain-image102004879 Fig.2.27. – Retrieved from https://www.modaes.com/empresa.html?pag=38&page=35 Fig.2.28. – Retrieved from https://www.allcontainers.co.uk/portfolio-item/pop-up-retailersunder-armour/ Fig.2.29. – Retrieved from https://www.thestorefront.com/mag/huda-beauty-pop-upcovent-garden/

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Fig2.30. – Retrieved from https://www.tripadvisor.in/ShowUserReviews-g29092-d6542029r437840323-Starbucks_Downtown_Disney_Store-Anaheim_California.html Fig2.31. – Retrieved from https://www.chuzailiving.com/category/mumbai/ Fig2.32. – Retrieved from https://www.cearaenoticia.com.br/2019/08/burger-king-chega-aoshopping-eusebio.html Fig2.33. – Retrieved from https://hklourson.com/2019/02/22/aram-vada-pav/ Fig.2.34.,2.35. -Retrieved from http://www.retail4growth.com/news/bata-launches-its-redconcept-3643 Chapter 3 Fig.3.1- Retrieved from https://www.glassdoor.co.in/Photos/Miniso-Office-Photos-IMG1055757. htm?countryRedirect=tru Fig.3.2- Retrieved from https://www.flickr.com/photos/roadsidepictures/2637450492 Fig.3.3- Retrieved from http://desmon.sandy-projekt.org/nicobar-design/ Fig.3.4Retrieved from https://www.fortuneindia.com/enterprise/nicobar-driven-byculture/103814 Fig.3.5- Retrieved from https://www.domusweb.it/en/news/2015/01/16/house_of_vans_london. html Fig.3.6- Retrieved from http://www.signtekimaging.com.au/gallery_vans.html Fig.3.7- Retrieved from https://pabloadan.es/claves-del-exito-de-camper Fig.3.8- Retrieved from https://bluesyemre.com/2012/12/22/camper-shoes/poster-lightweight/ Fig.3.9- Retrieved from https://www.adsoftheworld.com/media/print/camper_waterproof Fig.3.10- Retrieved from Fig.3.11- By author Fig.3.12- Retrieved from https://www.adsoftheworld.com/media/print/camper_hybrid Fig.3.13- Retrieved from https://www.thedrum.com/news/2015/04/29/design-museumappoints-leo-burnett-2015-exhibition-programme Fig.3.14- Retrieved from https://www.youtube.com/watch?v=zJlbPZRocNI Fig.3.15- Retrieved from https://static.camper.com/ns/2018/02/campaign/banner_con.gif Fig.3.16- Retrieved from http://lovelypackage.com/category/fashion/page/6/ Fig.3.17- Retrieved from http://mirindacompany.com/projects/camper-shoes-3/ Fig.3.18- Retrieved from https://www.logolynx.com/topic/camper+shoes Fig.3.19, Fig.3.20Retrieved from https://m.camper.com/en_WW/content/history/ communication Fig.3.21,3.23, 3.24, 3.25, 3.27,3.28, 3.29, 3.30, 3.31,- Retrieved from https://www.archdaily. com/377753/5th-avenue-camper-store-nendo?ad_source=search&ad_medium=search_ result_all Fig.3.22- Retrieved from https://www.cabinetmakerwarehouse.com/catalog/mack-aveconcrete-wilsonart-laminate-sheets-matte Fig.3.26Retrieved from http://www.65at.cc/ imagetype/5pingfangxiaoxingxiedianzhuangxiutu-850168-5.html Fig.3.32-Fig.3.40 - Retrieved from https://www.archdaily.com/910370/camper-store-asketikstudio?ad_source=search&ad_medium=search_result_all Fig.3.41- Retrieved from https://favpng.com/png_search/nike-just-do-it Fig.3.42- Retrieved from https://plexxie.com/blog/top-20-social-media-marketing-mistakes/

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Fig.3.43- By author Fig.3.44- Retrieved from https://in.pinterest.com/pin/495818240209376058/ Fig.3.45- Retrieved from https://in.pinterest.com/pin/498070040034628568/ Fig.3.46- retrieved from http://www.andrewjasperse.com/umpqua Fig.3.47- Retrieved from https://www.youtube.com/watch?v=yshNZlWezDk&t=16s Fig.3.48Retrieved from https://www.google.com/ url?sa=i&url=https%3A%2F%2Fwallpapercave.com%2Fnike-wallpapers-free&psig=AOvVaw0 DxkVCAUdo1ILZHMEvUpnc&ust=1589020329530000&source=images&cd=vfe&ved=2ahUKE wjY8sOTiKTpAhUj0XMBHWmOD3AQr4kDegQIARAm Fig.3.49- Retrieved from https://www.lalive.com/ Fig.3.50- Retrieved from https://news.nike.com/news/nike-air-zoom-superrep-official-imagesand-release-date Fig.3.51- Retrieved from https://brownpelicanwifi.com/portfolio/nike-underground-atwomens-world-cup/ Fig.3.52- Retrieved from http://www.kozteruletfelugyelet.hu/sale.

Fig.3.54- Retrieved from https://www.behance.net/gallery/64202483/Nike-Football Fig.3.55- Retrieved from https://www.kicksonfire.com/check-jordan-brands-new-air-jordanbox-2015/ Fig.3.56- Retrieved from https://www.cedarpackaging.com/Nike-Presentation-Box.html Fig.3.57- Retrieved from http://www.astralstudio.ca/en/affichage-exterieur/ Fig.3.58- Retrieved from http://info.haulerads.com/moving-billboard-blog/how-effective-isoutdoor-advertising Fig.3.59- Retrieved from https://www.youtube.com/watch?v=C4m-IzNjsQ4 Fig.3.60 - https://modernclassics.info/Best_Endorsements/deal-7.html Fig. 3.61. – 3.75; Fig. 3.78. – 3.81. – Retrieved from https://www.google.com/maps/ uv?hl=en&pb=!1s0x80c2a4d1bbc91a91:0x2e0f8f7a5e43bf7!3m1!7e115!4shttps:// lh5.googleusercontent.com/p/AF1QipMxUUUnFcE8NVmPlFkIoeSe2oRVzZndC3_ nmxdW%3Dw355-h200-k-no!5snike+fieldhouse+santa+monica+store+-+Goog le+Search&imagekey=!1e10!2sAF1QipMxUUUnFcE8NVmPlFkIoeSe2oRVzZndC3_ nmxdW&sa=X&ved=2ahUKEwiG5f3FuKPpAhWHV30KHYazAfwQoiowE3oECBMQBg Fig.3.76., 3.80, 3.82 - Retrieved from https://www.freshnessmag.com/2015/04/17/nikereopens-santa-monica-store/ Fig. 3.83, 3.84. 3.87, 3.89, 3.90, 3.95, 3.96, 3.99 – Retrieved from https://www.google.com/ maps/uv?hl=en&pb=!1s0x54906ab4f2001f91:0xf386ebe3fdbffa3b!3m1!7e115!4shttps:// lh5.googleusercontent.com/p/AF1QipNRtJmhUTP9toIC7nvH3uElgAcFQUXxJ4f3 Xchl%3Dw272-h200-k-no!5snike+seattle+-+Google+Search&imagekey=!1e10!

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Fig.3.105. - Retrieved from https://www.google.co.in/url?sa=i&url=https%3A%2F%2Fwww. businesswire.com%2Fnews%2Fhome%2F20160308005649%2Fen%2FSkechers-PerformanceNamed-Official-Running-Shoe-IRONMAN&psig=AOvVaw1z7hiUiDz3UZVV1pAN02qu&u st=1589004926756000&source=images&cd=vfe&ved=2ahUKEwjdlPXizqPpAhUN9jgGHY_ VCgoQjhx6BAgAEBI Fig.3.106. - Retrieved from https://hscnews.usc.edu/your-photos-from-the-2017-skechersperformance-los-angeles-marathon Fig.3.107. - Retrieved from https://www.google.co.in/url?sa=i&url=https%3A%2F%2Fwww. discoverlosangeles.com%2Fthings-to-do%2F2020-skecher s-per formance-losangeles-marathon-stadium-to-the-sea&psig=AOvVaw2_twp36qD_6OI6YrP4gamq& ust=1589004982028000&source=images&cd=vfe&ved=2ahUKEwim1qL9zqPpAhUGzgGHYanDoUQjhx6BAgAEBI Fig.3.108.

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Review 1 - 30/01/20

Takes :

To support the relevance of consistency in retail design, a thorough study of the factors involved in it creating this consistency were studied. The selection criteria of the case studies was looked upon.

Review 2 • Where is the consistency observed?

• The selection of the case studies can involve different segments or retail and not be limited to one • Contextual study of stores • What will be the outcome of the analysis?

• Conclusion can be a framework of designing stores

Takes :

The cases were selected based on a single segment to get a clear comparison. The selection of brands was done on the basis of their approach in store design. The analysis was narrowed down to study of elements that give consistency in inconsistency.

REVIEW FEEDBACK

• Look at the thesis through an interior designers perspective • Refer to a retail thesis done in the last two years.

• Develop a framework for the space analysis • List the intangible and tangible aspects of interior design in a retail store • Role of interior designer • Try not to focus on management terms like brand image • Technically brand manuals create consistency in stores, inconsistency is seen less.

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