Brandy Guarnaccio - Visual Merchandising: March 2012

Sunday, March 18, 2012

Chapter 14 summarizes module fixtures. Modules are most frequently constructed of wood and are designed to be adaptable and convertible. The same frame will adapt to holding shelves or hang-rods, so depending on the merchandise mix, the time of the year, and the amount of stock at any time, the modular fixtures can be changed to show off what is available.A T-shaped connector will join three pieces of tube in one plane. This will form what is essentially one long line with one line bisecting it. A vast collection of systems are available based on variations of a clamping device that holds or joins round rods or tubes. Often these clamps are hollowed-out spheres that come apart. They have shaped contours that will accommodate the proper size rod or tube. Systems are practical because they are so versatile. Study the systems that are available.

Chapter 13 Summary

Chapter 13 summarizes visual merchandising and dress. Visual merchandising takes place where the shopper and the product come together in a real, hands-on situation: It is the presentation of the stock on the selling floor. To produce good visual merchandising, the display person must understand what good visual merchandising is and must know both the product and the shopper to whom the retailer hopes to appeal. Color dominance is the simplest, the most direct, and usually the most effective way to present products visually.Merchandise can also be presented with the emphasis on coordination. In any visual program it is always effective to coordinate merchandise. The shopper sees how pieces can be matched or mixed—coordinated to go together to create a wardrobe of alternative outfits. Merchandise can also be presented with the emphasis on coordination. In any visual program it is always effective to coordinate merchandise. The shopper sees how pieces can be matched or mixed coordinated to go together to create a wardrobe of alternative outfits.

Chapter 10 Summary

Chapter 10 summarizes the alternations to mannequins. A form is a three-dimensional representation of a part of the human anatomy, such as the torso, the bust, or the area from shoulder to waist or from hips to ankles. A body trunk or trunk form is a male form that starts at the diaphragm and continues to just below the knees. Shorter forms, however, will be cut at mid thigh. It is used to show shorts, underwear, swimwear, and so on. A bra form is a headless, armless form that ends just below a defined bust line, with or without shoulders. The forms are usually scaled to wear a size 34B. Junior bra forms are proportioned for a size 32A bust. The soft sculpted figure is a European favorite that is making inroads into the United States display scene. These life-size figures are based on the small wooden miniatures used by artists and designers to get correct anatomical proportions and poses for figure drawing when a live model is not available. Some stores use cutout forms that are almost cubist in order to dehumanize the forms even further. Flying is a display technique whereby the merchandise is pulled, stretched, and manipulated by means of almost invisible fishing line or very fine piano wire. The wire is attached to the hem, sleeve, shoulder, and so on, of the garment and then pulled back and secured by pinning or nailing it into the ceiling, the floor, a sidewall, or the back wall.

Chapter 9 Summary

Chapter 9 summarizes the use of mannequins. A mannequin may be a store's most valuable asset: it is a “silent salesperson,” speaking the clearest fashion message. A mannequin will stand tirelessly for hours and days, in the same place, in the same position or attitude, always smiling, fresh, and pleasant. Mannequins are becoming more natural, more true to life, more animated, and more identifiable as the people who shop the stores. All mannequins start out as sculpture. Although usually based on standard sizes and proportions, mannequins are created with different bodies and different shapes, attitudes, and positions that will further the image of the garment when the figure is dressed. Most female mannequins manufactured today are a misses or missy size mannequin.The junioe mannequin is a size 5, with all the proportions to match. A junior petite mannequin is the smaller woman's mannequin, about 5 feet, 5 inches tall, short waisted, and a size 3 to 5, with clothes proportioned for the smaller woman. Smaller in all proportions, the petite mannequin has a 32-inch bust, a 21- to 22-inch waist, and 32-inch hips. It is only about 5 feet to 5 feet, 4 inches tall. The semi abstract mannequin is even more stylized and decorative than the semi realistic mannequin. Its features, such as a bump for a nose or a hint of pursed lips, may be painted on or merely suggested. The abstract mannequin represents the ultimate in style and decoration. It is more concerned with creating an overall effect than with reproducing natural lines and proportions. The headless mannequin has a full-size, realistic, or semi abstract body with arms and legs, but no head.

Chapter 7 Summary

Chapter 7 sums up the window construction of a display. A closed-back window is the typical display window, with a full back wall, sides, and a large plate glass window facing the pedestrian or street traffic. It is also known as an enclosed window. A small store may have a single display window, or a pair of windows, often separated by the entrance into the store. Larger stores, some specialty stores, and downtown department stores will often have a “run” or group of windows called a bank of windows. The back of the traditional display window goes from floor to ceiling and is usually fully constructed. Some stores have removable panels closing their windows so they can, when they want, change from a closed-back window to an open-back window, or convert the display space into selling space. he window lighting equipment is often set into the ceiling. It may be an electrified track on which the lamp housings can be moved back and forth to target the light where it is needed. Stores that do not want to change large windows too often or that are limited in staff find it expedient to mask off these windows and do small shadow-box presentations of accessories and separates. An open back window has no back wall, offering a direct view into the selling area beyond. Much of what has been written about the closed-back window is relevant to the open-back window. A shadow window is a small, elevated window used for the close-up presentation of special merchandise or accessories. The size varies, but it is usually about 3 feet by 5 feet.

Chapter 6 Summary

Chapter 6 summarizes the exterior of a store. The store's sign on the outside of the building, makes the first impression on the shopper. It sets the look and image of the store. How the sign is lettered, the materials used, the style of the lettering, the color—all are important. Its size and scale, in proportion to the store's front, the size of the building, and the signs around it, can make points for or against the store's image. The marquee, a permanent awning for protection from the elements, is an integral part of the building facade. It is often cantilevered out over the street, in front of the main entrance to the store. The use of hundreds and hundreds of lights on building facades and canopies can be most effective for holidays and store events. Outdoor fabric banners are inexpensive and expendable, but they are colorful, eye-catching, and eye-filling devices that flutter and flap in the wind. They can be and should be changed with the seasons or the store events. Awnings add another gracious touch to the exterior of the store. Not only do they supply shelter for the shopper during inclement weather, but they also make viewing a window display more pleasant during the heat of the day.

Chapter 5 Summary

Chapter 5 summarizes the different types of display and display settings. A one item display is the showing and advancement of a single garment or any single item. It might be a garment designed by a top designer, a one-of-a-kind piece of ceramic or jewelry, or a new automobile. A line of goods display shows only one type of merchandise, although they may be in a variety of designs or colors. In a related merchandise display, separates, accessories, or other items that “go together” are displayed because they are meant to be used together, because they are the same color, or because they share an idea or theme. A variety, or assortment, display is a potpourri of anything and everything. It is a collection of unrelated items that happen to be sold in the same store. A promotional display can be a one-item, a line-of-goods, a related merchandise, and even, for store wide sales, a variety type of display. The display advances or emphasizes a particular concept, trend, or item. An institutional display helps further the store's image. It is a sign of goodwill toward its neighbors and the neighborhood. It shows the store as a concerned party interested in the welfare of the community. A realistic setting is essentially the depiction of a room, area, or otherwise recognizable locale, reinterpreted in the allotted display area, either in the windows or inside the store. A fantasy setting can be as detailed or as suggestive as the display person, budget, and time permit. It is creative, it does require thought, energy, and lots of planning, but it can be very rewarding.