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MERCHANDISING

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Display is only one component of a successful retail business,” says Lyn Falk, president ofRetailworks Inc. “A bad display can negatively affect all of the other good things you aredoing in your store.” Falk recently helped cultural commerce retailers at the 2006 Museum

Retail Conference & Expo in Louisville, KY, grasp both the basics of design and display, as well as thelatest trends in display merchandising techniques.

But let’s be realistic. Merchandising is just one of the perks that creatively inclined store managersget to do for fun, right? Just how important is display? According to Falk, good visual merchandisingcan increase sales from 10 percent to 15 percent. Those are numbers that should make you sit up andtake a good, hard look at your current store displays. ➤

WORDS BY KATHY CISAR

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Understanding the difference between merchandising and display

Many people think that the terms“merchandising” and “display” are syn-onymous. There are, in fact, distinc-tions between the two techniques ofwhich to take note.

“Basically, I like to think of merchan-dising as ‘good housekeeping,’” explainsFalk. “It’s present-ing your productson fixtures in anorganized fashion,the goal of which isto help customersview the merchan-dise and then beinfluenced to pur-chase something.”

Falk has severaltips for merchan-dising. First, retail-ers should under-stand that in the

United States, consumers tend to readmerchandise from left to right and topto bottom. Good merchandising willhelp the customers’ eyes roam overyour products, not hinder their lines ofsight. Group products according to size,style, color and type and be consistentwith your signage. Don’t forget torotate your merchandise periodically.Placing products in different locations

can add new life toold merchandise.

Displays, on theother hand, are well-coordinated focalpoints that arestrategically placedthroughout yourstore and arechanged regularly.“Position your pro-duct purposefullythroughout yourstore and your cus-tomers’ feet will fol-

low their eyes, bringing them further intothe store and closer to your merchandise,”says Falk. “I can’t stress negative spaceenough. It’s critical for making focalpoints stand out from their surroundingsand drawing customer attention.Thoughtfully placed focal points enticecustomers to shop the entire store with-out even thinking about it.”

An effective display is simple,incorporates a theme (whether it becolor, shape, style or a category ofproduct), uses props and has goodcomposition. “In addition, displaysshould attract and hold the attentionof your customers,” adds Falk. “A dis-play should stimulate interest and tella story – especially in museum storeswhere retailers have worked so dili-gently to showcase a product mix that

An effective display is simple,incorporates atheme, uses

props and hasgood

composition.

Unique and eye-catching displays were the sub-

ject of Lyn Falk’s (right) talk during the Visual

Merchandising session at the MSA Conference.

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relates to their institution’s missionand collections.”

Another crucial element: displaysshould create desire for the product.“Displays can move the customer toaction,” says Falk.

Best practices start with thebasics

Even seasoned merchandising pro-fessionals know to always refer to thebasic elements and principles of designwhen creating displays. The overall goalof good display is good composition.And that includes putting the principlesof contrast, repetition, movement, sym-metry, proportion and dominance tobest use.

For example, Falk describes a win-dow display she saw in which colorfulchildren’s pinwheels were displayedbeneath a ceiling fan. The air flowcaused the pinwheels to rotate andmove. “Creating motion and momen-tum is great design,” says Falk. “Liningup the pinwheels also exhibited thebasic design principle of repetition,making for a strong visual statement.”

“Another design rule of thumb I followis placing items in groups of odd numbers –three, five, seven or nine,” explains Falk.“Merchandisers need to remember to cre-ate the unexpected, using principles suchas illumination to create interest and eye-appeal. And I’ve always found lifestyledisplays to be rewarding – they evokeemotional appeals that are often followedby a purchase.”

It may seem simple, but another tipfor great displays is knowing your mar-ket. Know the demographics, psycho-graphics (favorite colors, music, vacationspots, etc.) and shopping behaviors ofwhom you are trying to sell to. “One exer-cise you can do with your staff,” says Falk,“is to pick 10 to 20 of your bestsellers andbrainstorm all the reasons why theseproducts appeal to your customers, thenfigure out how to use these ideas whenmarketing your products. Go deep intoyour customers’ minds — are theybrowsers? are they tour participants whoare rushed for time? — and then come upwith display ideas that cater to theirdesires and needs.”

Finally, your display should reflectyour product’s price point. For example,

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“consumers need elbow room whenshopping for high-end products,” ex-plains Falk. “And keep the props youuse of a quality consistent with that ofyour product – don’t use cheap fixturesto display luxury items.”

As the saying goes, less is more

Chaos and the lack of a coherent themedetract from the effectiveness of a display.For backdrops, solid colors are usually bet-ter than patterns. “And don’t become awarehouse of vendor fixtures,” says Falk.“Be consistent with the materials and col-ors you use throughout your store – theyshould reinforce the institution’s brandand the store’s signature look. Retain andenhance your store’s identity throughwell-coordinated and unique fixtures andprops, but don’t overdo it.”

Providing information and interac-tion is very important, so make sureyou keep signage at eye level. “It’s allabout communicating your messagequickly. Signs should be descriptiveand attention-getting. Avoid hand-made signs if possible, unless yourpenmanship is excellent and you havea consistent style,” says Falk. “Thesigns should adhere to predeterminedsign design criteria, and reflect yourstore’s or your institution’s branding.Again, too much of a good thing goesawry and can result in sign pollution.”

But it’s possible to have too much neg-ative space. The quantity of products dis-played can be as important as the quality.

“Merchandisersneed to remem-ber to create the

unexpected, usingprinciples such as

illumination to create interest

and eye-appeal,”says Falk.

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“Keep your shelves stocked, or at leastmake your displays look like they are fullystocked,” adds Falk. “Critical mass is veryimportant in communicating a professional,credible image to the customer.”

“Some people have the knack formerchandising and some don’t, and it’sokay if you’re not born with that tal-ent,” ends Falk. “Many of you can learnand develop those latent skills. If you’restill struggling, turn to a volunteer orother staff member who does have thegift. Your store — and your sales — willreap the rewards.”

This article is based on the educationalsession “Visual Merchandising Series,”which was presented by Lyn Falk, presidentof Retailworks Inc., at the 51st MuseumRetail Conference & Expo in Louisville, KY,in April 2006. The following individuals sup-plied products to help illustrate merchandis-ing challenges and answered questions atthe end of the session: Angie Fleitz, directorof retail operations, Kentucky DerbyMuseum; Debbie Noward, merchandisebuyer, The Toledo Zoo; Marie Napoli, muse-um store buyer, Austin Children’s Museum;and Kimberlee Riley, director of sales andmarketing, Jefferson National Parks Assn.

Planning andBudgeting forDisplays• Create a calendar at least six

months out to prepare for up-coming displays

• Note all major events for which you need to plan display changes(i.e., holidays, seasons, travelingexhibits, special events, salesand promotions)

• Determine product lines andthemes to be featured

• Define a budget for each majordisplay change

• Schedule staff members to 1) determine and create signage,2) find props and 3) create andassemble displays

• Evaluate the success of the dis-play and make notes for futuredisplay planning sessions

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