The Communication of Window Displays Free Essays

‘Windows reveal the soul of the store’ (Portas, 1999: 41). Every store has its own concept that characterizes each display, varying from theatre, drama or in the case of Armani Exchange minimalism. Well-dressed windows are undoubtedly, a dynamic form of advertising for products reflecting the stores’ brand image. We will write a custom essay sample on The Communication of Window Displays or any similar topic only for you Order Now This essay seeks to evaluate how A|X Armani Exchange’s window displays communicate to spectators with the use of various resources. Armani Exchange is one of the sub-brands under the parental brand of Giorgio Armani. The use of colour, lighting, props and graphics can capture interest, indicating the foundation of any decent display whose aim is to get people off the street. Windows are used as a selling device promoting products. They also mirror what the store is about, bringing pleasure to the eye. A stores’ window is effectual if it tempts customers who will want and be able to purchase the products offered, conveying quality, style and pricing (Portas, 2007). Moreover, windows can lure someone in a shop due to psychological factors. Brand founders such as Armani and Dior, give their own unique identity on their products and are therefore based on persona. As an online source says ‘Armani Exchange has become one of the most dynamic collections with its own unique identity, as well as an ever-growing base of young customers’ (www.ameinfo.com/192218.html). City life is emitted through its concept of sexy, chic and stalwart garments. Hence, it can be said that quality along with brand loyalty comes before the cost. Windows work on the principle â€Å"first impression is the best impression†, implying that only a few seconds are needed for a display to â€Å"speak† to a passer-by and get him/her inside a store. Portas asserts that ‘visual merchandising is the art and science of silent selling, bringing product, environment and space into one stimulating and engaging display to encourage sale’ (Drapers, O ctober 29: 34). This is shown by the power of Armani Exchange’s logo -with grey background and white letters signifying practicality, neutrality but also timelessness- which is becoming more and more recognisable. Furthermore, Armani Exchange’s target customers are both independent male and female who have their own style, belonging in the age group of 16-35. It is more accessible to the bourgeoisie, who want a taste of the luxurious brand. Given that prices are lower than the rest of the Armani sub-brands, the apparel is more inclusive to the public. This stores’ clientele may work as managers, interns or may even be students living in East London. Additionally, they may go out for a drink, coffee or shopping at least once a week, or read magazines like Vogue. Other stores they visit include Zara and Benetton. What is more CPI is escalating; competition is astonishingly high while consumer spending started to fall as September figures show because of pessimism (www.guardian.co.uk, 2010). As a result, retail sales are expected to fall in the following months, along with a rise in VAT. Armani Exchange windows’ are open-back; implying there is ‘no back wall’ (Morgan: 44). The striptease effect is clear as we can see the internal displays emphasizing the focal point through the space between the mannequins, creating a more intense visual impact, which is representative of the merchandise of the store. A|X shows the garment’s prices at the bottom of the windowpane. Lighting from the ceiling and floor is ambient acting as a catalyst for the area (www.infostore.gr. 2010), as Figure 1 shows: Figure 1: The window shows A|X Armani Exchange’s front window in Regent Str. London, October 19, 2010 Source: Kaisidi, 2010 For autumn/winter 2010, Armani Exchange trails a repetition of dark shades evoking a monochromatic colour scheme exerting sophistication and a clean look, which are pleasing to the eye. Materials like leather and fur with metallic details indicate luxury mixed with a touch of mystery, illustrating an intellectual and confident appearance. However silver and gold details on the garments complement the black shades, making the pieces more youthful. A downside of open windows is that high-priced items showcased can be tampered if somebody wishes to feel the fabric, so they are trickier to dress. Besides that another negative aspect is that windows are not as creative since there are fewer props. Hence there is no story to tell. Silhouettes are simple yet authoritative and influential. Effective windows can ‘seduce’ (Portas, 2007: 54) you to purchase something you did not intend to. Buying even a small item, one satisfies a need, a want to feel more contented and self-confident. Also, what you wear is what defines you, reflecting your personality- as implied by Berger (1972). Windows can sway someone into investing in a garment that will make them enviable and glamorous at the same time. ‘The power to spent money is the power to live’ (Berger, 1972: 143), implying that each person interprets the world differently- the same applies in window displays. Armani Exchange has a very clean approach of â€Å"less is more† by not overloading its windows together with being â€Å"strong and simple† emphasizing the brand’s power (http://ezinearticles.com, 2010). Furthermore, by following the â€Å"fresh is best† principle in accordance with Berger (1972), they renew their displays every week thus regular customers find new stock in every visit. Still though, A|X receives deliveries every 3-4 days so that monotony is avoided. For that reason, if a jacket is received in the middle of the week, it will be put on display on that day. Visual merchandising makes ideas come alive whose purpose is to sell commodities through visualization, as induced by Clements (2010). Armani Exchange wants its customers to experience the brand with the aid of visuals. Particularly the three-dimensional sightline placed parallel with the double doors in the Regent Street shop ‘gives energy’ (Portas, 1999: 102), as shown by the image below. Figure 2: The window portrays a 3D advert for A|X sunglasses in London, October 21, 2010 Source: Kaisidi, 2010 Christmas windows however, ought to be more interesting and intriguing. Armani Exchange Christmas decoration is ruled by special effects lighting and radiation. Oval rings are beaming light that changes colour every few seconds; a different look tried by A|X. The rings are symmetrically placed next to each other, as it is clearly illustrated in the following picture: Figure 3: The window illustrates A|X Christmas dà ©cor in London, November 20, 2010 Source: Kaisidi, 2010 Despite having a sale, windows were not unattained (Portas, 1999), since signage advertising the offers are placed. What is more, it urges spectators to celebrate style with the vinyl on the windows’ glass, exploiting psychological factors to lure in onlookers. After questioning 40 citizens, calculations show that 46% found the displays of A|X attractive, although 8% felt that it did not stand out. The effect of these circles illustrates gravity, communicating with the pavement (Portas, Mary Queen of shops-Blinkz DVD). They work as pause points as they can be seen from afar, making the passers stop and browse the new collection. The aesthetic balance of the store emphasizes how the power of light can visually transform a space. One could argue that the density of the garments in Armani Exchange’s windows is just enough to fill the space available given add-ons such as bags and wallets. This is shown with Figure 4: Figure 4: The window shows A|X latest collection 3 weeks before Christmas in London, December 3, 2010 Source: Kaisidi, 2010 Mannequins are said to be a mighty tool, forming the scene of a display. In A|X, mannequins are golden and headless in order to appeal to a wider audience (Pegler, 2008). The mannequins’ outfits offer a possible wearable suggestion in which one could walk out of the store with having a feeling of fulfilment. Mannequins are front facing, but the passers can observe all the angles, as suggested by Morgan. To conclude, window displays need to clearly define the identity of a store. A|X ‘serves as the ultimate testimony to the power of the brand’ (Roll, 2010). The visual placement of the store is rather simplistic so people may think it is too plain. Equally, others who are fond of minimalism obtain a positive vibe for the specific windows, which are a compelling representation of the brand ethos. A|X has an identifiable and cohesive commercial image, which triggers the clients’ interest in conjunction with facilitating communication. All in all, Armani Exchange window displays are effective for their target customers, as they communicate their minimalistic message emitting an aesthetic purity of warmth and luxury. According to G.U Journal of Science there has not been significant empirical evidence regarding the effect of window displays on consumers’ shopping attitudes’ (2007: 33). Bibliography http://ezinearticles.com/?Window-Displays-That-Work!id=4390505 How to cite The Communication of Window Displays, Essay examples The Communication of Window Displays Free Essays Retailer:Ted BAker Word Count: 1268 The Communication of Window Displays â€Å"Visual merchandising is an indispensable retail discipline, consisting of a series of practical selling tools that are used to influence what and how much consumers buy† (McKeever, K. 2008). A window display represents the various dynamics used to communicate a message to its target audience. We will write a custom essay sample on The Communication of Window Displays or any similar topic only for you Order Now This essay will analyse the way in which Ted Baker conveys its position in the market and brand identity by effectively portraying quality and attention to detail in its window displays. This essay will then compare the successfulness of two different approaches – â€Å"theme focussed display†, and â€Å"product focussed display† – in enticing Ted Baker’s potential customers. This will develop a conclusion on the effectiveness of Ted Baker’s window displays to act as â€Å"silent sellers† (Levine, P. 2008) and enable customers to relate to the brand. Ted Baker uses elements such as the psychological effect of colour, lighting and appropriately chosen props to enable its customer to interpret its position in the market as an â€Å"upper high street brand†. Figure 1: Use of luxurious colours by Ted Baker ( Source: Vaswani, 2012 In various online customer reviews (yelp. com, zappos. com), the attributes that Ted Baker’s products are associated with are commitment to quality and unwavering attention to detail. Interviews with 30 onlookers regarding the window displays on Regent Street revealed that the use of luxurious colours (browns, rich reds, strong neons) along with the warm yellow lighting are the factors that enabled the customers to interpret the quality of the products to be superior. Additionally, the props used in the Ted Baker windows highlight the attention that is devoted to details at the micro level, not only in the products, but also in the window displays. The importance of using appropriate props is highlighted by Tony Morgan’s (2011, p54) statement, â€Å"Props should be relevant to the merchandise to make the overall idea come to life†. In line with this, Ted Baker used bows and arrows as props to complement their autumn winter â€Å"Survival of the Fittest† collection. These props provide a wild and â€Å"outdoorsy† feel to the window. This proves that there is a deep level of intricacy that has gone into the selection of the props used in the window displays. This supports the upper high street positioning of the brand within the market. All these factors confirm that Ted Baker’s usage of the above elements is effective in conveying its market positioning. A comparison between the effectiveness of a â€Å"theme-focused† and â€Å"product-focused† display will establish whether Ted Baker’s frequent usage of themes in their windows is the right approach to capture the attention of potential customers. For their display in October, Ted Baker had ingeniously used the theory of â€Å"the survival of the fittest† to create a humorous theme in their window supporting their autumn/winter merchandise. Figure 2: Survival of the fittest themed window Source: displayhunter. com, 2012 Charles Darwin (1869, On the origin of species) explained â€Å"survival of the fittest† to be â€Å"the natural selection, or the preservation of favoured races in the struggle for life. † The message behind the story in the display is that Ted Baker merchandise is the â€Å"fittest† and would transcend the wearer from the ordinary. By labelling their merchandise as the â€Å"fittest† and rather a necessity, the brand teasingly talks about how the upcoming autumn winter weather is going to be a struggle. Interpretations of several passers-by confirm that this theme was making a joke about the â€Å"Great British weather† and the only way to conquest this struggle was to wear Ted Baker’s merchandise. Figure 3: Christmas with Frosty Source: Vaswani,2012 The most recent window display, the Christmas display, paints a picture of a Christmas party, the guest of honour being a drunken snowman named â€Å"Frosty† in a festive red thong and Santa Clause hat. The visual merchandising team believe that the movement of the snowman captures attention as peoples’ eyes are drawn towards motion. This statement was confirmed by primary research and observation. Out of a sample of 100 people passing by the shop, seven out of ten stopped to look at the window display (A few even took pictures with the snowman in the window) Five out of these seven went into the store. Figure 4: Frosty the snowman Source: Vaswani, 2012 In both these window displays, Ted Baker uses humorous themes to engage its quirky target audience. The window displays act like â€Å"silent sellers† because they successfully convert onlookers into customers by reeling them in. However, in the second week of October, Ted Baker used a more product-focused window to display their collection. The sales assistant at the Regent Street store identified that the merchandise displayed was mainly evening wear that could be worn for occasions like upcoming Christmas parties. The mannequins were placed in repetition, which â€Å"reinforces and strengthens the impression through replication† (Gorman,G. 996 Visual Merchandising and store design workbook, p20). Also the background was a mirror, â€Å"people tend to slow down when they see reflective surfaces† (Underhill, 2002, Why we buy, p76). The window did have these two strengths but interviews with in-store customers established that the display looked â€Å"boring† and â€Å"as if very little thought and effort had been put into it†. A customer also quo ted, â€Å"In comparison to the exciting displays from earlier, this one is a let down†. Figure 5: Ted Baker’s product focused display Source: Vaswani, 2012 The sales assistant at the Regent Street store identified that the merchandise displayed was mainly evening wear that could be worn for occasions like upcoming Christmas parties. The mannequins were placed in repetition, which â€Å"reinforces and strengthens the impression through replication† (Gorman,G. 1996 Visual Merchandising and store design workbook, p20). Also the background was a mirror, â€Å"people tend to slow down when they see reflective surfaces† (Underhill, 2002, Why we buy, p76). The window did have these two strengths but interviews with in-store customers established that the display looked â€Å"boring† and â€Å"as if very little thought and effort had been put into it†. A customer also quoted, â€Å"In comparison to the exciting displays from earlier, this one is a let down†. This means that, the Ted Baker customer expects excitement and an engaging theme in the windows. Also based on the description of the windows by the customers, the reflection of the brand’s personality is key to Ted Baker’s display. Evidently, a product-focused window display is inept in this aspect. â€Å"A stores’ window is effectual if it tempts customers†(Portas, 2007). This statement creates stress on the fact that the window display was ineffectual due to its inability to lure customers. From this comparison, we can conclude that, â€Å"theme-focused† window displays are more effective than â€Å"product-focused† display as they create visual excitement and help the customer relate to the brand. The Ted Baker customer enjoys the portrayal of the brand’s humorous and quirky image through its engaging and impactful themes. In conclusion it can be said that, through its window displays, Ted Baker communicates its position of being an upper high street retailer in the market. For this, it uses to its advantage the psychological effect created by colour and lighting and the appropriate usage and selection of props in its window displays. The windows are a true and effectual representation of the brand’s core values which are- quality and attention to detail. Ted Bakers frequent use of â€Å"theme-focused† window displays is a powerful and efficient approach to draw in their target customers who expect enthusing displays that would make them engrossed and curious. Finally, the strategies and approaches that Ted Baker uses in the creation and execution of its window displays are effective â€Å"silent sellers†. REFERENCE LIST: Darwin, C (1869). On the origin of species. 5th ed. Gorman, G (1996). Visual Merchandising and store design workbook. Ohio: ST Media Group Publisher. p20. Levine, P. (2010). Visual Merchandising: The ‘Silent Salesperson’. [online] Available: http://www. salesandmarketing. com/article/visual-merchandising-silent-salesperson. Last accessed 25th September 2012 McKeever, K. (2008). favourite quotes. Available: http://thevisualmerchandisingblog. ordpress. com/favorite-quotes/. Last accessed 20th September 2012 Morgan, T (2011). Visual Merchandising: Window and in-store displays for retail. 2nd ed. London: Laurence King Publications. p54. Portas, M (2007). favourite quotes. Available: http://thevisualmerchandisingblog. wordpress. com/favorite-quotes/ [online] Last accessed 20th September 2012 Underhill, P (2 002). Why we buy. New York: Simon and Schuster. p76. http://www. yelp. com/biz/ted-baker-london-new-york (2012) [online] last accessed 27th September 2012 http://www. zappos. com/ted-baker (2009) [online] last assessed 27th September 2012 REFERENCE LIST FOR IMAGES: Vaswani, D. (2012) Figure 1:Use of luxurious colours by Ted Baker [Photograph]. Regent Street Store Figure 2:Survival of the fittest themed window(2012) [online image]. Available at: http://displayhunter. blogspot. co. uk/2012/11/ted-baker-hunting-game. html [Accessed 23rd November 2012] Vaswani, D. (2012) Figure 3:Christmas with Frosty [Photograph]. Regent Street Store Vaswani, D. (2012) Figure 4:Frosty the Snowman [Photograph]. Regent Street Store Vaswani, D. (2012) Figure 5:Ted Baker’s product focused display [Photograph]. Regent Street Store BIBLIOGRAPHY: Cabezas, C (2010). Design Techniques for window dressing: Ideaspropias Editorial Danzinger, P (2002) Why people buy things they don’t need New York: Paramount Market Publishing Din, Rassheid (2000) New Retail London: Conron Octopus Limited Eszter Czibok. (2012). The window- a reflection of our desires. Available: http://workinginthewindow. wordpress. com/tag/window-display/. Last accessed 2nd November 2012 Gardner, A (2000) The 30 second seduction California: Seal Press http://fre23media. blogspot. co. uk/2010/11/window-displays-original-communication. html. 2010). Window displays: the original communication tool. Available: http://fre23media. blogspot. co. uk/2010/11/window-displays-original-communication. html. Last accessed 3rd November 2012 Holly Bastow-Shoop . (1991). Visual Merchandising: A guide for small retailers. Available: http://ncrcrd. msu. edu/uploads/files/133/NCRCRD-rrd155-print. pdf. Last accessed 11th October Kaisa Leinonen. (2010). Autumn/Winte r 2010 Trend Report: Mirrors as Display Props. Available: http://thewindowdisplayblog. com/2010/11/01/autumnwinter-2010-trend-report-mirrors-as-display-props/. Last accessed 11th October Marie, S. (2006). A History of Visual Merchandising in Retail Stores. Available: http://sarahmarie1. hubpages. com/hub/A-History-of-Visual-Merchandising-in-Retail-Stores. Last accessed 9th October 2012 Messaris, P (1997) Visual Persuasion- The Role of Images London: Sage Publications Sturken, M , Cartwright, L (2000) Practices of Looking- An introduction Oxford: Oxford University Press Sussen Madden Understand visual merchandising for a small business. Available: http://www. retailtraining. ie/pdf/Unit-259. pdf. Last accessed 3rd October 2012 How to cite The Communication of Window Displays, Essay examples