Saturday, March 2, 2019

The Communication of Window Displays

RetailerTed BAker Word Count 1268 The discourse of Window Displays Visual merchandising is an indispensable retail discipline, consisting of a serial publication of practical selling overlyls that atomic number 18 make phthisis ofd to influence what and how much consumers defile (McKeever, K. 2008). A windowpanepane presentment represents the various dynamics call to expire a message to its lay audience. This essay will analyse the direction in which Ted baker conveys its position in the market and sword individuality by strongly portraying quality and perplexity to detail in its window pageants.This essay will then comp ar the successfulness of dickens different approaches account focussed groundwork, and product focussed let out in enticing Ted bakers potential nodes. This will stick a conclusion on the forcefulness of Ted Bakers window displays to act as silent sellers (Levine, P. 2008) and enable customers to assort to the brand. Ted Baker affairs e lements much(prenominal) as the mental effect of colour, lighting and appropriately chosen prop up to enable its customer to interpret its position in the market as an upper spirited street brand. mannequin 1 Use of imposing colours by Ted Baker ( pedigree Vaswani, 2012 In various online customer reviews (yelp. com, zappos. com), the attri providedes that Ted Bakers products ar associated with be commitment to quality and resolute attention to detail. Interviews with 30 on tactile propertyers regarding the window displays on legal guardian pathway get outed that the use of luxurious colours (browns, rich reds, strong neons) along with the warm white-livered lighting are the factors that enabled the customers to interpret the quality of the products to be superior.Additionally, the props utilize in the Ted Baker windows highlight the attention that is devoted to dilate at the micro level, not only in the products, unless also in the window displays. The importance of u sing appropriate props is highlighted by Tony Morgans (2011, p54) statement, Props should be relevant to the merchandise to make the overall predilection come to flavor. In line with this, Ted Baker used bows and arrows as props to complement their autumn wintertime Survival of the Fittest collection. These props grant a wild and outdoorsy feel to the window.This proves that there is a rich 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 at he guile the market. All these factors confirm that Ted Bakers usage of the above elements is effective in conveying its market positioning. A parity between the effectiveness of a theme-focused and product-focused display will establish whether Ted Bakers support 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 theo ry of the excerption of the fittest to create a humorous theme in their window backup their autumn/winter merchandise. Figure 2 Survival of the fittest themed window writer displayhunter. com, 2012 Charles Darwin (1869, On the origin of species) explained survival of the fittest to be the natural selection, or the rescue of favoured races in the struggle for life. The message behind the story in the display is that Ted Baker merchandise is the fittest and would transcend the put one acrosser from the ordinary.By labelling their merchandise as the fittest and rather a necessity, the brand teasingly talks about how the upcoming autumn winter bear is going to be a struggle. Interpretations of several passers-by confirm that this theme was making a joke about the Great British weather and the only way to conquest this struggle was to wear Ted Bakers merchandise. Figure 3 Christmas with Frosty Source Vaswani,2012 The most recent window display, the Christmas display, paints a pict ure of a Christmas party, the guest of honour being a drunken snowman named Frosty in a festive red turnaround and Santa Clause hat.The visual merchandising team believe that the movement of the snowman captures attention as mickles 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 some even took pictures with the snowman in the window) five out of these seven went into the pedigree. Figure 4 Frosty the snowman Source Vaswani, 2012 In both these window displays, Ted Baker uses humorous themes to engage its far-out site audience.The window displays act like silent sellers because they successfully convert onlookers into customers by reeling them in. However, in the second week of October, Ted Baker used a to a greater extent product-focused window to display their collection. The sales assistant at the regent(postnominal) pass breed 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 reinforces and strengthens the motion-picture show through with(predicate) replication (Gorman,G. 996 Visual merchandise and store public figure workbook, p20). likewise the background was a mirror, people tend to slow shovel in when they tally reflective surfaces (Underhill, 2002, Why we buy, p76). The window did have these two strengths but interviews with in-store customers open up that the display looked boring and as if rattling little apprehension and parkway had been put into it. A customer also quoted, In comparison to the provoke displays from earlier, this one is a let down. Figure 5 Ted Bakers product focused displaySource Vaswani, 2012 The sales assistant at the Regent course 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 reinforces and strengthens the impression through replication (Gorman,G. 1996 Visual Merchandising and store design workbook, p20). Also the background was a mirror, 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 boring and as if very little thought and effort had been put into it. A customer also quoted, 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 establish on the description of the windows by the customers, the reflection of the brands disposition is key to Ted Bakers display.Evidently, a product-focused window display is untactful in this aspect. A stores window is effectual if it tempts customer s(Portas, 2007). This statement creates stress on the fact that the window display was ineffectual due to its inability to inveigle customers. From this comparison, we mickle conclude that, theme-focused window displays are more effective than 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 brands humorous and quirky image through its engaging and impactful themes.In conclusion it fag end be state 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 brands core values which are- quality and attention to detail. Ted Bakers frequent use of theme-focused window displays is a military groupf ul 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 existence and execution of its window displays are effective silent sellers. REFERENCE controversy 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 Sales someone. online lendable http//www. salesandmarketing. com/article/visual-merchandising-silent-salesperson. persist accessed 25th September 2012 McKeever, K. (2008). favourite quotes. Available http//thevisualmerchandisingblog. ordpress. com/favorite-quotes/. lastly accessed twentieth September 2012 Morgan, T (2011). Visual Merchandising Window and in-store displays for retail. second ed. capital of the United Kingdom Laurence King Publications. p54. Portas, M (2007). favourite quotes. Available http//thevisualmerchandisingblog. wordpress. com/favorite-quotes/ online Last accessed 20th September 2012 Underhill, P (2002). Why we buy. New York Simon and Schuster. p76. http//www. yelp. com/biz/ted-baker-london- advanced-york (2012) online last accessed twenty-seventh September 2012 http//www. zappos. com/ted-baker (2009) online last assessed 27th September 2012REFERENCE LIST FOR IMAGES Vaswani, D. (2012) Figure 1Use of luxurious colours by Ted Baker Photograph. Regent Street inclose Figure 2Survival 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 3Christmas with Frosty Photograph. Regent Street Store Vaswani, D. (2012) Figure 4Frosty the Snowman Photograph. Regent Street Store Vaswani, D. (2012) Figure 5Ted Bakers product focused display Photograph. Regent Street StoreBIBLIOGRAPHY Cabezas, C (2010). Design Techniques for window dressing Ideaspropias column Danzinger, P (2002) Why people buy things they dont enquire 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 off 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 niggling retailers. Available http//ncrcrd. msu. edu/uploads/files/133/NCRCRD-rrd155-print. pdf. Last accessed 11th October Kaisa Leinonen. (2010). Autumn/Winter 2010 Trend newspaper publisher 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 story 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 Under get visual merchandising for a miserable business. Available http//www. retailtraining. ie/pdf/Unit-259. pdf. Last accessed 3rd October 2012The Communication of Window DisplaysWindows reveal the soul of the store (Portas, 1999 41). Every store has its own concept that characterizes for each one display, varying from theatre, drama or in the case of Armani change minimalism. Well-dressed windows are undoubtedly, a dynamic form of advertising for prod ucts reflecting the stores brand image. This essay seeks to tax how AX Armani mass meetings window displays communicate to spectators with the use of various re showtimes. 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 skillful 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 indispensableness and be able to purchase the products flinged, 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 uncomparable indistinguishability on their products and are therefore based on persona. As an online source says Armani Exchange has bec ome one of the most dynamic collections with its own unique identity, as well as an ever-growing base of young customers ( City life is emitted through its concept of sexy, chic and stalwart garments. Hence, it can be give tongue to that quality along with brand loyalty comes forwards the cost. Windows work on the principle first impression is the best impression, implying that only a few seconds are motiveed for a display to 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 impact and engaging display to encourage sale (Drapers, October 29 34). This is shown by the queen of Armani Exchanges logo -with grey background and white letter signifying practicality, neutrality but also timelessness- which is becoming more and more recognisable.Furthermore, Armani Exchanges target customers are both independent male and dis taff 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 whitethorn work as managers, interns or may even be students lively in East London. Additionally, they may go out for a drink, coffee berry or shopping at least once a week, or read magazines like Vogue. Other stores they visit include Zara and Benetton. What is more consumer price index is escalating competition is astonishingly high while consumer spending started to fall as September figures show because of pessimism (, 2010). As a result, retail sales are expected to fall in the following months, along with a upgrade in VAT.Armani Exchange windows are open-back implying there is no back besiege (Morgan 44). The striptease effect is clear as we can see the inborn displays emp hasizing the focal point through the space between the mannequins, creating a more intense visual impact, which is representative of the merchandise of the store. AX shows the garments prices at the bottom of the windowpane. Lighting from the ceiling and alkali is ambient acting as a catalyst for the area ( 2010), as Figure 1 showsFigure 1 The window shows AX Armani Exchanges front window in Regent Str. London, October 19, 2010Source Kaisidi, 2010For autumn/winter 2010, Armani Exchange trails a repetition of dark sunglasses evoking a monochromatic colour scheme exerting sophistication and a peck 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 sure-footed appearance. However silver and gold details on the garments complement the smuggled 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 negatively charged aspect is that windows are not as creative since there are fewer props. Hence there is no story to tell. Silhouettes are straightforward 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 equal 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 less is more by not overloading its windows unitedly with being strong and simple em phasizing the brands power (http//, 2010). Furthermore, by following the fresh is best principle in treaty with Berger (1972), they renew their displays either week thus regular customers find new stock in every visit. Still though, AX 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 attend to 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 AX sunglasses in London, October 21, 2010Source Kaisidi, 2010Christmas windows however, ought to be more interesting and intriguin g. Armani Exchange Christmas decoration is ruled by special effects lighting and radiation. ovate peal are beaming light that changes colour every few seconds a different look tried by AX. The rings are symmetrically placed next to each other, as it is clearly illustrated in the following pictureFigure 3 The window illustrates AX Christmas dcor in London, November 20, 2010Source Kaisidi, 2010Despite 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 AX 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 s top and set out 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 Exchanges windows is just enough to fill the space for sale given add-ons such as bags and wallets. This is shown with Figure 4Figure 4 The window shows AX latest collection 3 weeks before Christmas in London, December 3, 2010Source Kaisidi, 2010Mannequins are said to be a mighty tool, forming the scene of a display. In AX, mannequins are friendly and headless in order to appeal to a wider audience (Pegler, 2008). The mannequins outfits offer a possible wearable suggestion in which one could liberty chit 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. AX serves as the ultimate testimony to the power of the bran d (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 oscillation for the specific windows, which are a compelling representation of the brand ethos. AX has an identifiable and cohesive commercial image, which triggers the clients interest in alliance 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. fit in to G.U Journal of Science there has not been significant empirical render regarding the effect of window displays on consumers shopping attitudes (2007 33).Bibliographyhttp//

No comments:

Post a Comment

Note: Only a member of this blog may post a comment.