Books profiles


Visual Merchandising

In-store Communication to Enhance Brand Equity Value

Pages: 360

Trade Paper: ISBN 9788885486416; $69,95

Author:  Karin Zaghi


Table of Contents



Introduction: What kind of visual merchandising?

1. Store atmosphere as a preferential dimension of the store experience
1. The store as an emblematic experience
2. Store atmosphere
3. Thematic universes
4. Interaction between the atmosphere and the customer
4.1 Spheres of action
5. A unique experience
6. Cost-benefit analysis in an experiential approach
7. The expert in quality relationships
8. New trends in store design


2. Interactive environments: new dimensions in communication
1. Hypermedia stores
2. Moving toward digital communication
2.1 Digital screens: a battle to the last centimeter
3. Augmented reality
4. Augmented retailin
5. Anteprima emotions by Senso
6. Interactive store windows


3. From identity systems to visual merchandising
1. The visible domain
2. From store identity to store concept
3. Centrality of a coordinated image, substantiating the brand, or communicating by subtraction?
4. Integration between the company and the store designers
5. Developing the store design
5.1 The preliminary stage
5.2 The project development stage
5.3 Awarding contracts and executing work
5.4 The post-opening stage
6. Implementing identity systems in a retail chain: from replicability to difference
7. From merchandising to visual merchandising: definitions and scope
7.1 Visual merchandising and assisted selling
8. Visual merchandising, purchase intentions and impulse purchases
9. Balancing conflicting needs
10. The profile of a visual merchandiser
11. Virtual visual merchandising
12. Innovative retail design as a strategic asset in luxury companies: the Vivienne Westwood case
12.1 The Vivienne Westwood story: the transformation from punk to couturier to international designer
12.2 The evolution of the retail concept at 430 King’s Road
12.3 Mapping the store: Corso Venezia 25
12.4 Analyzing the new retail concept: Via Vincenzo Capelli 4


4. Visual merchandising and communication outside of the store
1. Interface design
2. The store sign
3. The façade and the entrance
4. The window
4.1 Functions of the window
4.2 The open window
4.3 The closed window
4.4 The semi-closed window
4.5 Managing the space
4.6 Lighting
4.7 Planning
4.8 Check list for an effective window


5. The layout: physical mobility to informational mobility
1. A theatrical production
2. The customer’s perceptive pathway through the store
3. Functions of the layout
3.1 Crowding
4. Planning the layout of display fixtures
4.1 Balancing the dynamics of supply and demand
4.2 A good start: the decompression zone
5. Display fixtures
6. Types of layouts for in-store displays
6.1 The grid layout
6.2 The herringbone layout
6.3 The circular layout
6.4 The island layout
6.5 The boutique layout
7. Organizing the store by specializations and trades
8. Organizing the product layout
8.1 Criteria for grouping products
8.2 Zoning and allocating display space: some empirical rules
8.3 Sizing the areas of the store
9. The focal point
10. The display point
11. Physical mobility and communicative mobility: graphics and signage


6. The display and space allocation
1. Visual attention
2. The display
2.1 Methods for displaying products
2.2 Display techniques
2.3 Display dimensions
3. Space allocation
4. Quality of space
4.1 Vertical product presentation
4.2 Horizontal product presentation
4.3 Shoulder out, face forward and stacked product presentation
5. Quantifying space and saturating the linear display
6. Shelf management for maximum performance:linears, ends and end caps
7. Cross-mix displays
8. Double displays
9. Massified displays
10. Empirical criteria for space allocation
10.1 Breaking down the linear by sales
10.2 Breaking down the linear based on gross profit margin
11. The planogram
12. Correctives for the linear display
13. The shift toward micro visual merchandising
14. What factors impact the choices that shoppers make in the “moment of truth”?
15. A sense of space: the Lush case
15.1 The new Lush format in Milan, Via Torino
15.2 Exterior design
15.3 Interior design
15.4 The display arrangement
15.5 The product layout
15.6 The display
15.7 Design and visual merchandising, together in eternal evolution


7. Point of purchase communication
1. Moving toward integrated communication
2. Tools and objectives
3. Focus
4. Design
4.1 Physical-technical characteristics
4.2 Duration
4.3 Functional features
5. Assembly, installation and maintenance
5.1 POP on the product
5.2 POP on the shelf
5.3 POP off the shelf (stand-alone displays)
6. International POP communication
7. Channel relationships
8. Digital POP: the Canon case
8.1 Technical specifications
8.2 The project designer
8.3 Installing the interactive kiosks


8. Visual merchandising in channel relationships

1. Visual merchandising by industry in multibrand distribution
1.1 The technical-formal core of visual merchandising
1.2 The value-based core of visual merchandising
2. The organization of visual merchandising by industry
2.1 Visual merchandising by the sales force
2.2 Visual merchandising by a network of specialized professionals
2.3 Visual merchandising by a negotiating group with the support of an external agency
3. The organization of visual merchandising by distribution
3.1 Visual merchandising as a decentralized function
3.2 Visual merchandising both centralized and decentralized
3.3 Visual merchandising as a centralized function
4. Integration: a complicated task


9. Evaluating the effectiveness of store design activity from an experiential perspective
1. The customer-product-space relationship
1.1 Experienced space and the gestures customers use when interacting with the product
1.2 Perceived space and perceptive stimuli
1.3 Imagined space
2. Observational analysis: the Aspesi case, by Giusi Scandroglio
2.1 The Aspesi flagship store in Via Montenapoleone
2.2 Analysis of the flagship store
2.3 Entrance and windows
2.4 The structure of the store
2.5 The decompression zone
2.6 How customers use the flagship store
2.7 Interaction and purchase
2.8 Conclusions


3. Conducting in-store qualitative research using mobile technology: the Kikke by Kasanova case, by Giusi Scandroglio
3.1 Capture: Kikke, a Kasanova store in an innovative designer context
3.2 Experience: a small space full of surprises
3.3 Shopability: the product is always in charge
3.4 Conversion: little impulse purchases