Visual Merchandising, Third edition Windows and in-store displays for retail ( PDFDrive )

200

“Mannequins are very much in vogue today. Fashion her mannequins to help realize their
is not just about the clothes anymore; it’s about creative displays.
the hair and make-up, too – the complete look. What
better tool than a good mannequin to get a fashion Kevin Arpino has been fundamental in
statement across to the masses? There was a trend driving Adel’s business empire. As creative
in the 1980s to try and use other props to carry director, he is responsible for selecting whom
clothes; garments were hung on broom handles; to immortalize as a mannequin, building
headless torsos and blow-ups of artwork were all collections and dressing them in his legen-
tried but were not necessarily as successful.” dary unique style for the many Rootstein
showrooms worldwide.
Kevin Arpino, former Creative Director, Adel Rootstein Display Mannequins
Although mannequins have been fundamental
Mannequins have been the trademarks to window displays in stores globally, it is
of window displays for decades. They worth noting that mannequins have not
are the most effective tools you can always been so fashionable. As Kevin Arpino
use to present the latest fashion trends. explains, “In the fifteenth century, manne-
Some customers aspire to look like them, quins were made to represent the Madonna;
and visual merchandisers often form a they were carried through the streets of
friendship with them. Many individuals Europe as part of religious festivals. In a
still do not realize that these fibreglass way, even then they were designed to carry
showroom dummies are in fact modelled clothes. The early Madonnas were made
on actual people. from papier mâché and leather and were very
primitive-looking. The French can be credited
Adel Rootstein Mannequins is the world- for refining the mannequin. In the 1800s,
renowned manufacturer of mannequins. the Parisian House of Worth produced
With two new collections added to its vast mannequins that were an extension of the
range every year, its mannequins are bought forms used for making clothes. Often they
and used by retailers worldwide. Adel began were used to emphasize the trend of the
her career in 1956, making wigs and day and they had nipped-in waists to show
supplying display props to the retail trade corsets and bustiers.
from her kitchen in London. Being aware
of the growing social and fashion trends of “The mannequins of the 1920s looked more
the early 1960s, she began creating models contemporary because they were fashioned
of London’s style icons. Her first major in the style of the period: Art Deco. Fashion
mannequin was a cast of the 1960s’ fashion designers were keen to show their creations
model Twiggy. Later models included Jodie on a torso that was ‘of the moment’. Adel
Kidd, Joan Collins, Sandie Shaw, Joanna should really be credited for introducing
Lumley, Karen Mulder and Yasmin Le Bon, commercial mannequins that were fashion-
to name but a few. Her legacy lives on, forward and inspiring. She was very aware of
and today’s visual merchandisers trust the growing ready-to-wear collections that had
a higher turnover than the couture costumes.
Mannequins needed to look younger; the
mannequins before the swinging sixties
resembled someone’s mum!”

Above Opposite
Grouping mannequins is a skill A collection of Adel Rootstein
that takes a long time to master. mannequins that have been dressed
Deciding which two work together and arranged to show how they can be
and how they should be positioned used in-store. Each pose is carefully
often depends on the strength of considered so that the garment will be
the outfits and their poses. shown to its full advantage.



202

Sculpting

working as a mannequin that Rootstein
changed and adapted the collection to suit
her style.

A mannequin begins as a clay sculpture; As a popular and successful company,
most mannequins are modelled on real Rootstein constantly needs to update its
people. At Rootstein the model sits for collections. As Kevin Arpino explains, “I start
the sculptor for a two-hour sitting every putting ranges together by ascertaining what
day for three weeks. The sculpting is we and the customer require. During the
done in the traditional way by placing the 1980s, for example, many stores were ripping
wet clay onto a wire armature. The hands out their windows to give the customer a view
are the only part of the body that of the store. Mannequins that had once been
is cast from life. Once the sculpture is viewed through a sheet of glass were then
finished, the clay figure is cast in plaster. suddenly scrutinized by customers in-store;
The plaster then becomes the mould for the hair and make-up needed to be refined.
the fibreglass mannequin that is sent off Retailers also saw the potential of using
to the shops. The whole process takes mannequin forms in-store to promote their
three months from start to finish. merchandise; headless forms painted white
were used against sparse white walls so that
Creating a range of mannequins is time-con- the clothes stood out, and the mannequins
suming. Each model must have an individual became part of the design and architecture of
pose that will sit within the complete collec- the store. The more dramatically posed and
tion. On occasion, a model will come to a dressed models stayed in the windows.
casting and the whole collection will change
because of that. Erin O’Connor, for example, “We also have to take into consideration
had such a strong idea of how she saw herself the nature of the retailers’ business. If they
have a boutique selling couture, they might
require a dramatic, elegant pose that suits
the product they are showing. Retailers on
the high street may require a more simplistic
pose, and sports shops might prefer an action
mannequin. It is also important to remember
that not everyone has the skill to dress a
mannequin with a striking pose; often the
Saturday girl with no experience will be
challenged with the task of dressing the
windows – a simple collection with no striking
poses that are difficult to dress will always
be beneficial. We have around 500 different
mannequins in our range, many of which
belong to collections. A collection is generally
made up of 12 models that are designed to
interact with each other if used well.”

Above Below Opposite
Model Yasmin Le Bon sits for Male model Chad White is immortal- Soul diva Beyoncé is a recent addition
Adel Rootstein’s sculptor. After many ized in fibreglass and becomes one to the Adel Rootstein family. By using
sittings, the mannequin is then cast of Adel Rootstein’s mannequins. current models, retailers are able to
and the features will be lifelike. inspire their customers and appeal to
all ages.



204

Purchasing
mannequins

Purchasing a selection of mannequins mannequin can easily be used to promote a
for a store will provide a range of options fashion-forward look with the right hairstyle
to help promote any fashion collection. and make-up, which can then be restyled from
Whether just one mannequin or a whole season to season. It is worth bearing this in
collection is required, consideration mind if you are working to a tight budget – you
should be given to what they will be used may not need to purchase new mannequins
for, where they will be used and whether if you can reuse existing ones. You can, of
their poses will be suitable for the cloth- course, also save by purchasing some styles
ing they will be wearing. Remember: a of mannequin that can be used time and
sports-inspired mannequin may not be time again for one style of garment: a rigid
suitable for an eveningwear collection. bust form, for example, for a man’s suit. An
economical range could also be built up from
Mannequins come in all shapes and sizes: mannequins with no facial features, or even
from adults to children, maternity to action no heads, because they do not require
and stylized to realistic. Before purchasing make-up renovations or wigs.
a range of mannequins, consider the type
of business in which they are to be used. Having said all this, many retailers still prefer
A commercial, easy-to-dress range of just a simple bust form that resembles a torso
mannequins that have simple poses will and will carry clothing without overpowering
give more flexibility and will adapt to the the garment. These are most suited to men’s
ever-changing fashion trends. A dramatically tailors and classic ladies’ fashion stores
posed mannequin may work well in a heavily where, traditionally, stylized mannequins are
stylized environment. not used.

The average body size for a mannequin The quantity of mannequins you purchase
purchased in the UK is 34, 24, 32 (size 10). may be costly, but do consider how many are
Plus-size mannequins are becoming more required to create a complete window fashion
widely available because of controversy in the scheme. Ten windows with three mannequins
fashion media; as a result, British depart- in each will equate to 30. The interior display
ment-store chains have started to introduce sites will require even more, thus adding to
mannequins in a more realistic size 14. the mannequin budget. A range of children’s
mannequins, on the other hand, will not
A range should be selected carefully so that necessarily fill a large window because of their
the mannequins can be used individually or size. They will inevitably work better as a large
grouped to create a family; this might include group, so this should be borne in mind if you
a selection of standing, sitting, lying and are working in a children’s retail store.
leaning mannequins. It is worth thinking
about whether you need more dramatic poses; Another consideration to be borne in mind
do remember, though, that an expensive is that renovating mannequins can take
mannequin designed for hanging may be used up to a month; it may be worth having a
in one scheme but will not be used for the rest secondary collection to use while they are
of the year. An extreme pose may also be out of service, especially if your store only
difficult to dress. retails fashion. Clearly, while the mannequins
are away being renovated, this would be a
At the same time, consider how long the good time for a department store to install
range will last. A dramatically posed, realistic a home-related scheme.

Above
The New York socialite Dianne Brill
promotes the fuller figure with her
range of mannequins.

Mannequins 205

Above
A range of mannequins is designed so
that they interact with each other. The
majority will be standing, but sitting,
lying and leaning mannequins are also
introduced to break the pace and add
interest. Customers can buy complete
ranges or individual mannequins.

206

Dressing a
mannequin

“A mannequin can be a great prop for a display; Dressing mannequins is not as easy
if dressed badly, however, they can look awful. as it appears. Apart from having to
People do the strangest things to mannequins that disassemble them, they can be very
they just would not do to themselves. If a dresser heavy and clumsy, depending on the
is unsure of how to dress the mannequin, [he or she] pose. The end result should, however,
should keep it simple. Clothes should be given look as elegant and as lifelike as
movement; if the model’s hands are on the hip, possible.
throw the coat over it – don’t just let it hang. Pinning
a garment is paramount not only to ensure the The dressing of men’s and ladies’
clothes fit, but also that they look good. A pin should mannequins can differ; consequently the
never be seen – a good dresser will pin the inside guidelines on page 193 cover both categories.
of the garment. Realistically, a size 14 dress should Children’s mannequins should also be
be pinned so well that it looks great on a size 10 categorized by their gender when being
mannequin. When I dress a showroom with over dressed. Once you have decided which
40 models, I always dress one first of all from head mannequins are to be used, it is essential
to toe to make certain that I will be happy with the to follow these guidelines.
look I am trying to achieve.”

Kevin Arpino, former Creative Director, Adel Rootstein Display Mannequins

Above
A sitting mannequin with a strong
pose that will look effective as part of
a display, but is difficult to dress if she
is to wear trousers because her legs
are crossed. Rather than remove a
leg, loosen it slightly and pull trousers
up and over the knee to the waist.

Mannequins 207

Above
To create movement on these
mannequins riding horses in a Harvey
Nichols window, London, the skirt
hems and other materials have been
wired through the seam and moulded
to give a lifelike appearance.

208

Above Below
Before it is dressed, a mannequin can Once dressed, the same
be broken into sections. The hands, mannequin takes on a completely
arms, waist and one leg from this different appearance.
mannequin are detachable to help
dressing. Skilled dressers may not
need to disassemble the mannequin
completely but loosen some joints.

Mannequins 209

Dressing menswear sleeves towards the cuff. Dressing womenswear often a tight-fitting skirt will
Then secure the arm to the have to be pulled over the
All clothing should be socket on the torso. As with menswear, it is feet and up to the torso
pressed and steamed essential that all clothing before the shoes are fitted
beforehand. The hands can now be is pressed and steamed and the mannequin is
reattached to the arms and beforehand. turned upright.
Both mannequin legs the mannequin can be
should be secured together placed in its final position. The legs should be Top garments can be
and turned upside down, assembled and turned added and arms attached
resting on the floor so that Now is the time to dress upside down. If hosiery is as for menswear.
the feet are facing upwards. the mannequin properly. required, it should be added
At this stage socks should Start by ensuring that the at this stage by carefully Styling and accessorizing
be placed on the feet and trousers are the correct rolling down and over can now be completed.
trousers pulled over and length. Tuck shirts carefully the legs. This should include pinning,
down to the waist, ensuring into the trousers. draping and pleating the
that they remain taut Trousers and shoes should garment to create an
to prevent creasing. Most Loose-fitting garments can be treated in the same way inspirational silhouette.
tailored trousers are now be carefully gathered at as for menswear.
unfinished and should be the rear of the mannequin,
measured, turned up and or at the point that is least Unlike male mannequins,
pinned prior to dressing. visible to the public. The female mannequins will
Shoes can now be added. excess fabric should be often have different-sized
folded inwards and pinned, foot insteps. A mannequin
The clothed legs can now preferably through the with a high instep will require
be returned to the upright seams to limit any damage the exact heel height to
position, and the torso can to the garment. ensure that it stands upright,
be fitted back onto the legs. while those with no instep
The mannequin can now will need flat shoes such
The upper garments can be styled and accessorized, as a pump.
now be placed around the paying attention to detail
torso or pulled over the head and finish. The mannequin can now be
onto the body. At this point, turned upright and should be
shirtsleeves should be Finally, it is always advisable secured in its final position.
pulled through the jacket to view the mannequin
arms, ready for the manne- from the same direction as To fit a skirt or dress, turn
quin’s arms to be fitted. the public. Check for visible the legs back into the upright
pins, loose threads and position and attach the
To fit the arms, remove the ill-fitting clothes. torso. On most occasions
hands and carefully push an the garment can now be
arm through the layers of pulled over the head and
clothing down the secured in place, but

To begin, take the mannequin to the place If your mannequin has been in storage, it may
where it will be displayed. This should be done need to be cleaned with a light detergent to
with care because mannequins are fragile. remove any dust. Attention should be given
Most new mannequins – or newly renovated to the face in particular as this is the area
ones – will be delivered with their limbs and that is most visible. It is sometimes advisable
body parts packaged separately. It is best that two people dress a mannequin if it has
to ensure that you have all the correct body a complicated pose; one visual merchandiser
parts before attempting to construct the can support the mannequin while the other
mannequin. Remember: the limbs from one dresses it.
mannequin are not compatible with another.
Many mannequins come with markings on
their body parts so that they can be easily
matched to the torso, thus making the
assembly effortless.

210

“The visual merchandisers at Bergdorf Goodman
in New York know exactly how to dress a mannequin,
as do those at Neiman Marcus. Both have very skilled
dressers that prove how mannequins can add drama
to a window display. Zara uses mannequins very well.
They realize how they can help sell their product.”

Kevin Arpino, former Creative Director, Adel Rootstein Display Mannequins

Advanced styling for
mens- and womenswear

Many experienced visual merchandisers
will not stop at using outlandish wigs,
make-up and styling. Occasionally they will
wire hemlines invisibly to give the garment
movement, apply handpainted acrylic nails
to the mannequin’s hands, and cut and
style wigs to suit the overall look. This
advanced styling is best noted at prestigious
department stores such as Barneys in
New York and Harrods in London.

Rachel Sproule has been Tape tissue paper to the legs Cushioned wig tape can be Double-sided tape can be
dressing mannequins of a mannequin to give volume applied to the mannequin’s used to secure stockings to
since the age of 17, when and movement to a skirt. head at the front and the the legs of mannequins.
she took a job as a junior sides to help support a
dresser at London’s Push a couple of pins heavy wig. Pins can be If a belt is too large for a
Harvey Nichols store. through the lapel or breast pushed through the wig and mannequin, shorten it to fit
Since then, she has taught of your shirt/sweater so secured into the tape. by wrapping an elastic band
her skills to various visual that you can get access to around the excess at the
merchandising teams at them easily when pinning a If you need to twist the back of the mannequin.
Selfridges and New Look, mannequin’s clothing. arm of a mannequin from
showing the dedication to its natural position to hold Wannabe make-up artists
mannequin dressing that Shoes can be slid over the a handbag, place a large should leave it to the experts
made her a leader in the feet of a mannequin that bangle around the manne- who work on mannequins –
UK’s visual merchandising has already been spigoted quin’s wrist to disguise the professionally. Cosmetics will
fashion circuit. She is now in the leg by easing the unaligned join. melt and run; paint will not.
Creative Director of weight of the mannequin up
Evans. Her tips are: but not completely off the If a mannequin has not
spigot. Turn the shoes got pierced ears, Blu-Tack
sideways and slip them on, can be used to secure clip-
then lower the mannequin on earrings.
back onto the spigot.

Above
A simple bust form is often the best
way to display men’s tailoring. Here at
Thomas Pink, the articulated arms are
moved into a position so that the hand
interacts with the tie.

Mannequins 211

Securing a
mannequin

There are numerous ways that a
mannequin can be secured, but there are
three universal fittings that are generally
used to support a mannequin.

The first is the foot spigot, which is a round
or square metal rod attached to a base plate
made from either glass or metal; the spigot
is pushed into the foot to support the
mannequin. The spigot can also be removed
from the base plate and screwed directly
into the floor; the downside of the foot spigot
is that the shoes will have to be drilled
through so that the spigot can go through
the sole of the shoe.

To get a mannequin to stand straight and
upright on a base plate, gently ease it to the
tip of the spigot, place your foot on the base
plate to secure it and use the mannequin’s
height as a lever to bend the spigot to the
position required. Finally lower the mannequin
back onto the base plate.

The second option, the leg spigot, works in When striking a mannequin wearing swimwear
the same way but goes into the calf of the leg, or lingerie, ensure that the model wire is
which means that shoes can easily be shown secured around the fitting that holds the torso
without damaging them. In the US, the last and legs together, and trail the wire through
option, the bum rod, is often preferred. A the gap between the two and to the rear of the
longer rod is pushed through the leg of the mannequin or the part of the body that will not
trousers or under the skirt and fits into a be seen by the public. One wire should then
hole in the bum cheek. be pulled through the legs and the other
towards the back and attached to the floor;
Many skilled professionals use wire to thus the wire will not be seen around the
support mannequins. This complicated naked waist of the mannequin.
technique is called “strike”. Two wires are
wrapped around the waist of the model and Keep a selection of Perspex or wooden
firmly secured by twisting the wire around blocks (which can be painted the same colour
itself, then pulled taut in two opposing as the floor) in various sizes; these can be
directions, ensuring that the mannequin is used to block (raise and support) the heel of a
upright and attached to the floor with nails. shoe if the mannequin has a high instep. This
The wire is then twisted around itself and will also help when striking, ensuring that the
the excess is cut off. Once the wire and the mannequin is straight and balanced.
nail head are painted the same colour as
the background, they become invisible.

Above left Above right
The mannequins in this window Three mannequins on an in-store
from Macy’s demonstrate the use of display are stabilized using base
striking. Wire is secured to the back plates. A metal spigot is attached
of the waist, is then pulled taut and into the leg so that the shoes are
nailed into the floor panel. Wires can not damaged. A foot spigot would
then be painted out using the same go through the sole of the shoe.
colour paint as the background.

212

Grouping
mannequins

Most mannequin ranges are designed that they do not block the skirt; short coats
so that they can be positioned in an should be in front of long ones. At the same
aesthetically pleasing way. They are time, you can take advantage of these
often developed to interact with each groupings to help the customers understand
other. Badly positioned or grouped the different clothes used in the window or
mannequins can have a detrimental display. A suit that comes with either a skirt
effect on the overall creative or trousers can be shown easily on a group
appearance of any display. of three mannequins, demonstrating all of
the options, and the group can be given
Grouping models is a skill that will create cohesion by carrying accent colours onto
something that is gratifying for the customer the other models.
to look at. A line of ten models may not be
inspirational; it may be better if they were
positioned to interact with each other. A
window with six mannequins should also be
broken up into groups, such as a group of
three, two and a solo figure. Ideally there
should be only a couple of overstyled stars
in the window; the other mannequins should
support them.

Mannequins wearing trousers should be
positioned behind ones wearing skirts so

Above
It is important that mannequins
interact with each other. Even the eyes
should always focus on something,
such as another mannequin, to create
a more lifelike appearance.

Mannequins 213

Maintenance

Mannequins should be well cared for
and kept clean. A simple felt body bag
can be used to cover them when they are
in storage. Dirty, chipped mannequins
will not help sell any clothes. Once a
mannequin has been purchased it can be
resprayed and have new make-up applied;
in the trade this is referred to as a “reno”.
Kevin Arpino describes the process:
“Mannequins come back to us. We start
by stripping the face of the make-up.
We then take off layers of the base paint,
fill any cracks and respray them. Finally,
we create and apply new make-up. A
full renovation face and make-up costs
around £80 ($130), whereas a new
mannequin would cost between £700
and £1,000 ($1,125 and $1,600).

“Wigs are also an economical way of changing
the mannequin’s appearance. We offer two
wig options: hard and soft hair. Both options
will cost between £60 and £100. A hard wig
is styled and set so that it will keep its shape
and not move. They can be extremely dramatic
but not very versatile. Soft hair resembles a
more conventional wig that can be styled by
the visual merchandiser.”

Mannequin dressing is an art that many take
very seriously. Visual merchandisers take a
lot of pride in styling their muses. Often they
use their experience to leap into the fashion
world as stylists. Kevin Arpino, an advocate of
mannequin dressing, believes it is a dying skill
that should be studied and practised. “Those
fashion dressers that aspire to dressing the
world’s top models for an eight-page shoot in
Vogue should remember they are only as good
as their address book,” he says. “Their first
job as a stylist may be to dress someone to
resemble a grandma for a washing-up liquid
commercial. Styling a mannequin can be more
rewarding. At least they don’t question what
you are putting them in.”

Above
A dramatically posed mannequin
supports this elaborate couture coat,
which has been wired through the hem
to give the impression of movement.



The Visual
Merchandiser’s

Studio

216

To some visual merchandisers, a Spray booth
studio can be a luxury; to others, it is a A designated area should be allocated for
necessity. Large established department a spray booth that has adequate ventilation;
stores have always allocated a space, most spray paint is extremely toxic.
either in the flagship store or away from
the retail environment, where visual Sink
merchandisers can plan and create their A large sink with hot and cold water.
windows and in-store displays. Depending
on the needs of the visual merchandiser, Tool cupboard
this valuable accommodation can include A metal storage cupboard that can be locked
complete workshops and even dummy will protect valuable tools.
windows that can be used to test future
window schemes and displays.

Costly to run and maintain, many of these Plan chest
in-house studios, unfortunately, have been
converted into selling or storage space. Much A large plan chest is the most efficient way to
of the work that they used to produce is now store plans and visuals.
contracted out to props specialists. However,
a visual merchandiser lucky enough to have Cupboards
the space and staff to run a studio will benefit
from having the equipment listed below. Separate storage is needed for spare lighting
fixtures and lamps, to hold cleaning equip-
Office space ment and for paints, brushes and cleaners.

For organizing and designing and the storage Ticket holder shelf or cupboard
of files and drawings.
Perspex ticket holders will scratch if not cared
Product preparation space for. A designated shelf or cupboard will help
keep them in good condition.

A clean and dust-free area where products Ample electricity sockets
can be stored before or after they go into a Rather than running the risk of causing an
window. Running rails should also be installed accident by trailing extension leads across the
for garments and shelves for fashion studio, electricity sockets should be housed
accessories. near the areas where power tools will be used.

Ironing and steaming Industrial vacuum cleaner
A domestic cleaner will not be sufficient.
A professional iron and ironing board and
an industrial steamer are necessities for Overhead lighting
prepping fashion items. Efficient lighting that gives a good overall light.

Workbench Extractor fans
Ventilation for both paint fumes and sawdust.
This should be large enough to take a 2.4 x
1.2 m (8 x 4 ft) sheet of wood. The bench
should be sturdy with a fixed wooden top.

The Visual Merchandiser’s Studio 217

The visual
merchandiser’s toolbox

Any visual merchandiser will benefit from Hot-glue gun
having a comprehensive selection of Excellent for major repairs.
tools. The actual toolbox should be large
enough to house the tools, but not so big Screwdrivers
that it becomes a burden and takes up a Both flat-head and posidrive. An electrical
vast amount of valuable window space. screwdriver is also a useful commodity for
Windows can be confined and sometimes changing plugs and fuses.
claustrophobic – the more compact the
toolbox, the better. Items the visual Bradawl
merchandiser will need are listed below.

Staple gun Useful for boring holes.

Probably, in conjunction with a pair of Retractable tape measure
scissors, the most important tool that a A long measure that stretches the length of a
visual merchandiser needs. The staple gun window is more effective than a shorter one.
has many roles, including for covering floors
and wall panels. Spirit level

Staple remover Useful for ensuring any picture or graphic
is level.
These small specialist tools are the only
effective way of removing staples easily. Wire

Pliers There are many different gauges of wire
To remove panel pins and stubborn staples. available. A selection of galvanized, florists’,
model and thin wire will be sufficient.

Scissors Selection of screws and nails
The trademark scissors protruding out
of a back trouser pocket often identify a A mixture of nails, including carpet tacks,
visual merchandiser. panel pins and masonry nails, will be needed
for different purposes. Wood and masonry
Double-sided tape screws together with the complementary size
Useful for quick repairs and fixes. of rawplugs will help if you are screwing into
a stone or a wooden wall.

Pins

As well as traditional dressmaking pins,
stronger pins that are more durable and can
be hammered into wooden surfaces are used.
Dressmaking pins should only be used to
pin garments.

218

Health and
Safety

The responsibilities of a Health and safety should always be
visual merchandiser may taken seriously. Visual merchandisers
differ from day to day, so must ensure that any public space they
take time to analyze how are working in is kept clear at all times.
best to implement any When working in a confined or isolated
health and safety standards space such as a window, they must also
as early as possible. ensure that they adhere to health and
safety disciplines.

There are three areas Electrical cables trailing Lighting tracks should Sharp or electrical
within a store where across the studio floor can be earthed and wired in tools should never be left
visual merchandisers cause accidents. professionally. unattended.
should consider both
their own and the public’s Windows Never cut corners when Painted items must be dry
safety: the studio, wiring lamps, etc. Always before they are placed where
windows and store Ensure all power tools ensure the correct fuse is customers will come into
interiors. Listed below are used with the correct used with the correct plug. contact with them.
is a health and safety protective clothing.
checklist for each of When using toxic paint, it is Fixtures
the areas: Many visual merchandisers advisable to make sure that
prefer to dress a window the window is well ventilated. Any fixture used to hold
Studio without any footwear on It is often best to leave merchandise must be secure
to ensure that they do not the window open while the and stable.
Power tools should be used ruin or mark the floor. Care paint is drying.
with the correct protective should be taken, however, Shelves must be secured
clothing: i.e. eye shields and not to step on nails or In-store displays and strong enough to take
gloves when required. staples. the weight of the merchan-
Mannequins must be dise. Shelves should never
Electrical apparatus should Speakers connected to secured properly: on many be overstocked.
not be used near water. the store’s public address occasions children will want
system should be installed to play on them. Any undressed fixture can
Do not attempt to move in isolated windows to keep be hazardous for customers;
heavy props by yourself; they the visual merchandiser Ladders must only be used empty garment prongs or
will often require two or more informed of any need to with another person stabiliz- arms can be dangerous.
people to manoeuvre them. evacuate the store. ing them. This will ensure It is always advisable to
stability for the user as well remove the prong or leave
Spray paints and strong Ladders should be as informing the customers at least one item of clothing
adhesives will require firmly secured before use; that the ladders are in use. on the end of the arm or
adequate ventilation. it is advisable to have one prong while remerchandising
person stabilizing the bottom Electrical cables must not the display to ensure that
while another climbs. trail across the shop floor at customers are aware of a
any time. potential hazard.

The Visual Merchandiser’s Studio 219

Lighting chart

Lamp/bulb Voltage/fitting Location Suitability

Fluorescent tube lamp High-voltage Overhead fittings, Non-directional; efficient; used to
frequently ceiling-mounted provide high-level overall lighting
Tungsten/incandescent filament High-voltage in stores
Overhead lighting,
Tungsten/incandescent strip light High-voltage table and wall fittings Commonly used in domestic
environments; often used for
Under-shelf lighting, picture lights, secondary lighting in retail outlets
floor lights
Non-directional; provides a softer
light output than fluorescent tubes

Tungsten incandescent reflector lamp High-voltage Used with specialist fitting, in windows, Directional light output for high-

in-store and outdoor fittings lighting specific areas of a display

Crown silver tungsten/ High-voltage Used with specialist fitting with Window lighting and some interior
incandescent cap lamp High- or low-voltage adjustable reflector displays; can be easily focused

Halogen capsule lamp Window lighting and interior display, Highly efficient; adjustable;
used with specialist fitting with ideal for focal-point directional
adjustable reflector lighting for displays

Halogen dichroic lamp Low-voltage; Window lighting and interior display Sealed 1-amp for window and interior
Metal halide lamp used with specialist fitting lighting, available in several beam
frequently containing a transformer widths. Excellent for general displays
and creating theatre
High-voltage
General lighting used for window and Harsh, efficient strong light,
in-store displays low-maintenance; takes time to
reach full light output capacity

Fibre optic Low-voltage Small display cases, Excellent for jewellery or
effect lighting similar products because
the light unit can be housed
remotely. Fittings are small
and discreet, although with
poor light output

Light-emitting diode (LED) Low-voltage Low light output cold-running lamp Poor light output. Available in
Low-voltage cold cathode Low-voltage for close proximity lighting such several colours; unsuitable for
High-voltage neon High-voltage as showcases general display lighting as it cannot
be focused

Similar to neon in appearance Available in many colours;
used in store signs and display effects excellent for building excitement;
can be located in areas accessible
to the public

Outside signs and effect lighting Must be professionally installed
and expensive to maintain; not
suitable for interior signs

Above
This chart gives the description
and the ideal uses for the various
lamps available in conjunction with
the correct light fitting.

220

Glossary

A Cross-merchandising Pulling non- K Showcase Miniature enclosed window
Accent lighting The use of conventional products together to Kimble gun Tool used to fix price used for smaller displays
lighting to emphasize displays or create a display or hot shop tags to a garment or fabric product
merchandise units Sight lines Use of fixtures to draw the
Customer flow Manoeuvring the L eyes’ attention
Adjacencies Deciding which products customers through the store with ease Layout Placing and arranging
sit next to each other on a floor plan products and product categories on Signage All forms of ticketing or text
or layout D the retail floor used in-store or in windows
Display base Raised platform used
Ambient lighting Overall lighting in-store to create display on Lightbox Backlit box that houses Slat wall Slatted panels that
used in-store a transparency attach to a linear wall that supports
Diwali Indian festival of light rails, shelves and prongs to
B Linear Retail wall space hold merchandise
Balance Visual weight Dressing Styling a window, grouping
or mannequin Logo Name of brand used to Spigot Metal pole that supports a
Banner Printed text or graphics, often enhance display mannequin either through the foot,
suspended from the ceiling F ankle or backside
Face-outs Fixture components used Luxury retailer Designer brand
Barriers Fixtures used to block to show the full front of fashion items Striking Use of wire to support a
customer flow M mannequin
Fixture density How much stock a Merchandise Product on sale
Base plate Metal or glass plate fixture will or should hold Swing ticket/tag Price or informative
that houses the fixture (spigot) that Mid-floor fixture Product fixture that ticket attached to the product, often
supports a mannequin Flagship The main store of a large is placed away from the wall, should with a kimble gun or string, ribbon etc.
retail company be shopped at 360 degrees
Beam (lighting) The light projected T
from a lamp Focal points Areas that stand out Multiple sales Encouraging the Text Written words used on a sign
customer to purchase more than
Brand awareness Understanding the Folding board Cut piece of wood or one item Theatre Creating excitement within
brand and its mission statement cardboard used as a template when the retail environment
folding clothing O
Branding Communication tool used to Open-back window Window without a Theme The use of a creative window
enforce a designer, store or product Footfall Number of customers back to it scheme running through the windows
entering a store or department to create a story
Bust form Torso of a mannequin, Optical weight How products used in
often without a head, designed to G a display balance visually V
display tops only Gobo Design burnt out of metal VM Abbreviation of visual
through which light is beamed to P merchandising
C create a logo or design that is Prepping Preparing product
Capacity fixtures Units designed to projected onto a surface beforehand for a display W
carry fast-selling items Wall fixture System used on a retail
Gondola A four-sided fixture used Price point The retail price of the wall to hold various fittings
Ceiling grid Metal structure primarily for home or food products selling items
fixed to the ceiling of a window or
interior display Graphic Printed picture often used Props Items used to enhance a
as a backdrop to a display display as part of a theme or scheme
Chevron Arranging fixtures at
45-degree angles to encourage Grid wall Metal wire wall fixture R
customer flow system Reno Renovation of a mannequin

Closed window Window with a Grouping Product displayed to S
back wall create interest Scheme The overall idea and concept
of the display
Colour-ways The colours H
manufacturers have chosen to use in Hot shop Area used to display Shop fit Design and construction of
their fashion or home collections promotional or themed merchandise the interior of a store

Concession Another brand bought
into the host store

221

Further reading

Books Applied Visual Merchandising Websites
by Kenneth H. Mills, Judith E. Paul and
New Retail Kay Moormann www.bonaveri.com
by Raul A. Barreneche (Englewood Cliffs, New Jersey: Mannequin suppliers
(London: Phaidon, 2005) Prentice Hall, 1982)
www.elemental.co.uk
Silent Selling: Best Practices and Window Display: New Visual Props and visual merchandising
Effective Strategies in Visual Merchandising solutions
Merchandising by Tony Morgan
by Judith Bell and Kate Ternus (London: Laurence King, 2010) www.fashionwindows.com
(New York: Fairchild, 2002) Online fashion and window information
Wonderwall: Masamichi Katayama,
Big Ideas for Small Retailers: Projects www.hindsgaul.com
Discover New Ways to Improve Your by Shigekazu Ohno Mannequin suppliers
Business (Paperback) (Amsterdam: Frame and Basel:
by John Castell Birkhauser, 2003) www.lectra.com
(Cirencester, Gloucestershire: Virtual visual merchandising
Management Books 2000, 2006) Visual Merchandising and Display:
The Business of Presentation www.morplan.com
Collidoscope: New Interior Design by Martin M Pegler Store equipment supplier
by Nigel Coates (New York: Fairchild, 1983)
(London: Laurence King, 2004) www.patinav.com
Powershop: New Japanese Mannequin suppliers
Store Window Design Retail Design
by Aurora Cuito (ed) by Carolien van Tilburg www.propor tionlondon.com
(New York: TeNeues, 2005) (Basel: Birkhauser, 2002) Mannequin suppliers

Fashion Retail Retail Success: Increase Sales, www.rootstein.com
by E. Curtis Maximize Profits, and Wow Your Mannequin suppliers
(New York: Wiley Academic, 2004) Customers in the Most Competitive
Marketplace in History www.shopfittingsupplies.co.uk
Contemporary Visual Merchandising by George Whalin Shop equipment supplier
and Environmental Design (5th edition) (San Marcos, California: Willoughby
by Jay Diamond and Ellen Diamond Press, 2001) www.super future.com
(Upper Saddle River, New Jersey: Worldwide stores
Prentice Hall, 2006)
www.universaldisplay.co.uk
Retail Buying (8th edition) Magazines Mannequin suppliers
by Jay Diamond and Gerald Pintel Creative Review
(Upper Saddle River, New Jersey: Frame www.visualretailing.com
Prentice Hall, 2008) Virtual visual merchandising

New Retail FX
by Rasshied Din VMSD
(London: Conran Octopus, 2000)

Smart Retail: How to Turn Your
Store into a Sales Phenomenon
by Richard Hammond
(Upper Saddle River, New Jersey:
Prentice Hall, 2003)

Design for Shopping:
New Retail Interiors
by Sarah Manuelli
(London: Laurence King, 2006)

222

Index

Page numbers in italics refer to capacity rails 144, 144 Flight 001 156, 156–57, 157 J
illustration captions Carlo Moretti 137 floor layouts 122–29, 191, 191, 193 Jaluzot, Jules 80
carpenters 24 floor panels 53 John, Brad 156–57
A cash desks 42, 120, 128, 190 Florence + the Machine 57
ACNE, Los Angeles 185 Cass Art, London 136 flowers, fresh or artificial 72, 72, 110, K
add-on sales 166, 167 ceiling grids 53, 220 Kane, Christopher 81
Adel Rootstein Mannequins 6, 83, 98, Chain Reaction, Belfast 143 142 Karl Lagerfeld 137, 188
chequered merchandising 154, 154 focal points 76–77, 79, 79, 119, 126, Kawakubo, Rei 133
200, 202, 202–3, 203 chevroning 126, 126, 220 kimble guns 175, 220
Adidas, Buenos Aires 38 Christmas 66, 66, 67, 76, 80, 82, 164, 176, 220 Kiton, Milan 182
adjacencies 120, 121, 220 folding boards 158, 158, 159, 159, Kokon To Zai, London 133
Alexander McQueen, Milan 32 106, 107, 108, 109, 165 Koolhaas, Rem (OMA) 32
Alexander McQueen, New York 149 clearance merchandising 27, 168 220 Kurt Geiger, London 42, 42–45, 43,
All Saints 122 Coco Maya, London 9 footfalls 126, 220
ambience 122, 184 Colette, Paris 29, 161 Fortnum & Mason, London 66, 72, 44, 45
anatomical merchandising 154, 154 Colorset 170–73, 171, 172, 173 Kusama, Jayoi 84
Anthropologie, London 184 colour 90, 106, 112, 112–15, 113, 114,
Arpino, Kevin 200, 202, 206, 210, 213 115 L
Au Printemps 13, 16, 16, 57, 68, 80, basic principles 84–89 found objects 134, 138, 138, 139 l.a. Eyeworks, Los Angeles 143
effect on lighting 98 freelancers 22, 28, 67, 109, 111, LaChapelle, David 59
80–83, 81, 82, 83, 89 sequence for hanging rails 145 118 Lagerfeld, Karl 80
and window display themes 62 French Connection, London 79, 104 Lane Crawford, Hong Kong 23, 119,
B colour blocking 150, 150, 151, 160 Future Systems 33
Baccarat, Paris 34, 35, 36, 139 concept shop fits 140 164, 169, 176
backlit transparencies 178, 178 concessions 140, 220 G Lanificio di Tollegno e Ragno, Milan
Bailey, Christopher 40 coordinated merchandising 155, 155 Gap 27, 171, 175, 192
Banana Republic 16 Corso Como, Milan 40, 122 Gerhardt, John 118, 162 183
Banchet, Franck 56, 80–83 Cotugno, Joe 6 Givenchy 17 Lanvin 97
banners 174, 220 creative team 22, 24, 26, 195 Globus Food Hall, Zurich 160 Last Footwear, Brighton 28
Barneys, New York 56, 82 cross-merchandising 220 gobos 115, 220 Liberty, London 16, 70, 82, 92, 96
A Bathing Ape, Japan 40 customer flow 76, 127, 220 gold areas 125, 126 lighting
Bergdorf Goodman, New York 68, 97, gondolas 134, 134, 136, 220
D graphic designers 25 ambient 81, 98, 179, 180, 182,
108 De Bijenkorf, Amsterdam 181 graphics 56, 60, 100, 101, 104, 220
Bershka, San Sebastian, Spain 52 Debenhams, Liverpool 165, 166
Bershka, Tel Aviv 178 design directives 192, 193 170–73, 171, 175, 176, 176, 178, colour, effect on 98
Bloomingdale’s, New York 12 D&G, London 180 220 in-store displays 169, 179, 180,
Bon Marché, Paris 11, 12, 80 Dover Street Market, London 133, grid walls 146, 220
Boots, Piccadilly Circus, London 173 Griffiths, Jeff 180–83 180, 181, 182, 182–83
Boucicaut, Aristide 12 138, 145, 155 Gucci, London 37 lighting chart 219
BOXPARK, London 37, 37–38 dressers 22, 24 mannequins 181, 183, 195
brand awareness 42, 220 Dries Van Noten 147 H shelves 149
branded shop fits 140 Duvetica, Milan 181 Habitat 14, 16 window displays 54, 81, 93, 94,
Briggs, Mark 22, 23 Halfords 174
bronze areas 124, 125 E hanging rails 144–45, 146 98–99, 110, 115, 180
budgeting 67, 109, 111, 182–83, 190 eBay 38 Harrods, London 11, 32 linears 127, 134, 146, 220 see also
Burberry, London 40, 186, 186–87, ERCOL lighting 180, 180–83, 181, Harvey Nichols, London 10, 11, 16,
wall fixtures
188, 189 182, 183 56, 60, 61, 98, 107, 207 Louis Vuitton 84, 91, 96, 96–97, 197
Burton, Tim 81 Heal’s, London 174
bust forms 29, 135, 137, 147, 153, F health and safety 218 M
fabric, covering boards with 92–93 Heatherwick, Thomas 10 Macy’s, New York 12, 16, 60, 70,
182, 189, 210, 220 face outs 220 Hewson, Linda 111
Farrar-Hockley, Rebecca 42–45 H&M, London 33 188, 211
C Field, John 42–45 horizontal merchandising 150, 151 maintenance of displays 110, 115,
cabinets 137, 138, 138, 139 flagship stores 23, 27, 33, 33, 40, hot shops 118, 162, 165, 165, 220
CAD (computer-aided design) 27, 74, 164, 190
42, 62, 63, 132, 156–57, 186, I Maison Martin Margiela 81
75, 171 188, 220 IKEA 122 Maison Martin Margiela, Nagoya,
capacity fixtures 144, 220 IT Beijing Market, Beijing 34, 119
Japan 135, 169
mannequins 6, 164, 181, 200–213

average body size 204, 204
dressing 206, 206–10, 207, 208,

213

223

grouping 200, 212, 212 prepping 90–91, 158–60, 220 Spoule, Rachel 210 Whitmore, Tim 194–97
lighting 181, 183, 195 Pret à Manger, London 167 SSUR, Shanghai 128 Williamson, Matthew see Matthew
maintenance 213 price points 155, 162, 220 Starck, Philippe 34–35, 35, 36, 139
purchasing 83, 204–5, 205 price tickets 94, 100, 103, 159, 175, Stella McCartney, London 128 Williamson
sculpting 202 Stella McCartney, New York 51 window calendars 106–9
securing 211, 211 175 store design 32–45, 82 window displays 48
Marks & Spencer 33 Primark, Bristol 122 store guides 169, 175, 186
Marshall Field’s, Chicago 12, 13 Prints, Singapore 142 striking (mannequins) 211, 220 designing 74–79
Matthew Williamson 130, 130–35, product blocking 152, 153 studios 216 installing 92–95
131, 132, 133 product collections 155 success, measuring 29 lighting 54, 81, 93, 94, 98–99,
Max Studio, Los Angeles 52 prop makers 24 Supreme, Los Angeles 141
McCartney, Stella see Stella props 56, 68–73, 93, 170 Symes, Paul 98, 112–15 110, 115, 180
McCar tney pyramid groupings 74, 75, 76, 78, 78 symmetrical merchandising 152, 153 maintenance 110
Mcleod, Faye 96–97 planning 56–59
McQueen, Alexander 80, 81 see also Q T prepping 90–91
Alexander McQueen Quant, Mary 12, 14, 15 tables 128, 134, 137, 137, 138, 147, schemes 16, 24, 26, 27, 53, 60,
Mitsukoshi, Tokyo 11, 12, 12
Miu Miu 172, 173 R 157, 160, 175 60–66, 61, 62, 65, 67
MockShop 191, 192, 192, 193 reno (mannequins) 213, 220 technology and merchandising 11, 16, set-up 53–54, 55
Moschino 97 repetition grouping 79, 79 signage 100–105, 101, 102
multiple chain stores 26–27, 62, 118, Rheims, Bettina 80 40, 104, 111, 171, 173, 180, 182, themes 60–66, 61, 65, 220
192 role of visual merchandisers 20–21, 183, 186–89, 191, 192 windows
multiple sales 220 Ted Baker 170 closed 50, 51, 53, 70, 94, 220
music 184 24, 25 Ted Muehling, New York 97 layout of 76–79
Rootstein, Adel see Adel Rootstein themes 60–66, 61, 65, 220 open-back 50, 51, 93, 220
N Thomas Pink 210 size and style 50–52
Nike, Beijing 53 Mannequins Thompson, Erin 159
Nike, Phoenix, Arizona 149 Russell, William 32 tools 217 Y
Niketown, London 33, 163 Topman, London 61, 144 Yeezus shop, New York 38
Nivea lab, Milan 39 S Topshop, Liverpool 27
Sainsbury’s 174 Topshop, London 33, 56, 70, 72, 95, Z
O Saks Fifth Avenue, New York 41, 93, 96, 101, 102, 163, 194, 194–97, Zara 16, 26
Offspring 140 195
OMA (Office for Metropolitan 164 training 22–23
Samaritaine, Paris 32 Tsvetnoy Central Market, Moscow 162
Architecturre) 32 scents 11, 184–85
online retailing 25, 124, 188 schemes 11, 40, 220 see also under U
optical balance 77, 77, 220 Uniqlo, New York 183
optical weight 77, 220 window displays Uniqlo, Tokyo 105, 150
Orange, Paris 142 Selfridges, Birmingham 33, 33 Urban Outfitters, London 67
outfit building 27 Selfridges, London 4, 11, 12–13, 14,
Owen, Rick 14 V
15, 16, 25, 48, 49, 51, 52, 57, 58, Van Noten, Dries see Dries Van Noten
P 58, 59, 60, 62, 64, 64, 65, 66, 78, vendor fixtures 140
painters 24 84, 86, 89, 94, 96, 100, 106, 109, vertical merchandising 152, 152
Peter Jones, London 175 111, 127, 168, 185 virtual stores 191, 192, 192–93, 193
Phelan, Tom 170–73 Sencion, John 156–57 VV Rouleaux, London 142
plants 66, 72, 72, 110, 184, 185 shelves, fixed 149, 149
platinum areas 125, 126 sight lines 126–27, 220 W
point of sale 166, 186 signage 122, 124, 220 walkways 122, 122, 125, 126–27,
pop-up shops 37–39 clearance merchandising 168
porters 25 in-store 168–69, 174–75 127
portfolios 22 window displays 100–105, 101, wall fixtures 146–49, 220
positioning products 122, 124, 127 Wanamaker’s, Philadelphia 12
Prada 16, 32 102 websites 22, 25, 188
silver areas 125, 126 Weston, Alannah 20, 48, 58, 64, 106,
slat walls 146, 220
smartphones 182, 188, 189 111
social media 188
Sony Centre, Tokyo 40
specialist fixtures 142, 142, 143

224

Picture credits and
acknowledgements

Picture credits Heal’s, London/© Pentagram, Domenic Children’s Service/John Bignell: p15; Author’s
Lippa: p174 top left; Hulton Archive/ Saks, Fifth Avenue, New York: pp41, acknowledgements
The publisher would like to thank the Getty Images: p10 top; Photo courtesy 93, 164 bottom; The Selfridges Archive
following picture sources: and © 2014 Isetan/Mitsukoshi: p12; held at The History of Advertising Trust My special thanks go to:
Courtesy of IT Beijing Market: p34, 119 Archive: p11 bottom; Selfridges,
Courtesy Acne: p185 top; AFP/Getty top; J Sainsbury plc: p174 bottom; Birmingham/Future Systems / Soren All at Laurence King Publishing – Helen
Images: p175 right; Alexander Courtesy of Karl Lagerfeld: 137 Aaagard: p33; Selfridges, London/ Evans, Anne Townley and Susie May.
McQueen, Milan, William Russell/Ed bottom; Kurt Geiger/Found Andrew Meredith: pp2, 14, 17, 18–19, Peter Kent for the pictures and Majka
Reeve: p32 bottom; Alexander Associates/Guy Archard: pp42–5; Lane 25, 46-49, 51 top, 52 bottom, 54, 57 Zylinski for the illustrations. The UK
McQueen, New York: p148; Crawford, Hong Kong: pp20, 23, 119 bottom, 58–9, 62, 64-5, 66 top, 78 and US reviewers – Prof. Marie
Anthropologie: p184; Apoc, Paris/ bottom, 164 top, 169 left, 176, 177 top, 84, 86, 89, 94, 100, 101 top, Aja-Herrera, Elisabeth Jacobsen,
Ronan and Erwan Bouroullec: p75 top; Last Footwear: p28; Liberty, Great 109, 127, 140, 147, 168, 185 Janine Munslow, Anthony Parsons, and
bottom; Baccarat, Paris/Claude Weber: Marlborough Street, London, by Maxine bottom, 210, 211 right, 214–5; © in particular Anne C. Cecil, Instructor,
pp35, 36, 139; © Benoit Florençon: Groucutt, in collaboration with Laura Shopics/Alamy: p136; Stella Design & Merchandising, Westphal
128; Bergdorf Goodman: 108; Tarant Brown/Andrew Meredith: p71; McCartney, London/Ed Reeve: p129; College of Media Arts and Design,
Bershka: pp52 top right, 178; Bisazza, LL/Roger-Viollet/TopFoto: p11 top; Stella McCartney, New York/© Frank Drexel University, for her contribution
Berlin/Alberto Ferrero, www. Louis Vuitton/Stéphane Muratet: pp Oudeman, www.frankoudeman.com: on virtual visual merchandising.
albertoferrero.it: pp30–31; Courtesy 91, 96–7; Macy’s, New York, p70 p51 bottom; Supreme, Los Angeles/
Burberry, London: pp186–9; Camper: bottom, /Paul Olszewski: p211 left; Harry Allen & Associates/photo by Today’s players that push the
116–17; Image courtesy Canoe Inc.: Courtesy Maison Martin Margiela: Hage: p141; Topman, London: pp63, boundaries of visual merchandising
37; The Chicago History Museum: p13 pp135, 169 right; Matthew Williamson: 144; Topshop, photos by Melvyn and also agreed to be interviewed –
top; Colette, Paris: pp29, 161; 10 pp 130–3; Maxstudio, Los Angeles/LA Vincent, Michael Taylor, design Erin Thompson at Coach, Linda
Corso Como/Vanni Burkhart: p123; eyeworks/Fotoworks: pp52 top left, consultants: Dalziel & Pow: pp27, 56, Hewson at Selfridges, Rebecca
Debenhams: pp165–166; Dover Street 143 bottom; Carlo Moretti: p137 top; 70 top, 72, 95, 101 bottom, 102, 163 Farrar-Hockley at Kurt Geiger, Richard
Market, London: pp138, 145, 155; Nike: pp53, 149, 163 top; Oleg bottom, 194–6; Courtesy of Tsvetnoy, Found at Found Associates, Joe
www.edgedesignfit.com Design and Nikishin/Getty Images: p177 bottom; Moscow: p162; Uniqlo, Tokyo/Nacasa Cotugno at Bloomingdales, Franck
Implementation by EDGE Design Fit Ltd Courtesy and © John Ong: p38; & Partners Inc: pp105, 150; Urban Banchet and Eva Glélé at Printemps,
(all images are © copyright protected): Orange/Giancarlo Gorassini Outfitters: p67; Visual Retailing John Gerhardt at Holt Renfrew, Paul
p143 top; Images courtesy Erco: Abacapress.com: p142 right; Peter Software Distribution Ltd: pp191–3; Symes at Fortnum & Mason, Mark
pp180–3; Courtesy of Flight 001, New Jones, London/© Pentagram, John Vittorio Zunino Celotto/Getty Images: Briggs at Saks, Brad John and John
York: pp156–7; Fortnum & Mason, MacConnell: p175 left and centre; p39; VV Rouleux, www.vvrouleaux.com: Sencion at Flight 001, Tim Whitmore at
London, visual presentation by Paul Prada, New York/Armin Linke, www. p142 bottom left; Windowswear: pp Topshop, Faye Mcleod at Louis Vuitton
Symes: pp21, 112, 114 top; Fortnum arminlinke.com: p32 top; Pret à 171–3; Zara/INDITEX S.A.: p26. and Janet Wardley at Harvey Nichols,
& Mason, London, visual presentation Manger: p167; Primark: p122; Jeff Griffiths at Erco lighting and Tom
by Paul Symes /Andrew Meredith: pp Printemps Departmental Store, Paris, Illustrations by Majka Zylinkski, revised Phelan at Colorset.
66 bottom, 73, 90, 106, 113, 114 Eva Glele/Francis Peyrat: pp13 bottom, by Carolyn Hewitson: pp55, 74, 77, 78
bottom, 115; French Connection, 16 top, 57 top, 69, 80–3, 88; Prints, bottom, 79 bottom, 87, 121, 124, Andrew Meredith – retail photographer
London/Andrew Meredith: pp79 top, Singapore: p142 top left; Ray Tang/ 125, 126, 134, 151, 152, 153, 154, extraordinaire!
104; Globus Food Hall, Zurich: p160; Rex: p16 bottom; Rootstein Display 158, 159, 179.
Halfords/© Pentagram/Harry Pearce: Mannequins: pp7, 99, 198-9, 200, And finally, my friends and family;
p174 top right; Harvey Nichols, 201, 202, 203, 204, 205, 206, 208, Harvey Sutton and Susanne Tide-Frater
London/Michael Taylor: pp8–9, 10 212–3; The Royal Borough of for their support and loyal friendship
bottom (window by Thomas Kensington and Chelsea, Family and and complete dedication to fashion
Heatherwick), 60–1, 98, 107, 207; retail.