Visual merchandising is the practice of coordinating physical elements in a store to project the right image to customers. This includes elements like storefront, interior design, lighting, signage, and merchandise displays. The goal is to attract customers, engage them in the store environment, and motivate them to make purchases. Effective visual merchandising techniques include using mannequins, fixtures, and props to creatively display merchandise in a way that tells a story and highlights product features. Regularly changing interior displays is also important to keep the store looking fresh and interesting to customers.

1. VISUAL
MERCHANDISING

3. VISUAL MEANING
Relating to the sense of sight.
MERCHANDISING MEANING
Merchandising is a marketing
practice in which the brand or
image from one product or
service is used to sell another

4. VISUAL
MERCHANDISING
?

5. Coordination of physical elements in place of
business, so that its project the right image to
its customers
Change a “passive looker into active buyers”
Responsible for total merchandise
Overall business image
Placements of design elements

6. Contd……..
It is the activity and profession of developing
the floor plans and three dimensional
displays in order to maximize their sales
The display of products which makes them
appealing and attractive
It utilizes displays, colors, lighting ,smells
and sounds

8. PURPOSE
OF
VISUAL MERCHANDISING

9. The purpose is to attract ,engage,
motivate the customers towards
making a purchase
Both goods and services can be
displayed to highlight their features
and benefits

10. PRINCIPLES
OF
VISUAL MERCHANDISING

11. Make it easier for the customer to locate
the desired category and merchandise
Make it easier to self select
Make it possible to coordinate and
accessorize
Educate about the product in an effective
and creative way
Make proper arrangements in such a way to
increase the sale of unsought goods

12. IMPORTANCE
OF
VISUAL MERCHANDISING

13. Purposes are to sell products and promote
store image
Should always try to be different, new, and
creative
Change a “passive looker” into an “active
buyer”
Enhances brand image
Generates impulse sales
Overall business image

14. VISUAL MERCHANDISING
SUCCESS FACTORS

16. ERRORS TO AVOID IN
VISUAL MERCHANDISING

17. Too much signage
Confusing traffic patterns
Too much propping
Disconnection between exterior
window and store contents
Poor lighting
No point of view
Inconsistency in visual executions

18. OBJECTIVES
OF A
GOOD STORE DESIGN

19. Design should:
be consistent with image and strategy
positively influence consumer behavior
consider costs versus value
be flexible
recognize the needs of the disabled –
The Americans with Disabilities Act

20. OBJECTIVES OF THE
STORE ENVIRONMENT

21.  Get customers into the store (store image)
 Serves a critical role in the store selection process
 Important criteria include cleanliness, labeled prices,
accurate and pleasant checkout clerks, and well-stocked
shelves
 The store itself makes the most significant and last
impression
 Once they are inside the store, convert them into
customers buying merchandise (space productivity)
 The more merchandise customers are exposed to that is
presented in an orderly manner, the more they tend to
buy

22. APPAREL WALL PRESENTATION
OF THE
MERCHANDISE

23. INCORRECT

24. Fashion apparel wall presentation.
In the correct example, formal balance is
achieved by creating a mirror image of
garment on both sides of a center line. This
does not occur in the incorrect example

26. INCORRECT

27. In this, Informal balance is achieved
because an equal amount of space is filled
on either side of a centre line.
This does not occur in the incorrect
example.

29. MERCHANDISE
PRESENTATION

30. The ways goods are
hung, placed on
shelves, or otherwise
made available to
customers
Shoulder-out
Only one side shows
Face-forward
Hanging garment so
full front faces viewer

31. METHODS
OF
DISPLAY

32. Shelving
Hanging
folding
Pegging
Dumping

33. SHELVING HANGING
PEGGING
FOLDING DUMPING

34. DISPLAYED MERCHANDISE
 Should be current
 Represent styles and lines
 Should be well stocked
 In demand
 New (inform customers of
what is available)
 Encourage additional
purchases
 Promote current theme
 Look good on display

35. ELEMENTS IN
VISUAL MERCHANDISING

36. ELEMENTS
STORE STORE MERCHANDISE
FRONT INTERIOR DISPLAY
STORE STORE
LAYOUT SPACE

37. 1. STORE FRONT
The exterior of a business.
It includes:
1. Signs
2. Marquee
3. Entrances
4. Window Display

38. SIGNS
There are four different types of
signs are:
1.Promotional Signs
2.Location signs
3.Institutional signs
4.Informational signs

39. PROMOTIONAL SIGNS
For off-price events or specials.

40. LOCATION SIGNS
For direction to specific departments

41. INSTITUTIONAL SIGNS
Signs for the store policies

42. INFORMATIONAL SIGNS
For product related benefits/
features/ prices etc.

43. MARQUEE
The sign that is used to display the store name

44. ENTRANCES
Designed with customer
convenience and store security in
mind.
There are several types of
entrances each portraying a certain
image

46. TYPES OF ENTRANCES
Revolving – up scale stores
Push-Pull – full service stores often with fancy
handles
Electronic – Self-serve stores, with carts such
as Wal-Mart, Meijer, Kroger.
Climate Controlled – shopping malls.

47. WINDOW DISPLAYS
The store’s FIRST IMPRESSION with the
customer.
Begin the selling process even before the
customer enters the store.
Suggests the type of merchandise carried
in the store

49. TYPES OF WINDOW DISPLAYS
1. Promotional – promote the sale of one or
more items by using special lighting and
/or props.
Skiwear with fake snow for accents
2. Institutional – promote store image rather
than specific items.
Designed to build customer good will,
show that the business is interested in the
community

50. STORE INTERIOR
Affects the store’s image
Includes items such as:
Floor & wall coverings
Lighting
Colors
Fixtures

51. It is important to create a relaxing,
comfortable place for customers to shop
Customers shop longer & are more relaxed
and spend more when they are not pressed
by crowds, delays & long lines

52. FLOOR AND WALL COVERINGS

53. LIGHTINGS

54. Used to direct customer’s attention to the display
and creates mood.
-Use more light for dark colors, less light for light
colors .
-Beam spread; the diameter of the circle of light.

55. BEAM SPREAD TECHNIQUES
Flood lightning
Spot lightning
Pinpointing

56. FLOOD LIGHTING
Ceiling lights to direct lights over an entire
wide display area.

57. SPOT LIGHTING
focuses attention on specific areas or
targeted items of merchandise

58. PINPOINTING
focuses a narrow beam of light on a
specific item

59. COLORS
Color selection should
be perfect.
Help to make
merchandise look
more interesting.
Color schemes help to
create moods.
Capture shoppers
attention.

60. Example; in Christmas displays only
complementary color scheme i.e. reds and greens
are placed next to each other in setting as no other
scheme can accomplish this

61. STORE FIXTURES
To make store’s wall merchandisable, wall usually
covered with a skin that is fitted with vertical
columns of notches.

62. TYPES OF FIXTURES
 Most common types
of fixtures:
 Stands
Platforms and
Elevations
Round rack
Bin
T-Stand
Four way faceout

63. STANDS
Used in a variety
or assortment
window- from
glass line to the
back of the display
window

64. PLATFORMS AND ELEVATIONS
Platforms or Elevations can be tables and other
pieces of furniture that can be used to raise up a
mannequin, a form or arrangement of
merchandise

65. ROUND RACKS
Circular racks on which garments are hung
around the entire circumference

66. BIN
A rimmed table or bin used to hold sale or special
merchandise on the sales floor, especially in
discount operations; it has no formal arrangement

67. T-STAND
Freestanding, two-way stand in the shape of a T,
that holds clothes on hangers, sometimes with one
straight Arm and one waterfall

68. FOUR -WAY STAND
A fixture with four extended arms, that permits
accessibility to hanging merchandise all the way
around

69. 2. STORE LAYOUT
 The way the floor space is used
to facilitate and promote sales and
best serve the customer

70. TYPES OF FLOOR SPACE
1. Selling Space
2. Merchandising Space
3. Personnel Space
4. Customer Space

71. SELLING SPACE
Includes:
Interior displays
Sales demonstration areas
Sales transaction areas
(wrap desk)

72. MERCHANDISE SPACE
Allocated to items that are kept in
inventory
Selling floor
Stock room area

73. PERSONNEL SPACE
Space for employees:
break rooms
lockers
restrooms

74. CUSTOMER SPACE
Comfort and convenience of customers:
Restaurants
Dressing rooms
Lounges
Restrooms
Recreation area for children
Stores are competing more & more in these
areas
Allocating more dollars and space for customer
convenience than ever before

75.  Once the floor space has been
allocated, management & visual
personnel spend a lot of time
planning the effective use of the
space.

76. VISUAL DECISIONS
What product are to go where
Agencies – what products should be next
to each other
Where to put seasonal merchandise such
as coats, swimwear and Christmas items
Traffic patterns

77. FLOOR LAYOUT

78. STRAIGHT FLOOR LAYOUT
( GRID DESIGN)
Best used in retail environments in which majority of
customers shop the entire store
Can be confusing and frustrating as it is difficult to
see over the fixtures to other merchandise
Forcing customers to back of large store may
frustrate and cause them to look elsewhere
Most familiar examples for supermarkets and
drugstores

81. DIAGONAL FLOOR LAYOUT
Good store layout for self-service type retail
stores
Offers excellent visibility for cashier and
customers
Movement and traffic flow in the store is
smooth

83. ANGULAR FLOOR LAYOUT
( CURVING/LOOP –RACETRACK DESIGN)
Best used for high-end stores
Curves and angles of fixtures and walls
makes for more expensive store design
Soft angles create better traffic flow
throughout the retail store

86. GEOMETRIC FLOOR LAYOUT
(SPINE DESIGN)
Is a suitable store design for clothing
and apparel shops.
Uses racks and fixtures to create
interesting and out- of- the – ordinary
type of store design without a high cost.

89. MIXED FLOOR LAYOUT
(FREE FLOW DESIGN)
Incorporates the straight, diagonal
and angular plans
Helps generates the most functional
store design
Layout moves traffic towards walls
and back of the store

91. Storage, Receiving, Marketing
Underwear
Dressing Rooms
Tops
Accessories
Hats and Handbags
Checkout counter
Stockings
Clearance Items
Tops
Pants
Casual Wear
Skirts and Dresses
Feature Feature
Jeans
Open Display Window Open Display Window

92. 3. MERCHANDISE DISPLAYS
They are part of the general store
interior
Displays generate 1 out of 4 sales
They enable the customer to make a
selection without personal assistance

93. KINDS OF DISPLAYS
1. Closed Displays
2. Open Displays
3. Architectural Display
4. Point-of-Purchase
5. Store Decorations

94. CLOSED DISPLAYS
Look but don’t touch
Require sales person assistance
Expensive or fragile merchandise
Jewellery cases

95. OPEN DISPLAY
Handle merchandise without a
salesperson
Self-service
Used for most clothing

96. ARCHITECTURAL DISPLAYS
Actual room setting
Furniture

97. POINT-OF-PURCHASE
Promote impulse buying
Items at the register
Batteries
Candy
Magazines

98. STORE DECORATIONS
 Decorations for holidays
such as Christmas, Halloween
and Valentine’s Day

99. Interior displays use fixtures and
props to showcase merchandise
Props are generally classified as
decorative or functional

100. PROPS
Objects added that support
the theme of the display

101. TYPES OF PROPS
Functional Props - practical items for holding
merchandise such as mannequins and shirt
forms
Decorative Props -Only purpose is to enhance
merchandise. Items such as trees, tables, cars.
Structural Props -used to support functional
and decorative props and change the physical
makeup of displays. (boxes, rods, stands,
stairways, etc)

102. FUNCTIONAL PROPS

103. DECORATIVE PROPS

104. STRUCTURAL PROPS

105. IMPORTANCE OF
INTERIOR DISPLAYS
Show the customer what’s new
Show customer how to put together a total
look
A good display helps create multiple sales
Customers want to look like the display
Customers want you to show them what to
wear

106. INTERIOR DISPLAYS
Often convey a common theme
through out the store
Animal prints, patriotic theme
Used to tell a color story

107. The large display in a store including the
mannequins & wall displays are usually
set up by visual department
Small table displays and fixture top
displays are usually set up & maintained
by the individual department staff

108.  It is important to change
departmental displays
frequently

109. INTERIOR DISPLAY LOCATIONS
Should be chosen to
maximize merchandise
exposure
Just inside store entrance
At entrances to
departments
Near cash/wrap counter
Next to related items
By elevators and
escalators
Open-to-mall areas

110. WHEN TO CHANGE THE
DISPLAYS?

111. When new merchandise comes in
Just to change around the pieces of a
group that has been on the floor for
awhile
Gives the group a new look

112. The same customers walk
through your department
every week – you want it to
look fresh
You want to give them a
reason to buy

113. WHAT TO USE FOR
SUCCESSFUL DISPLAYS?

114. Mannequins
Alternatives to mannequins
Fixtures
Props

115. TYPES OF MANNEQUINS
Realistic
Semi realistic
Abstract
Semi-abstract
Headless

116. REALISTIC
MANNEQUIN
Resembles the
everyday person
rather than a
movie star.

117. SEMI
REALISTIC
Is like realistic
mannequin,
But its makeup
is more
Decorative and
stylized.

118. ABSTRACT
Is concerned with creating an overall effect rather
than reproducing natural lines and proportions.
Features such as elbows, fingernails are rarely
indicated.

119. SEMI ABSTRACT
Is more stylized
than the
semi-realistic
mannequin and its
feature may be
painted or
suggested rather
than defined.

120. HEADLESS:
Has a full-size or
Semi-realistic body
with Arms and legs
but no Head.
It offers no
personality or
image.

121. ALTERNATIVES TO MANNEQUINS
Three quarter forms
Articulated artist’s figures
Dress forms and suit forms
Drapers
Hangers
Lay down techniques
Pin up techniques
Flying techniques

122. THREE-QUARTER
FORMS:
Representation of a
part of the Human
anatomy, such as the
Torso, the bust or the
area from Shoulder
to waist or from hips
to ankles.

123. ARTICULATED ARTIST’S FIGURES
based on small wooden miniatures used by
artists and designers to get correct proportions
and poses for figure drawing when live model is
not available

124. DRESS FORMS AND SUIT FORMS

125. INFLATABLES
Are life-sized
“balloons”
That stimulate
parts of The
human anatomy.
Most resembles the
Lower half of the
body And is used to
show jeans and
pants.

126. DRAPER
Was a simple,
uncomplicated
and often
underused
alternative to
mannequin

127. HANGERS
Simple hanger can be an
alternative to the
mannequin. Hangers can
either be hung by invisible
wire from a ceiling grid or
it can be hung from a look
that extends from a wall
or panel.

128. PINUP TECHNIQUES
Makes use of a panel, wall Or some vertical
surface onto which a Garment can be
pinned, shaped and Dimensional zed.

129. LAY-DOWN TECHNIQUE
Involves the folding, pleating and placement of
garment next to garment or accessories next to
featured garment.

130. FLYING TECHNIQUES
merchandise is pulled, Stretched or pulled the
garment into abstract Shapes that present an
angular and crisp presentation.

131. ATMOSPHERICS
The design of an environment via:
visual communications
lighting
color
sound
scent
To stimulate customers’ perceptual and emotional
responses and ultimately influence their purchase
behavior

132. VISUAL COMMUNICATIONS
Name, logo and retail identity
Institutional signage
Directional, departmental and category signage
Point-of-Sale (POS) Signage
Lifestyle Graphics

133. CONTD…..
Coordinate signs and graphics with store’s
image
Inform the customer
Use signs and graphics as props
Keep signs and graphics fresh
Limit sign copy
Use appropriate typefaces on signs
Create theatrical effects

134. SOUND AND SCENT
Sound
Music viewed as valuable marketing tool
Often customized to customer demographics - AIE
(http://www.aeimusic.com)
Can use volume and tempo for crowd control
Scent
Smell has a large impact on our emotions
Victoria Secret, The Magic Kingdom, The Knot Shop
Can be administered through time release atomizers or
via fragrance-soaked pellets placed on light fixtures

135. CASE STUDY

136. Adidas

137. Adidas
• Effectiveness : The display of upside down
women signifies the freedom and
independency of women which will motivate
them to walk in the store.
• Why did it work : It forces female customers to
ponder what the store holds for them.

138. Marks & Spencer

139. Marks & Spencer
• Clarity of thought : The window display clearly
shows that the sale season is going on for the
apparels and accessories offered by the store.
• Creativity : The red color is used to indicate
sale period which can be discovered from a far
distance. Red colour is psychologically
attached to the customers; it portrays
excitement/ impulse purchase decisions

140. • Effectiveness : A customer interested would
surely walk-in to avail the discounts as the
display is shouting out for the sale season.
• Why did it work : The entire display used the
red color tints and shades indicating sales
period & also providing an opportunity to avail
extra reduction. The big banners as well as
mannequins wearing similar t-shirts talking
about sale are also very helpful

141. CONCLUSION
Visual merchandising is first and foremost
strategic activity.
Put your best-selling merchandise in your best-
selling space.
If you only do one thing with your store, make
it professional.
The storefront, tell the right story about what
kind of merchandise is available
Invest proper signage to take your store to the
next level.

142. BIBLOGRAPHY
www.textilescommittee.nic.in
www.google.com
www.wikipedia.com
www.visualstore.com
www.slideshare.com
Fashion: from concept to consumer 1999- frings, gini
stephen
Visual merchandising and display fifth edition – martin

143. ANY
QUESTIONS?

145. SUBMITTED BY:
JASPREET kAUR
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