Experience Retail Now OCTOB E R 2 011
A Pvmsd.com RIL 2 0 08
PALATE PLEASERS Restaurants dish up designs with a view
The North Face dials up the action Is the green retail movement still alive? Express rolls out a new fashion format
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FEVE RESIN
Experience Retail Now
OCTOB ER 2011 Vol. 142, No. 10
CONTENTS
COLUMNS
24
4
FROM THE EDITOR
6
VMSD EDITORIAL ADVISORY BOARD
8
THE GOODS
Post-riot London Mall apps Barneys and Gaga Call for PAVE Rising Stars Top shopping avenues
16 DESIGN DETAIL
ROX marries antique details with modern day amenities
18 NEXT STORE
Harnessing the power of digital projection
44 SHOWROOM
Green products
55 AD INDEX 56 CHECKING OUT
Express vp Michele La Grego
38
F E AT U R E S 20
SUSTAINABLE MOMENTUM
VMSD’s exclusive Q&A with retailers and designers on the future of green retailing.
24
30
MOTION PICTURES
ON VMSD.com
The North Face packs action graphics and natural materials into its new store in Indianapolis.
Exclusives in October
GRAZING IN THEIR OWN BACKYARDS
CYCLE KING
THIS EXPRESS GOES UPTOWN AND DOWN
PERFECT SETTING
Jaw-dropping locations are just one of the main ingredients in these global restaurant designs.
38
The fashion retailer introduces a new store concept that’s as stylish for malls as it is for urban storefronts.
On the cover Located atop New York’s Eataly, La Birreria serves up a full craft
microbrewery with breathtaking views of the city from an open dining deck. PHOTOGRAPHY: ALEC ZABALLERO, NEW YORK
Follow VMSD on 2 OCTOBER 2011 | vmsd.com
Performance Bicycle pedals forward with a new fixturing strategy More on ROX’s new jewelry flagship in the U.K.
FE
FROM THE EDITOR
Leave Me Wanting More
11262 Cornell Park Drive Cincinnati, OH 45242 P: 513.421.2050 | F: 513.421.5144 vmsd@stmediagroup.com | VMSD.com
Great experiences are about more than just delivering what’s on the menu.
What better way to relax after a successful International Retail Design Conference than spending a few extra days in San Francisco? After months of planning, organizing and then finally putting the conference on, my agenda was quite simple: wine and dining. There was the dinner that started with a sauté pan full of roasted garlic cloves and several plates of rolls. Then, a fun little hole-in-thewall breakfast nook that served beautiful sculptures of fruit alongside your omelet and hash browns. The wine tour in Napa. The list (and the calorie count) goes on and on. I love the city and can’t wait to return again. Still, the trip ended on a somewhat sour note. The final night in town included reservations at one of the city’s award-winning restaurants. The space was industrial and edgy. The menu, mouth-watering. The service, deplorable. As I walked out the door with my stomach still digesting the goat cheese tart, I felt unfulfilled. The entire experience reinforced the notion that it’s not as much what you deliver to customers that counts, it’s also what you don’t deliver. Anyone who walks into your space – whether a five-star restaurant or a local boutique – has an expectation of that experience. Your goal as designers and retailers shouldn’t be just to meet those expectations. It should be to exceed them. In a NPR interview with chef Grant Achatz about his new book, “Life, on the Line,” Achatz says his Chicago-based restaurant Alinea has one menu with 23 courses. The average dining stay is three hours. “With that food, we’re trying to tell a story and craft an emotionally rich experience,” he says. “Something that makes people feel.” An emotionally rich experience is delivered through more than just a well-crafted menu of locally sourced ingredients. There’s the location, as illustrated in our special section this month on noteworthy restaurant designs from around the globe (see page 30). There’s also the thoughtful customer service, hand-crafted light fixtures or the juxtaposition of wooden wall panels and concrete flooring. But the point is, it’s not just one of these items. It’s the combination of all of these things that delivers a satisfying experience. Forget one of these details and you’re not much better than a frozen pizza. It’s a lesson worth reminding yourself, whether you’re selling $5 trinkets, $50 entrees or $500 luxury handbags.
4 OCTOBER 2011 | vmsd.com
EDITORIAL Editor Anne DiNardo anne.dinardo@stmediagroup.com Senior Art Director Kimberly Pegram kim.pegram@stmediagroup.com Assistant Editor Whitney Harrod whitney.harrod@stmediagroup.com Editor at Large Steve Kaufman steve.kaufman@stmediagroup.com New York Editor Eric Feigenbaum European Editor John Ryan, London
SALES Publisher U.S. / Canada Murray Kasmenn murray.kasmenn@stmediagroup.com P: 770.578.2577
Business Development Manager International
Patricia Iannelli
patricia.iannelli@stmediagroup.com Via G. Rossini 16, 21100 Varese, Italy P: +39.0332.240285
C O R P O R AT E President Tedd Swormstedt Design Group Director Kristin D. Zeit Audience Development Director Christine Baloga Production Coordinator Keri Harper Senior Event Manager Kristy Lohre Director of Book Division Mark Kissling Reprint Information 800-925-1110, ext. 399
SUBSCRIPTION SERVICES
P.O. Box 1060 / Skokie, IL 60076 P: (847) 763-4938 / F: (847) 763-9030 VMSD@halldata.com
IT’S NOT JUST WHAT YOU SEE.
IT’S WHAT YOU GET.
Maximum impact, seamlessly executed. Customer experiences that become the stuff of legend. And influence on the selling floor. BELAIREDISPLAYS.COM
EAB
VMSD EDITORIAL ADVISORY BOARD
R E TAILE R S TOM BEEBE VP, Creative Services HMX Group
HAK KIM Director of Store Design Tumi
BEVAN BLOEMENDAAL Senior Director, Global Creative Services Timberland
JAY KRATZ Architect, Senior Design Manager Store Design Luxottica Retail
RICK BURBEE Divisional VP Home Design/Trend Sears Holdings Corp.
SHARON LESSARD Chief Design Officer SuperValu Inc.
DAWN CLARK VP, International Store Design Starbucks Coffee Co.
DAVE LINDSEY Corporate VP, Store Planning Nordstrom
TIM COX Director, Creative Services Publix Super Markets
DAVID MILNE VP, Architecture and Design Carlson Restaurants Worldwide
MATT DAVISON Director, Store Design and Planning Kohl’s Department Stores
TRACEY PETERS National Visual and Merchandising Manager Holt Renfrew
LINDA FARGO Senior VP, Fashion Director and Store Presentation Bergdorf Goodman TRACEY FINGER Senior Manager Retail Creative Apple
KEN PRAY Director, Store Design The Kroger Co.
JASON FLOYD Director, Store Development GameStop Inc.
REGINALDO REYES Senior Design Lead Target
AMY GARRIGAN VP, Marketing and Brand Family Christian Stores
KEVIN RUEHLE Store Layout, Senior Director, Prototype Design & Evolution Walmart
ALISON GUY Retail Design Director McDonald’s USA BETH HARLOR Associate Director – CBDi Design Procter & Gamble JACK HRUSKA Executive VP, Creative Services Bloomingdale’s VICTOR JOHNSON Director, Store Environment White House | Black Market
JAMES SLOSS VP, Design|SPACE Macy's Inc. TODD TAYLOR Director of Design Darden Restaurants Inc. JAN TRIBBEY VP, Store Design & Construction Victoria’s Secret Stores Limited Brands
JEFFREY KEY Store Environment Manager Store Planning Lowe’s Companies Inc.
DE SIG N/INDUSTR Y CONSU LTANTS MICHAEL BODZINER Principal Gensler
MIHO KOSHIDO Creative Director JGA
JIM CRAWFORD Principal Taberna Retail
KEVIN O’DONNELL Founder Thread Collaborative
PETER DIXON Senior Partner, Creative Director Prophet
TARA O'NEIL Chief Creative Officer Perennial Inc.
BRUCE DYBVAD President Interbrand Design Forum
LEE PETERSON Executive VP, Creative Services WD Partners
NIKI FITZGERALD VP, Managing Creative Director Graphic Design FRCH Design Worldwide
TODD ROWLAND Director of Design, Retail Little
BRYAN GAILEY VP Retail Design Director Arc Worldwide LES HISCOE VP, Retail Group Shawmut Design and Construction DAVID HOGREFE Managing Director Fitch JEFFREY HUTCHISON President Jeffrey Hutchison & Associates DAVID KEPRON Principal Callison Global Retail
© 2011 BelAire Displays. All rights reserved.
STEPHANIE PICONE VP, Marketing/Visual IZOD Retail
RANDY SAUER Principal MulvannyG2 Architecture BRIAN SHAFLEY President Chute Gerdeman RANDALL STONE Senior Partner Lippincott DIMITRI VERMES VP CBX RACHEL ZSEMBERY Senior Associate Bergmeyer Associates Inc.
BOUTIQUE
86 6.6 4 5. 7032 ex t. 327
mondomannequins.com
TG THE GOODS
J O H N RYAN , LO N D O N
Edited by Anne DiNardo
London Retailers Get Back on Their Feet It’s been a few months since London was convulsed by riots where, in many areas of the capital, retailers bore the brunt of the damage. At the time, it was hard to imagine that things would return to normal anytime soon. But help has been coming forth on both the national and local levels. Two days after the final riot, Prime Minister David Cameron granted a $32.5 million support scheme to help affected businesses get up and running. A few weeks later, a “high street fund” of $5 million was unveiled by charitable donors to help small businesses with cash flow problems by giving them grants of around $3250 each. The efforts are helping retailers, such as north London’s Evans Cycles (above), get back on their feet. The cyclery was badly hit on August 9, when all of its large glass windows were smashed and its
8 OCTOBER 2011 | vmsd.com
entire inventory looted. “Things were bad inside – there was a lot of mindless vandalism as well as the loss of the stock,” says store manager Dave Cheek. Initially, the windows were boarded up, the store was restocked and a sign reading “We Are Open” was put over the door. Then, local police cadets painted the boarded windows in bright colors. Evans Cycles is part of a large chain and has therefore been able to recover quickly. But in spite of the grants that have been forthcoming, a more serious question mark remains over some of London’s smaller mom-and-pop stores that were raided, which often lack adequate insurance. For some of them, the future continues to look bleak. The Association of British Insurers estimates that the riots will cost insurers around $325 million when all claims have been settled. – John Ryan
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TG
THE GOODS
Sales Envy The top five U.S. chains by highest retail sales per square foot:
$5626
$2974
$1820
$1731
$1009
Source: RetailSails, an insight and analysis company covering the U.S. retail industry
Ever stood in the middle of a mall wondering where you could find the perfect pair of heels to complement the new dress you just bought? Or the closest place to buy your favorite cologne? Los Angeles-based Westfield Group is helping shoppers simplify that search at its 55 malls with a product search feature on its free Westfield App. Using Google Commerce Search, shoppers can browse the merchandise offerings via their smartphones. For example, a Westfield shopper could enter “gold sandals” in the search bar and see a list of sandals available from the various retailers located in the Westfield shopping center. Product results can also be sorted by relevance, retailer and price. “Whether the shopper is looking for a very specific product or general back-to-school merchandise, the ability to search retailer products effortlessly is of real benefit,” says Gary Williams, senior executive vp, management and marketing, Westfield.
QUOTE
CO U R T ES Y O F BAR N EYS N EW YO R K
SHOPPING THE MALL JUST GOT BETTER
Holiday Gaga Barneys New York sparked excitement for the holiday season a little early this year when it announced in August that it’s joining forces with Lady Gaga for its 2011 holiday windows campaign. Under the theme “Gaga’s Workshop,” the luxury retailer will dedicate an entire floor of its men’s store to the holiday initiative along with its Madison Avenue windows. “Partnering with her in this unprecedented collaborative way to create the largest and most all-encompassing holiday theme that Barneys has ever mounted is a thrill,” says ceo Mark Lee. Gaga fan or not, any buzz about retailers’ allimportant sales season is good news.
“I have always said if there ever came a day when I could no longer meet my duties and expectations as Apple’s ceo, I would be the first to let you know. Unfortunately, that day has come.” – STEVE JOBS IN HIS RESIGNATION LETTER TO THE APPLE BOARD OF DIRECTORS AND THE APPLE COMMUNITY, AUGUST 24, 2011
10 OCTOBER 2011 | vmsd.com
SGIA Booth #2033
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TG
THE GOODS
Cal endar Designed specifically to color correct energy efficient light sources. Visit us at: Globalshop Booth No. 3038
RECon Asia 2011 November 2 - 4, Shanghai, China www.icsc.org/2011APC/index.php Attracting the world’s major retail executives and leaders in retail development, leasing, management and lending, as well as experts from academia and government officials, the convention is designed for retailers and developers interested in the Asian retail market.
A.R.E. Retail Design Collective December 7 - 9, New York www.retaildesigncollective.com
CO U RTE S Y O F EMI N KU L I YEV / S H U T T ER STO C K . CO M
7 W New York will serve as the headquarters again for the industry’s annual showroom event in December. This year’s Retail Design Collective will also feature several conference sessions, including VMSD’s session on Fifth Avenue flagships, a color and materials trend seminar and a “Next Gen” event on the retail design market’s emerging leaders.
New York Highs Call LEE Filters for more information
Tel: 800.576.5055 leefiltersusa.com/architectural twitter.com/leefilters
4894 LFUS_VMSD_Ad_Dichroic_Feb.indd 1
02/02/2011 09:15
Score one – make that four – for New York. The city houses four of the priciest streets for shopping, according to a new report from Cushman & Wakefield Inc. (New York). For the 10th year in a row, Fifth Avenue tops the list as the most expensive shopping street in the world. Times Square, East 57th Street and Madison Avenue also made the list’s top ten. “New York is the top of everyone’s list as a global destination,” says Gene Spiegelman, an executive vp at Cushman. “Retailers believe in having a brick-and-mortar flagship store as part of their identity and many want them on Fifth Avenue.” Also noteworthy, Fifth Avenue’s rents are 16 percent higher than those along Causeway Bay in Hong Kong, the second-most expensive street according to the report.
RISING STAR 2011
NOMINATE A RISING STAR The Planning and Visual Education Partnership (PAVE) is looking for nominations for its 5th Annual Rising Star Award to recognize young retail visionaries. Retailers are invited to nominate individuals under 40 years of age working in retail design, visual presentation or contract design who are proven innovators and leaders among peers. Electronic submissions must be received by October 14, 2011; the entry form can be found at www.paveinfo.org/ competition/risingstarform.cfm. Finalists will be recognized and the winner announced during the annual PAVE Gala, on Dec. 7, 2011, at Cipriani Wall Street, in New York. For more information, visit www.paveinfo.org.
BOOK SHELF
STORES AND RETAIL SPACES 12 The editors of VMSD present the latest collection of award-winning store designs through the winners of the Retail Design Institute’s annual competition. Awards include the best in store planning, visual merchandising, architecture, lighting, materials and graphics. $39.95. To order, visit www.bookstore.stmediagroup.com. x
47.6244
DD
D E S I G N D E TA I L By Whitney Harrod
1
6
REN ZO M AZZOL I N I , GL AS G OW, U . K .
5
ROX
Glasgow, U.K.
Concept: This jewelry flagship accents diamonds in a plush hospitality setting. For more images of ROX, visit vmsd.com.
16 OCTOBER 2011 | vmsd.com
1 GLASS CEILING
The 4500-square-foot flagship is divided into two levels – the first with consultation booths and a brand wall, and the second (shown here) with a private viewing area. The store’s 1615-square-foot mirrored ceiling is made from 240 hand-cut pieces of flat glass.
2 LIGHTING
Natural light filters through two 160-year-old pieces of green stained-glass serving as skylights. Additional illumination comes from a mix of halogen, LED and metal halide sources.
3 FURNITURE
Custom-upholstered wing chairs and sofas are constructed from solid beech, while the side tables are made from hand-turned sheesham wood.
2
3
4
4 FLOORING
A mix of flooring materials help demark areas on the second level, including long pile carpet in the two seating areas and gray oilstained European oak in the sales area. White resin composite quartz tile can be found on the first floor.
5 DISPLAY FIXTURES
Painted antique cabinets, originally marketed as wardrobes, house delicate product along the wall. Custom glass table displays let customers browse the diamond selection from various angles.
6 CHAMPAGNE BAR
A Moët-sponsored diamond bar encourages customers to relax with a glass of bubbly while admiring surrounding gems. “The bar lets people understand they can spend time here,” says Ross Hunter of Graven Images, which designed the space. Since the redesign, sales have increased by 60 percent. x
PROJECT SUPPLIERS RETAILER
ROX (U.K.) Ltd., Glasgow, U.K. DESIGN
Graven Images, Glasgow, U.K. CEILINGS
Glass Age, Glasgow, U.K. FLOORING
Domus Tiles Ltd., Surrey, U.K., Surface +, Glasgow, U.K.
FURNITURE
Desio, Paris Morgan Furniture, Hampshire, U.K. Niki Jones, Glasgow, U.K. Dutch Connection, Manchester, U.K. For a full list of suppliers, go to vmsd.com
vmsd.com | OCTOBER 2011
17
NS
NEX T STORE By Jim Crawford
Game Changer
Digital projection brings “thinking outside the box” to a whole new level.
DIGITAL SIGNAGE IS hardly a new idea in retail design. In fact, many of us have had the experience of walking through a store and, upon seeing a particularly clunky kiosk or blocky plasma TV bolted onto a fixture, thought to ourselves, “2003 called and wants its digital signage back.” The biggest problem isn’t digital signage as a concept. It’s the tools designers think of as digital signs. The core underlying technologies that power visual
tal and what’s physical into a seamless design. One recent high-profile example of digital paint was introduced into Walt Disney World’s iconic fireworks display over Cinderella’s castle. A Disneybased story is projected onto the front of the castle from a group of high-definition projectors. The scenes blend into the physical environment with characters climbing up towers and around windows and “fireworks” shooting across the front of the castle
displays have shifted radically in the past decade, yet somehow our vision for applying those technologies to retail design remain stuck in the past. But a new concept has arrived that opens a number of doors for today’s store designers if applied in innovate ways: digital projection. Recent advances in this technology have pushed the capabilities of digital projectors in two paradoxical directions, as the big have gotten bigger and the small have gotten smaller.
in concert with the real fireworks up in the sky. Other designers have used digital paint on interiors to replace wallpaper and signage. Add enough projectors and you can even create a “Star Trek” holodeck-like experience where every surface around the viewer is digitally enhanced and immersive.
Big & bold First, let’s look at the big. Today’s larger-format projectors are capable of ultra-high resolution projection with enough light to show clearly in all but the brightest sunlight. When combined with the sophisticated 3-D rendering capabilities of today’s computers, designers now have at their disposal “digital paint” that can be overlaid on both interior and exterior surfaces. What makes this such an intriguing concept for designers is that unlike previous projection that showed on a screen (either a 4:3 or 16:9 widescreen), digital paint appears directly onto the environmental surface. It’s not constrained to a rectangle-box shape. This means that unique geometries, like curves and corners, can be digitally painted, blurring what’s digi18 OCTOBER 2011 | vmsd.com
Small & streamlined But just as projectors have gotten powerful enough to catapult the shopper into a 24th Century, virtually enhanced environment, they’ve also shrunk down to tiny proportions. This enables designers to integrate digital projection into previously impractical places, like individual shelves, displays and wall niches. This evolution in projectors has led to a slimming down in all areas, including resolution, brightness, power consumption and, most importantly, price. Called “pico projectors,” these tiny marvels are about the size of a cell phone and range in price from $100 to $400. They generally use LEDs or lasers in lieu of the traditional LCD technology to create colors, which results in a dramatically dimmer image. But they can be used to bring the concept of the digital fixture to life, allowing individual shelves, gondolas and surfaces to display digital content from a tiny device to a roughly 15-square-foot area.
COU RT ES Y OF OBS CU RA DIG I TA L ; CO U RT E SY OF TA B E RNA RE TA I L
Digital projection can bring new surfaces to life, as shown here with digital paint applied to the Sydney Opera House (left) and video integration with a product display.
Pico projectors can also be integrated into any type of fixture design and, similar to digital paint, are not limited to rectangular shapes. The low light output of pico projectors means that light escaping the edges of irregular shapes isn’t noticeable. Some units even have an infinite focal plane that can wrap around any shape, so instead of a “flat screen,” retail fixtures like mannequins, columns and 3-D shapes can become canvases for video content. The potential applications for the creative designer abound, especially when combined with business analytics and decision-making behind the digital fixture solution. Retailers are no longer limited to static promotional signage in the store, as database-driven analytics allow clusters of shoppers to be targeted based on individual conditions. Imagine if shelves could display messaging based on whether the product was in stock or tie-in with product promotions. New capabilities for designers While designers have a long history of using texture, color, material and lighting in designing store environments, digital paint and fixtures change the game. As part of a creative palette, they offer unlimited ability to shape the visual experience, centered on three major shifts to the designer’s toolkit. 1. From static to dynamic: Changes to content can be instant and made with effectively zero cost. You don’t need to wait weeks for store associates to put up new signage when the content can change moment to moment. 2. From still to moving: Digital paint and digital fixtures are not limited to still images. In fact, some of the most compelling examples merge full-motion video elements seamlessly into the physical background. 3. From passive to interactive: Since digital paint and digital fixtures rely on some form of computing power in the background, they can be great displays on top of an interactive experience. While we’ll explore next-generation kiosks and interfaces in an upcoming column, in-store digital projection can be changed with anything from an iPad to a hand gesture. For years, designers have faced a choice: either digital and square, or physical with texture and color. Digital paint brings these two capabilities together for the first time, shattering the tyranny of the “or” and allowing surfaces to come to life through the seamless integration of the digital and physical worlds. x Jim Crawford (about.me/jimcrawford) is executive director of the Global Retail Executive Council (grec), an international association, and a principal at Taberna Retail, a global retail shopping experience consulting company.
Sustainable
Momentum As the retail industry keeps moving toward a recovery, is green design following suit? By Anne DiNardo, Editor
There’s a buzz in the air again. Design firms are adding staff. Requests for proposals are coming through. Retail epicenters like New York’s Fifth Avenue and Paris’ Avenue des Champs-Élysées are welcoming new flagships. So as the industry moves forward, albeit at a cautious pace, is green design still part of the conversation? To develop a picture of the state of green retailing, we brought together retailers and designers to gather their thoughts on how green retail has changed, what challenges still exist and what the future holds. VMSD: Last year when we took the pulse of the industry, the sentiment was that green design was slow because the whole industry was slow. Now that activity is picking back up, is green design following? Rachel Zsembery: It’s almost as if the conversation
concerning green has changed within the last year. We still find retailers that want to go through a holistic approach with LEED certification. But in a lot of cases, it’s more about identifying specific areas where you can make a targeted improvement and then tracking the paybacks for that on an individual basis, which seems a little more manageable. Todd Taylor: In our world, it never slowed. Regardless of whether you’re going forward with new construction or renovating, there are always opportunities to incorporate the principles from a sustainable perspective. We’ve tried to continue to move in that vein as opposed to stopping because the funds aren’t available.
GREEN DESIGN ROUNDTABLE PANELISTS Lori Kolthoff, creative managing director, resource design, FRCH Design Worldwide
Lori Kolthoff: I think technology has come a long way, too, and groups like the military and the automotive industry are starting to share that technology and making things available that we didn’t have before. We’re also seeing more retailers asking designers to bring it to the table. So are retailers the ones pushing green design forward? Jim Sloss: I wouldn’t say that we’re pushing, but we’ve
been reaching out to the vendor community and letting them know our interest in doing green design. The more questions we ask, the more we learn how to improve our practices and then we’re a little bit better about our choices in what we specify. Kolthoff: It used to be that retailers would come to us and ask, “What can we do to give the feeling that we’re environmentally friendly?” That conversation is completely gone. Now, there’s more of a commitment and they’re asking, “What’s out there now? What can manufacturers develop for me? What can we do to push the demand for these types of products?” If manufacturers see companies such as Darden and Macy’s requesting it, they’re going to respond. Is the U.S. Green Building Council’s LEED program still playing a role? Taylor: Years ago when LEED first came out, there
was some energy and excitement about it. But the reality is that a lot of retailers are going out and building one building and using that as a model. We’ve done a similar thing where we’ve built several of them across our brands and now we’re taking those lessons and applying them into our prototype
Jim Sloss, vp, design|SPACE, Macy’s Inc.
Todd Taylor, director of design, Darden Restaurants
Rachel Zsembery, senior associate, Bergmeyer Associates Inc.
designs. But I’m not going out and getting LEED certification, which, frankly, is very laborious and very expensive. So the USGBC, for all its good things, has started a movement. Kolthoff: I see it the same way as I saw ADA when it
first came to light. It came on board and there were a ton of people who had to go get degrees to make sure we knew how to put it into our buildings. And it cost more and everyone was fearful. It’s the same with the green movement. It’s the right thing to do, there is an understanding, there is less fear, there is more success. But to echo what Todd says, I don’t know that LEED needs to be anything but a conduit to reach established sustainable environments. It is the right thing to do and we will follow those footsteps and keep moving forward with that effort. Zsembery: With the way that LEED 2012 works, it’s
going to be asking for full disclosure from manufacturers on their products. This is going to completely change the way these companies market and the way they manufacture a lot of products. What appeal does green design have for retailers? Is it the marketing benefits or the potential cost savings? Taylor: I think a lot of companies look at the issue
from two sides. Darden is very much in the public eye, so that’s important from a marketing standpoint to say “we’re green.” Is there a direct payback? Probably not. But from a movement forward, I think there’s an intrinsic value. And from a cost savings, if I look at energy-efficient lighting, for example, in one restaurant alone we can save between $3000 to $6000 a year just changing out incandescent lamps to LEDs. vmsd.com | OCTOBER 2011
21
it.” Now, color isn’t an issue, texture isn’t an issue. You can specify sustainable products that you never could before. Sloss: I’d add that not only have we have gone from that oatmeal-looking color with no texture or variety, but costs are coming down, too. So these options are becoming much more viable without paying a premium. What areas offer the greatest opportunities for development? Taylor: We use a lot of water, and if I look on the
West Coast, water is like gold and I pay a premium for it. So if I can’t find ways to reduce my water usage, then I have to pass those costs on to my consumers. So, on our restaurant exteriors, we’re using lots of drip irrigation and smart boxes that tell you when you need to water. Inside, we’re putting aerators into faucets and finding new cleaners that don’t use water to mop the floors.
Zsembery: Another benefit for clients is that employees take such pride in working in these spaces. So it can also become an employee retention strategy. Sloss: Macy’s decided not to promote it as a marketing piece because we didn’t want to overpromise and underperform. We really felt it was more important to do it as a practice and a lifestyle. What elements of sustainable design have gotten easier in the last few years? Sloss: Recycling of our construction waste has
become so much easier because there are so many more local companies that will help, so we don’t have to pay those extensive costs, especially fuel costs. Kolthoff: It wasn’t that long ago that we used to put a few items on the table and say, “OK, here’s our green items and they’re oatmeal-colored and that’s about 22 OCTOBER 2011 | vmsd.com
Zsembery: I think the energy conversation is still at the forefront, as well. LEDs in both performance and price have come to the point now where they’re a real contender. Another thing we’re seeing is an understanding of what’s in the materials. There are so many more products that are starting to go through cradle-to-cradle certification. And companies are being a lot more open about what’s in the materials they’re selling and how they’re manufactured. Sloss: With all of our visual displays, we print a lot of paper products. We’ve got a major effort right now to eliminate that and do more digitally using technology, like cross-branding with projection or LED technology. The more we can get that integrated into the store, the more we can simplify everything from the amount of paper we produce to the number of people and hours it takes to change all these out. Taylor: We’re finding local zoning and planning departments are now adopting some of the standards that were put into place by the U.S. Green Building Council. In California, there’s a lot of driving pieces that are moving in that direction. I think green will become part of the norm, as opposed to the exception. x
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vmsd.com | december 2008
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24 OCTOBER 2011 | vmsd.com
B RU CE DA M ONT E , SA N FRA N CIS CO
By Steve Kaufman, Editor at Large
MOTION PICTURES The new North Face store brings the adrenaline rush of the brand’s website to its bricks and mortar setting.
The website for The North Face (San Leandro, Calif.) reveals a compelling brand story, full of action graphics and videos and exhortations to “Get Outside,” “Explore” and “Find Your Endurance.” So when Gensler (San Francisco) was invited to participate in a blind competition to redesign The North Face retail program, designers first looked at its stores – “the usual sea of fixtures,” according to principal and design director Michael Bodziner – and then went to thenorthface.com. “There was a rich expression of the brand online that wasn’t coming through in the stores,” says Alison Carr, senior retail designer at Gensler. “The site features the athletes that The North Face sponsors, these amazing stories of human achievement about real people. The website had videos of people climbing, jumping, taking risks thousands of feet in the air. That energy and force – the adrenaline rush – was lacking in the stores.” The visual translation of that “adrenaline rush” is on display in the new Gensler-designed store at The Fashion Mall at Keystone in Indianapolis. Here, a
large, exciting, lifestyle graphics program shows The North Face’s athletes in motion. Video screens share the same breathtaking activities of the climbers, skiers, runners and snowboarders that can be found on the website. Gensler took the brand tagline “Never Stop Exploring” and made it a literal interpretation for the store. “The materials and textures create a backdrop for product displays and reinforce the metaphor of customer journey as a path of discovery,” says Bodziner. The journey begins at the mall store’s exterior entrance, topped with an angular metal sculpture
Opposite page The adventure of The North Face’s website comes alive in its new Indianapolis store, full of breathtaking videos and mannequins in action poses. Below The store is full of sleek, natural materials in abstract forms that convey maps, topographies or elements of various regions.
Below True to The North Face’s
Opposite page The designers’
emphasis on natural materials and sustainability, the cashwrap is made of reclaimed wood, backed by a granite-clad wall.
version of cairns (or trail markers), used to identify product categories, contain locally sourced materials – wood, stone or metal. Lifestyle graphics of The North Face’s athletes surround the walls.
meant to mimic mountain peaks and rock formations. A vertical red metal sign band references ski boot scrapers. Guiding the journey inside the store are three towering “cairns,” which in the hiking vernacular are man-made piles of stones that serve as trail markers. These three towers – one made of wood, another of stone and a third of metal – create dynamic focal points for the store’s three core product categories: Outdoor, Action Sports and Performance. Each cairn contains a flat-panel monitor displaying the video footage that makes The North Face website so compelling. The use of natural and outdoor-related materials enhances the story, such as a granite-clad wall and 26 OCTOBER 2011 | vmsd.com
“ The materials and textures create a backdrop for product displays and reinforce the metaphor of customer journey as a path of discovery.” — MICHAEL BODZINER, GENSLER
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Environmental All-Star The North Face is known for its commitment to sustainability, in its day-to-day business activities, product manufacturing processes and store building practices. • The company offset 100 percent of its North American operations energy use by investing in wind energy at the new Indianapolis store, gaining credits in renewable energy by using technology provided by the Bonneville Environmental Foundation. • The North Face was named a 2011 Sustainability All-Star by Apparel magazine for a variety of practices, including its program (in partnership with TerraCycle, the company that “outsmarts waste”) to keep plastic polybags out of landfills. • Its Polybag Brigade will divert 100 percent of its plastic packaging waste by repurposing it into various products, such as plastic lumber, bike racks, pavers, kitchen utensils and tote bags for re-use.
PROJECT SUPPLIERS RETAILER
The North Face, San Leandro, Calif. DESIGN AND ARCHITECTURE
Gensler, San Francisco
GENERAL CONTRACTOR
MacKenzie Keck Construction, Rockaway, N.J.
Above Mannequins are
used liberally to depict athletes in motion and accomplishment.
28 OCTOBER 2011 | vmsd.com
service counter made of reclaimed wood. Even the fitting room in the center of the store is clad with a tent nylon fabric. Mannequins are used extensively as another expression of The North Face personality. Strewn around the space, they model the brand’s gear and apparel in various positions, such as climbing, running and skiing. One mannequin stands triumphantly on a platform above the selling floor, its arms raised in accomplishment. “It’s saying, ‘I’ll scale anything that’s not moving,’ ” says Bodziner, “ ‘and you can do it, too.’ ” x
FIXTURES
Carlson Group, Chicago Visplay, Allentown, Pa. ENVIRONMENTAL GRAPHICS
Imagine Visual Service, Seattle MANNEQUINS/FORMS
Mondo Mannequins, Hicksville, N.Y. LIGHTING
Con-Tech Lighting, Northbrook, Ill. Amerlux Global Lighting Solutions, Fairfield, N.J. Lighting Management Inc., Sloatsburg, N.Y. WALLCOVERINGS AND MATERIALS
Kroll Furniture Inc., San Francisco TNF, San Leandro, Calif. ASN Natural Stone Inc., San Francisco For a full list of suppliers, go to vmsd.com
S ’ L I A T RE S E L RU E G A G EN
E V L O V E D N A
PO & EX N O I ENT City CONV er, New York L 7, 2012 A U t NN Cen y 16 –1 r A n a t o u i s t n 01 ven PO: Ja NRF 1 . Javits Con 2 • EX 1 0 2 K , b 8 al12 –1 Jaco /annu ary 15 u m n o a c J . .nrf ntion: www Conve
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GRAZING IN THEIR OWN BACKYARDS By Steve Kaufman, Editor at Large
Every restaurant uses design to capture a unique look and feel. Some use Tuscan murals, sculptures of Mt. Fuji or Aztec icons. And some just look outside the door. So La Birreria in New York plays off the spectacular Manhattan skyline view from the rooftop setting. Barbecoa in London uses the grand views of nearby St. Patrick’s Cathedral. Chinar, in Baku, Azerbaijan, casts its gaze a little further, using the central Asian country’s cultural history, from Turkish Empire to Soviet Union, with Muslim roots, Persian myths and neighboring China. It’s retail, after all: location, location, location.
30 OCTOBER 2011 | vmsd.com
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It may be hard to say “La Birreria.” But it’s not hard to say “Wow!” – the initial response of so many people as they enter this new rooftop bar and restaurant atop Eataly, New York’s year-old temple to food. The place (which means “the brewery” in Italian) has a dazzling Manhattan view and the romantic vibe of a 1920s speakeasy. After Eataly partners Oscar Farinetti, Mario Batali and Lidia and Joe Bastianich (of Batali & Bastianich Hospitality Group) completed the renovation of the ground floor of the old Toy Building, on Fifth Avenue and 23rd Street, into a series of restaurants and food venues, they all went up to the top: an empty 1600-square-foot shed on a sloping tarpaper roof (with an 800-square-foot landing just below). As they looked around – at the Empire State Building to the north, Flatiron Building to the south and One Madison clock tower to the east – “they all gasped,” according to Alec Zaballero, principal and managing director, retail, for TPG Architecture (New York), “and decided this was too valuable a 32 OCTOBER 2011 | vmsd.com
space to waste.” Two exclusive elevators now take guests to the 14th floor, where they walk up the stairs to the next level. Through an iron and glass storefront, there’s a full craft microbrewery filled with copper-clad, stainless-steel vats. The design intent, says Zaballero, is the discovery of a brewery that’s been humming along since Prohibition. The design components are intended to feel similarly dated: durable mesquite end-grain hardwood floors, wainscoting, framed black steel doors and windows, black-iron banisters and railings, custom copper shaded light fixtures. The 4500-square-foot open dining deck with retractable glass top was built to seem to float over the former sloping roof. The Northern Italian menu is from Batali, and the microbrew is a partnership between Dogfish Head Craft Brewed Ales (Milton, Del.) and Italian craft brewers Baladin and Del Borgo. The view is purely New York.
A LE C ZA BA LL ERO , NE W YO RK
LA BIRRERIA NEW YORK
PROJECT SUPPLIERS RETAILER
Batali & Bastianich Hospitality Group, New York DESIGN AND ARCHITECTURE
TPG Architecture, New York ROOF DECK FLOOR TILE
Maline Tile, New York FLOORING
Kaswell Flooring, Framingham, Mass. Nemo Tile, New York WALL TILE
Crossville Inc., Crossville, Tenn. LIGHTING
Lutron Electronics, Coopersburg, Pa. Delux, Bell Gardens, Calif. Lightolier, Fall River, Mass. For a full list of suppliers, go to vmsd.com
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London chef Jamie Oliver has built his celebrityhood around nutritious cooking and organic ingredients. New York chef Adam Perry Lang is classically trained but has directed his efforts into developing the most inventive approaches to grilling meats. Odd couple? Perhaps. But the result of their friendship is a brand-new joint venture called Barbecoa in the shadows of London’s St. Paul’s Cathedral. Barbecoa (Spanish for “barbecue”) celebrates the simple act of cooking over fire. The design intent was to balance the earthy nature of the cooking process with the refined elements of a high-quality establishment, says Clementine Rodgers, senior designer at Speirs + Major, the U.K. lighting design firm that designed the artificial lighting and managed the influence of natural light in the space. “The raw materials used throughout the scheme were a reflection of the simplicity and quality of the Barbecoa brand,” Rodgers says. The palette of materials evokes that sense of fire. But the refined interior finishes – polished brass and wrought iron sculptural forms – reflect the urban location, called The City, the original London neighborhood. Brass-clad columns are grazed with light and the reflective quality of the brass bar is enhanced by an array of small pendant luminaires over the surface. Close offset wallwashing was used to highlight the texture of the “cracked mud” walls without creating too bright a surface, so as to minimize reflections in the glazing and prevent an overly dominating bright surface in the dining atmosphere. Matte black surfaces that reference charcoal provide contrast through their absence of light. Fixtures by Design Research Studio (London) include pipe light, suspended in clusters around the restaurant, and brass and glass light bead fittings in the bar area. Big plate glass windows look over at St. Paul’s. “If all else fails,” Oliver has said, “that ain’t a bad view.” But somehow, you sense he thinks all else won’t fail.
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JA M ES NEWTO N, LON DO N
BARBECOA LONDON
PROJECT SUPPLIERS RETAILER
Jamie Oliver Ltd., London LIGHTING DESIGN
Speirs + Major, London INTERIOR ARCHITECT
Design Research Studio, London OUTSIDE DESIGN CONSULTANT
Amdon Electrical Ltd., Kent, U.K. (electrical contractor/ consultant) LIGHTING
Designed Architectural Lighting, London Encapsulite Intl. Ltd., London Projection Lighting, London Zumtobel Lighting Ltd., London Tom Dixon Lighting, London For a full list of suppliers, go to vmsd.com
Azerbaijan has had a tumultuous history at the cross roads between West and East, bordered by both Russia and Iran. It has a majority Turkic population but has been in and out of the Russian empire, most recently a Soviet state until the Soviet Union collapsed. And, like many countries in central Asia, it feels the gravitational pull of China. So a Chinese restaurant in the center of Baku, the sophisticated capital city, is entirely appropriate. “Baku is a mixture of century-old Central Asian culture with European flair,” explains Henry Chebaane, creative director of Blue Sky Hospitality Ltd., a London-based hotel and restaurant design consultancy. “Both the locals and international visitors are looking for an experience.” Named for a native tree, Chinar had been a traditional Azeri tea house. But with a new group of investors, and under Blue Sky’s conceptualizing, Chinar has gone, thematically, from “tea house” to “tree house.” “I wanted the building to integrate the nature of
36 OCTOBER 2011 | vmsd.com
trees through the huge glazing, internal wooden surfaces and multiple details,” says Chebaane, “and in return make the building belong in the trees. Physically as well as conceptually, Chinar is a celebration of the tree and botanical world.” The carbonized bamboo flooring is from Sichuan; a triple-height ceiling is covered by 155 vertical timber fins like a giant canopy of branches; and a multitude of wooden floor screens are decorated with botanically inspired fretwork. The sensory journey is accompanied by what Blue Sky calls a “scenography.” Three dozen general lighting scenes have been programmed into a computerized dimming system that controls several hundred luminaires and light sources. There are also wooden birdcages from Guangzhou, hand-made pendants made of a thousand silkworm cocoons and a dragon lounge featuring references to the mythical Persian dragon-slayer Bahram Gur. It’s a Pan-Asian experience, indeed. x
CO U RT E S Y O F B LU E S KY H O SP ITAL IT Y, LO NDON
CHINAR BAKU, AZERBAIJAN
PROJECT SUPPLIERS DESIGN
Blue Sky Hospitality, London ARCHITECT
Hasan ÇALI¸SLAR Earch Architects, Istanbul AUDIO/VISUAL, CEILING
Blue Sky Hospitality, London FIXTURES
Cascade Coil, Portland, Ore. CARPET
Desso, Waalwijk, The Netherlands LIGHTING
Flos S.p.A., Brescia, Italy Metalarte Spain, Barcelona Cube Lighting & Industrial Design Ltd., Berkhamsted, U.K. Precision Lighting Ltd., London Ango World Co. Ltd., Bangkok For a full list of suppliers, go to vmsd.com
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38 OCTOBER 2011 | vmsd.com
By Eric Feigenbaum, New York Editor
THIS EXPRESS GOES UPTOWN AND DOWN
A NTOI N NE B OOT Z , NE W YO RK
The trendy apparel retailer unveils a store that’s just as fashionable for malls as it is for city streets. The newest Express store concept may have debuted in Pennsylvania’s King of Prussia Mall, but that doesn’t mean the specialty retailer thinks of it as a “mall store.” The goal for the Columbus, Ohio-based company was to create a fashion destination in a mall setting that could easily be translated into a street-level store in any metropolitan retail center. So the 13,000-square-foot space is a compilation of the best the retailer knows. Still targeting the 20- to 30-year-old demographic, Express wanted the presentation of its lifestyle classifications – work, party, denim and casual – to be crystal clear, but also fun and edgy. Express partnered on the project with the Tokyobased design firm Wonderwall Inc. The symmetrical and rectilinear feel of the space offers a subtle reference to Japanese design. Clean lines define the environment, from the horizontals of the mirrored stainless-steel cashwrap to the metal light troughs above. The selling space is organized into distinct room settings, highlighting the four lifestyle groupings, each room punctuated by illuminated, rounded, glass mannequin vitrines, complete with environmental and fashion graphics. Texture and materials play an important role in the new concept. “We wanted uptown elements in a downtown loft,” says Express ceo Michael Weiss. Materials span the spectrum from casual to luxurious – and from urban to rural. For example,
Opposie Page The beckoning focal point inside Express’ new store concept is a circular hot zone table, announcing the latest styles and trends.
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This page The dual-purpose rectilinear runway tables create vertical impact while telling a merchandise story.
40 OCTOBER 2011 | vmsd.com
poured concrete, a decidedly urban touch, pairs with reclaimed wood from an old barn to provide a raw finish to the floor. The elegant look of carrera marble defines the countertops and fixture trims. A new fixture package also relies on a variety of finishes and surface treatments to project the desired refined brand image. A two-step mortar process offers a wall finish that looks like concrete, but with a softer textural feel. Side walls have a complementary white gloss finish, with uplighting throwing a slight glow on the merchandise. In contrast, dark velvet curtains embellish the wall behind the cashwrap and along the denim room. The result is a modern space with raw undertones and elegant highlights. Each room setting is highlighted by a long runway-like table, fully merchandised, with group-
Above Strategically
positioned glass mannequin vitrines announce each department while showcasing the newest arrivals and trends.
Below The accessories room uses perimeter and freestanding floor fixtures to display merchandise. The rectilinear fixtures are made of dark wood with carrera marble tops.
ings of mannequins marching along the tops. Half the mannequins face one direction and half look the other. No matter where she’s standing, the customer always faces a projection of fashion. “Everything sells from these tables,” says Michele La Grego, Express’ senior vp of visual merchandising and store design. “Customers swarm around them like honeybees around a hive.” The mall windows are 5 feet deep and each window has a magnetic back wall for a clean applica-
vmsd.com | OCTOBER 2011
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Above The dual-gender
denim lab features a grouping of mannequins and a sculptural ceiling element to call out this important merchandise classification.
42 OCTOBER 2011 | vmsd.com
tion of graphics. One of the windows offers a clear sightline into the denim department, a dual-gender area featuring another hot zone table and the name “denim lab” articulated in lights above. Metal ramp boards highlight merchandise on the tables beneath 50 overhead chrome lights. The Express crowd tends to be young, so hightech plasma screens are integrated into the architecture. The content, controlled from Express’ Columbus headquarters, features promotions and live-stream fashion shows. Customers can also go online in the store to access e-commerce through the Express website. La Grego says shoppers keep asking if this is the same merchandise as in other Express stores. The answer is yes. It’s just expressed in a different way. x
PROJECT SUPPLIERS RETAILER
Express, Columbus, Ohio DESIGN
Wonderwall Inc., Tokyo ARCHITECT
Shremshock Architects Inc., Columbus, Ohio FLOORING
Architectural Systems Inc., New York Preferred Inc., Fort Wayne, Ind. LIGHTING
Capitol Light & Supply Co., Hartford, Conn. MANNEQUINS
Mondo Mannequins, Hicksville, N.Y.
PLASTER WALL FINISH
American Clay Products/Pymer Plastering Inc., Albuquerque, N.M., and Columbus, Ohio FIXTURES/HARDWARE
Quantum Fine Casework, Weston, Fla. VISUAL PROPS
DK Display Corp., New York Antoinne Bootz, New York For a full list of suppliers, go to vmsd.com
Shoptalk 2011 Dallas Shoptalk
San Francisco Shoptalk
October 6, 2011
October 27, 2011
425 Market St., San Francisco, CA 94105
SPONSORED BY 6501 Legacy Dr., Plano, TX 75024
Platinum sponsor
SPONSORED BY Platinum sponsor Gold sponsor City sponsors CDW Merchants Chippenhook Stylmark
City sponsor Stylmark
Media sponsor Shoptalk attendance is open to retailers, design firms and sponsors only.
DON’T MISS A.R.E.’S FIRST-EVER DESIGN TRENDS REPORT
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FULL CIRCLE The growing awareness of cradle-to-cradle certification has retailers asking not only for products derived from recycled content, but for materials that can be recycled, says Clayton Whitman, interior designer and LEED-accredited professional with the New York office of design firm Callison. ”There are a lot of products we can use without clients even knowing they’re green,” he says. Among these are Carnegie’s Xorel fabrics, constructed with polyethylene yarns, and linoleum from Forbo Flooring System’s Marmoleum collection, made with rapidly renewable linseed oil from flax plants. LED lighting continues to improve as a reliable green option. “They used to feel really yellow or blue,” Whitman says. “But now, they have a bright white, daylight quality.” Also noteworthy are LEDs in the form of thin adhesive strips, ultimately using less space to illuminate retail environments. –Whitney Harrod
Mohawk themohawkgroup.com SmartStrand Contract, a biobased fiber system, is made with DuPont Sorona polymer, which contains 37 percent renewably sourced ingredients. Carpeting is stain and bleach resistant.
Forbo Flooring Systems forbo-flooring.com The Marmoleum collection, “The Unexpected Nature of Linoleum,” contains 100 percent bio-based content and comes in nine designs.
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Trove troveline.com An alternative to PVC, Redeux wallcovering contains more than 31 percent post-consumer recycled materials. Available in a variety of patterns, custom colors and designs. Excess material can be sent back to Trove for reuse and recycling.
Visplay visplay.com The Choices surface support system is made from wood plastic composite (WPC) from renewable raw materials and plastic.
Smith & Fong Co. plyboo.com Formaldehyde-free Deco palm plywood and flooring products are formaldehyde-free and feature a 3-D appearance. Deco palm flooring is available pre-finished in random lengths. Deco wall product comes in a 6-by-48-in. panel with interlocking ends that allow for vertical and horizontal installation.
Boston Retail bostonretail.com The ecoRigid plus+ 1 in. and 2 in. bumper guards contain a minimum of 95 percent postconsumer recycled content.
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Fleetwood Fixtures fleetwoodfixtures.com Reusable, customprinted wall systems use sustainable materials and eco-friendly printing technologies in partnership with Portland Color.Â
InterfaceFLOR LLC interfaceflor.com The Raw pattern is produced from 100 percent non-virgin yarn that combines reclaimed carpet fiber with salvaged fishing nets.
Stylmark stylmark.com The Optima LED Edge-Lit Light Box measures less than 1-in. deep and can be wall mounted or suspended from the ceiling. Available in double-sided, custom-sized and custom-finished units.
Cooper Lighting cooperlighting.com With a 50,000-hour life, Halo Stasis LED High Lumen and Wall Wash Luminaires are constructed from die-cast aluminum. The high-output fixture features tight optical control and field changeable options in spot (15 degrees), narrow flood (25 degrees) and flood (40 degrees). Available in 3000k and 4000k. 46 OCTOBER 2011 | vmsd.com
Presented by
Thanks TO ALL 2011 ATTENDEES AND SPONSORS
Presenting Sponsor
Diamond Sponsors
Emerald Sponsors
Supporting Sponsors RIOT CREATIVE IMAGING / SUPERGRAPHICS Become an IRDC Insider at www.irdconline.com and get program updates, speaker Q+As and registration discounts delivered to your inbox.
Mark Your Calendar!
September 5-7, 2012 / Renaissance Chicago Downtown CHICAGO
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Nora Lighting noralighting.com The Brilliance Series low-profile ceramic metal halide track fixtures have a lamp life of up to 15,000 hours. Available in black, silver and white finishes.
EcoDomo LLC ecodomo.com EcoDomo recycled leather is available in a 55 in.-by-39 in. size, and in laminated HDF boards, in two sizes for wall, floor and furniture applications.
Outwater Plastics Industries Inc. outwater.com The second generation, energyefficient LED Ribbon Flex Lighting uses an integrated LED Diamond lighting technology to yield high color rendering indexes and tight binning codes.
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FFR-DSI Inc. ffr-dsi.com Made with eco-friendly recycled plastic, the Display/Filler Cube can hold up to 125 lbs. of product. Available in 12-in. square style and 18-in. rectangular style.
DEC 7-9, 2011
nEw inSpiRAtionS. FRESh idEAS.
An ExcluSivE collEction oF thE woRld’S FinESt viSuAl mERchAndiSing And StoRE dESign ShowRoomS
Alpha Display Alu ★ Architectural Systems ★ B&N Industries Bernstein Display/MC Chippenhook Creative Realities Cubic ★ DK Display ★ Elevations Gargoyles Ltd ★ Goldsmith Greneker Holiday Foliage Holiday Image Hudson & Broad JPMA Global Leo Prager/Classic Prager ★ Lifestyle/Trimco Manex/France Display Material ConneXion Materials Inc. Media Graph Inc. MG Concepts ★ Mondo Mannequins ★ Patina-V RHO ★ Rootstein Mannequins RPG Superior Model Form/Siegel & Stockman Silvestri California ★ Universal Display & Design Visplay
www.RetailDesignColleCtive.Com
A.R.E. • 4651 ShERidAn St., SuitE 470 • hollywood, Fl 33021 • tEl 954-893-7300 • ARE@REtAilEnviRonmEntS.oRg • www.REtAilEnviRonmEntS.oRg
Retail Environments
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NicoNat Mfg. niconatmfg.com Made from polished stainless metal, the L-112 Rhonda Table Lamp uses a LED light bulb. Measures 14 by 26 in. and available with a redtrimmed white shade.
DVUV dvuv.com UVMax UV-cured powdercoated wood’s finish has no VOCs. The medium-density fiberboard (MDF) contains 100 percent pre-consumer recycled content.
Bettinger Studio newloncollection.com The Newlon Collection’s patterns are produced using PVC-free printable recycled media. Inks are made from waterbased latex.
WAC Lighting waclighting.com The 8.25-in.-by-7-in. Roxy LED Pendant is an updated version of the faceted disco ball. Includes a shade, adapter and 3.4-watt LEDs.
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THE MANY MOODS OF METAL.
Architectural Systems Inc. archsystems.com The Heritage Series bamboo flooring comes in hand-scrapped and wirebrushed finishes in light and dark woods. Coordinating bamboo plywood panels are also available.
Chemetal crushed it at Fashion Week. Hundreds of sheets of Polished Aluminum decorated this runway set. And Chemetal has hundreds of metal designs for your next project. Full story at chemetal.com
Lifestyle/Trimco lfs-trimco.com
Abet Laminati abetlaminati.com Made from phenolic dust (sanded-off waste) and non-virgin polypropylene, Tefor surfacing material is PVC-free and has low VOC emissions. The nonporous surface is both 100 percent recycled and recyclable. Available in eight colors.
Mache Forms are covered in recycled paper with cork heads and come with wood articulating arms and a raw steel base. Available in men’s, women’s (shown) and children’s sizes, with a variety of paper and fabric options.
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Artemide Inc. artemide.us Inspired by the Chinese dragon and designed for diffused fluorescent lighting, the Noto suspension-mounted luminaire uses six movable cylinders. Supplied with optional red external filter.
LSI Floors lsifloors.com Natural Woods luxury vinyl tile flooring collection uses textural embossing for a woodgrain pattern. Planks come in 6-by-36-in. sizes in seven colorways and consist of recycled content.
Hera Lighting heralighting.com The SlimLite XL-LED has an integrated electrical driver for plug-in modularity. Offers the same light output as Hera’s T5 fluorescent but uses half the energy.
Panel Processing Inc. panel.com The 100 percent biodegradable Eco-Finish Rigid Print Media has a specially formulated coating to provide a consistently bright, white surface for high-definition digital printing. Available in three finish levels.
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Sponsor SPOTLIGHT September 7-9, 2011 / San Francisco / irdconline.com
MĂłz Designs mozdesigns.com The ETA product line, composed of 80 percent post-industrial recycled aluminum, includes column covers, room dividers, wall panels and table tops. Available in a range of colors and finishes.
Sponsor SPOTLIGHT September 7-9, 2011 / San Francisco / irdconline.com
‌ so all YOU have to do is imagine
Your Vision, Our Fixtures, LSI Industries Inc. lsi-industries.com
Done Right!
The XRT LED Recessed Troffer provides uniform ambient lighting, with a high output of up to 4600 lumens. Proprietary, high-diffusion lens eliminates visibility of individual LEDs. x 4112 Sarellen Road, Henrico, VA 23231 Tel: (804) 222 5525 Fax: (804) 222 7220 web: www.showbest.com Email: info@showbest.com
RD
REGIONAL DIRECTORY An advertising service for local or regional display and fixturing companies and national companies with local distributors and/or sales offices.
LISTINGS/ADVERTISEMENTS For information and rates for advertising please contact victoria.wells@stmediagroup.com
CANADA
The Products & Services Codes and the Business Classification Codes in each listing are defined as follows:
ALBERTA
1. 2. 3. 5. 6. 7.
Animations Architectural and Building Components Audio/Video Ceilings Design Services Decoratives and Props
8. 9. 10. 11. 12. 13. 14.
Fixtures Flooring Furniture Lighting Mannequins, Forms Materials Signage & Graphics
15. 16. 17.
Supplies & Equipment Wallcoverings Security
ABC-
Manufacturer Importer Distributor
Edmonton VALUE STORE FIXTURES
9115 Stadium Rd. P: 780-420-0345. 800-535-2279. F: 780-426-7072. E: value@valuestoresfixtures.com. www. valuestorefixtures.com. Contact: John Koyko. [C • 8.12.15] WESTMOUNT STORE FIXTURES
ARIZONA
FLORIDA
MANNEQUIN RECOVERY
PDT INTERNATIONAL
3008 E. Pine Dr. (86004). P: 928-526-9194. F: 928-526-8004. Contact: Nancy Panlener [C • 12]
2495 EAST COMMERCIAL BLVD., Fort Lauderdale, FL., (33308). P: 954-5337240. F: 954-351-9551. E: info@pdtintl. com. www.pdtintl.com. Contact: Gina Avila [International•6]
Flagstaff
CALIFORNIA
City of Commerce NICONAT MFG. CO. STORE FIXTURES DISPLAY
2624 Yates Ave. Commerce, CA (90040). P: 323-721-1900. F: 323-728-7893. E: vicentv@ niconatmfg.com. www.niconatmfg.com. Contact: Vicent V. [A • 7.8.10.11]
City of Industry PATINA-V
15650 Salt Lake Ave. (91745). P: 626-9612471. F: 626-333-6547. Contact: Robert Lade. [A • 7.10.12]
San Diego FARKAS STORE EQUIPMENT
660 10th Ave. (92101). P: 619-232-0060. F: 619-234-1413. Contact: Christie Lee. E: farkas123@earthlink.net. www. farkasstorefixtures.com. [B.C • 3.7.8.10.12.13.14.15.]
Fort Lauderdale
ILLINOIS
Chicago
THE SIGN CENTRE
5221 N. Long (60630). P: 773-286-4599. F: 773-286-8799. E: thesigncentre@aol.com. Contact: Bob Dismang, Guy Dismang. [A • 14] ALPINA MANUFACTURING
3418 N. Knox Avenue (60641). P: 800-915-2828. F: 800-217-9431. E: sales@fastchangeframes.com. www.fastchangeframes.com. [A • International • 6.7]
BRITISH COLUMBIA
Vancouver
EDDIE’S HANG-UP DISPLAY LTD.
60 W. 3rd Ave. (V5Y 1E4) P: 604-708-3100. F: 604-688-8230. 877-433-3437. www.eddies. com. Contact: Morry Gaerber, Allen Gaerber. [A.B.C • 6.7.8.11.12.13] ONTARIO
Toronto
ALL TEAM GLASS AND MIRROR LTD.
281 Hanlan Rd. (Woodbridge) (L4L 3R7). P: 905-851-7711. 800-363-4651. F: 416-7452692. E: allteamglass@allteamglass.com. www.allteamglass.com. Contact: Mark Timoll. [A • 2.8.13] QUEBEC
Longueuil TECTON INDUSTRIES
877 Jean-Paul Vincent, Longueuil, Qubec, Canada ( J4G 1R3). P: 450-651-1510, 800-6651510. F: 450-646-3238. Email: info@tecton. ca. www.tecton.ca. Contact: Sylvie Page. [ A•2.3.6.8.10.14]
HOLIDAY FOLIAGE INC.
2592 Otay Center Dr. (92154). P: 619661-9094. F: 619-661-8382. E: info@ holidayfoliage.com. www.holidayfoliage.com. [A.B • 6.7.9 • International]
ASIA TAIWAN LIGHT CREATION INC. 9F-2, No. 66, Sec 2, Nan-King E. Road, Taipei, Taiwan (104). P:886-2-2561-1280. Fax: 8862-2571-4681. E: light@light-creation.com. tw. www.light-creation.com.tw. Contact: Jack Yang. [A• 8• International]
Santa Monica HANG-UPS UNLIMITED
1904 14th St. (90404). P: 310-453-3806. 800461-8154. F: 800-426-4877. E: info@hangups. com. www.hangups.com. Contact: Lionel Freeman. [A • 15] NEVADA
Las Vegas LAS VEGAS MANNEQUINS
3230 Polaris Avenue, Suite 21, Las Vegas, NV (89102), 702-987-5830, Fax: 702838-4463, Email: info@lvmannequins.com, Website: www.lvmannequins.com. Contact: Alison Wainwright. National. (C•12) NEW YORK
Kingston
ZEE WIG STUDIO, INC.
333 Wall St. (12401). 8P: 45-331-0995. F: 845-338-9352. Contact: Zee Caplan, Gita Zanger. [A.B • 12]
54 OCTOBER 2011 | vmsd.com
8520-106A Ave., Edmonton (T5H 0S4). P: 780-424-8950. 800-561-1951. F: 780-425-8578. E: fixtures@westmountstorefixtures.com. www.westmountstorefixtures.com. Contact: Norman Vesala. [C • 6.8.12.15]
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vmsd.com | OCTOBER 2011
55
CO
CHECKING OUT Interview by Whitney Harrod
Michele La Grego The Express vp discusses the yin and yang of store design and letting the product speak for itself.
Your career has included working abroad for Levi Strauss & Co. and most recently for Express, serving as senior vp of visual merchandising and store design. What has been the biggest change in visual merchandising in the last few years? The virtual world has changed how customers shop. You can buy anything on your smartphone whenever, wherever. So stores need to go the extra mile and engage customers with great service and great presentations that deliver an experience they cannot get online. What have you learned about cultural shopping patterns during your work abroad as well as in the U.S.? In certain countries, you cannot use mannequins or show body parts in imagery. In some cases, I had to come up with a few options to showcase outfits and fashion messages in the window and in-store. As companies expand globally, it’s important to understand how people shop outside of the western world based on cultural and religious differences. The visual basics may not translate so well.
Design Inspiration Travel:
Brussels. Multiple countries are only a train ride away. Fashion:
Designer Ann Demeulemeester. She has not veered off her path in two decades. Her work is simple, fluid and intricate. Architecture:
Frank Lloyd Wright. The way he utilized natural materials and techniques that embrace the natural environment in his work were so unique during that time.
You’ve said that designers sometimes focus too much on store design and not enough on the fashion in the store. How did you take this into consideration in the new Express format? We started the project with design firm Wonderwall by visiting multiple stores and discussing how product is presented, as well as the role mannequin displays play in showing fashion. Wonderwall wanted to understand the product assortment, the merchandise presentation and the difference in capacity between key items and fashion items and how they were displayed at Express. As a retailer, we appreciated this because sometimes the focus is on a beautiful store and not how product needs to work in the space. Why did you take the storefront window experience and replicate it in-store with illuminated vitrines? The vitrines communicate the Express fashion messages by lifestyle. Punctuating each room by showing a party, casual, wear to work and denim fashion statement was very deliberate. It clearly shows our product assortment and is an intuitive navigational feature. There’s a lot of in-store technology, including interactive touchscreens and video monitors streaming fashion shows and events, in this new format. Why was this important to the overall store experience? The integration of multimedia elements allows us to showcase our products and our brand in the way they look best – in motion. Our customers like to interact with brands via social media and mobile, so we provided this smartphone-inspired option that reflects the way they live their lives. How do you know when a visual merchandising display is successful? Every Monday morning when I see the sales reports. x
56 OCTOBER 2011 | vmsd.com
Flooring created foreverystepyoutake... for the facts.
On average, most people spend as much as 90% of their time indoors. Centiva floors contribute to better living, learning, and working spaces. All Centiva products are FloorScore® Certified and adhesives are GREENGUARD Certified. This means our products have met stringent indoor air quality emissions requirements and offer a low VOC solution for interior environments.
Greenbuild 2011 • Booth 1421
Shown above: Centiva chips on their way to be recycled.