Museum Store Fall/Winter 2015

SM

Museum Store A PUBLICATION OF THE MUSEUM STORE ASSOCIATION

INTANGIBLES: DISPLAYING MERCHANDISE THAT DOESN’T EXIST

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DISPLAY PRACTICES: ENSURE YOUR STAFF KNOWS HOW & WHEN TO RESTOCK

FALL/WINTER 2015

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SCARVES & TIES: GREAT PRESENTATION IDEAS YOU CAN USE

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M U S E U M S TO R E

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Fall/Winter 2015 | Volume 43 | Issue 3

FEATURES

26 Intangibles

The shop at the Walker Art Center sells things you can’t see or touch.

by Steve White

30 Stocked Means Profit

Creating a visually appealing display is not effective if it’s not properly restocked on schedule.

MANAGING EDITOR

Dana R. Butler dbutler@museumstoreassociation.org

MUSEUM STORE ASSOCIATION 3773 E. Cherry Creek North Dr., Suite 755 Denver, CO 80209 Phone (303) 504-9223 Fax (303) 504-9585 info@museumstoreassociation.org museumstoreassociation.org

SKIES AMERICA PUBLISHING COMPANY ART DIRECTOR

Michelle Fandrey

by Marge D. Hansen GRAPHIC DESIGNER

35 Scarves & Ties

Some fun and fabulous ideas for displaying these merchandise staples.

EDITOR

by Dana R. Butler

Samantha Edington

ARTICLES & MORE 6 Letter from the Board President 8 Letter from the Executive Director 9 American Made The “Made in the USA” label is winning customers.

by Pat Mulcahy

10 What’s a Planogram?

Borrow a tool from larger retailers to manage your space planning.

by Andrew Andoniadis

14 The Feeling of Your Retail Environment Find places in your store to extend the museum experience.

by Steve Anderson

46 Ad Index

BUYER’S GUIDES 18 Buyer’s Guide: Made in America Being clear about the origin of products sold in your store and offering items that are made in the U.S.A. gives your customers more information when they make purchasing decisions.

40 Buyer’s Guide: Children’s Products Even when a museum is not targeted at children, stores have the opportunity to offer fun and educational merchandise that young people will enjoy and learn from.

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Jolene Johnson

MUSEUM STORE

MUSEUM STORE MAGAZINE ADVERTISING

Mary Petillo (503) 726-4984 maryp@museumstoreassociation.org Diana Grossarth (503) 726-4986 dgrossarth@museumstoreassociation.org PRODUCTION MANAGER

Cindy Pike CIRCULATION

John Mendez Museum Store magazine (ISSN 1040-6999) is published by the Museum Store Association.

Museum Store Association and MSA are registered in the U.S. Patent and Trademark Office.

Postmaster: Send address changes to Museum Store Association, 3773 E. Cherry Creek North Dr., Suite 755, Denver, CO 80209-3804 © 2015 Museum Store Association, Inc. All rights reserved. Except for the inclusion of brief quotations in a review, no part of this magazine may be reproduced or used in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from Museum Store Association. Opinions expressed by contributors are not necessarily those of the Museum Store Association. Printed in the USA. On the cover: The Walker Art Center in Minneapolis. PHOTO: Courtesy Walker Art Center

PHOTO: CAROLINE GARDNER

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FROM THE BOARD PRESIDENT

greetings!

e

lements of good design have always reflected the time they are in as well as being influenced by popular trends. But design also reflects the availability of current materials and technology.

This is not a new pattern, having been repeated over and over for generations. Today, we find ourselves faced with accelerating change everywhere we look. New technologies affect how products are produced and presented. Computer-assisted drawing, 3-D printing, and the web itself have altered the manner in which products make it to market—or don’t.

Whatever your role—buyer, vendor, product manager, display artist—each of us is responsible for sifting through myriad options and using our experience to select those we hope appeal to the customer. I contend we are all are curators of a formula that consists of vendors with intriguing products and retailers who survey and choose the products they feel are the best to offer. We look for quality, value (real and perceived), visual appeal, and innovative design to create the magic mix that entices customers to buy. To accomplish this synergy of win–win for all includes customers finding the right gift or souvenir of their experience and museum stores simultaneously generating a consistent revenue source to support their institution’s educational mission.

So how does one acquire the knowledge and skills to succeed in this profession? The answer is simple: MSA! With the wide array of information and resources available from MSA, you’re able to meet vendors, discover new products, and gain insights to identify trends that influence our fastpaced retail world. I encourage everyone to attend a webinar, follow our blog, browse the Museum Store magazine, participate in the MSA Certificate program, become involved in your local MSA chapter, or share your knowledge and expertise through our ShopTalk community.

I believe that we are all the product of our own design. Our individual success is the direct result of the steps we’ve taken to enhance our knowledge and grow our skill sets to become the best at what we do. As we do this, we become an asset to our institution, we contribute to the bottom line, and we become part of the conversation. It’s up to you to make use of all the tools at your disposal to showcase your value, run a great business, and design a great you!

We are all about form and function!

Best,

David Duddy MSA Board President

MSA Board of Directors PRESIDENT David A. Duddy deCordova Sculpture Park and Museum Lincoln, MA

FIRST VICE PRESIDENT Stuart Hata de Young and Legion of Honor/Fine Arts Museums of San Francisco San Francisco, CA

SECOND VICE PRESIDENT Julie Steiner The Barnes Foundation Philadelphia, PA

SECRETARY Michael Higdon National Building Museum Washington, DC

TREASURER Alice McAuliffe The Walters Art Museum Baltimore, MD

D I R E C T O R AT L A R G E Betsey Poole Fallingwater/Western Pennsylvania Conservancy Mill Run, PA

D I R E C T O R AT L A R G E Ione Saroyan New-York Historical Society New York, NY

VENDOR MEMBER ADVISOR David Graveen Popcorn Custom Products Glastonbury, CT

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MUSEUM STORE

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FROM THE EXECUTIVE DIRECTOR

it’s all in the presentation

p

resentation is one of the most important aspects of the job of a retailer. Whatever you are selling, it needs to look good, catch the eye, and draw customers in.

At MSA, we continually look for what it takes to make successful nonprofit retailers. What are the unique skills, talents, or knowledge they possess that can be transformed into conference sessions, webinars, and articles that will benefit MSA members? How do successful nonprofit retailers gain the respect of management so as to participate in strategic conversations? What are the techniques they use when discussing POS systems, copyright issues, improving traffic patterns, buying trends, merchant services, and the like that give them credibility?

We know one thing for sure. Successful retailers understand the fundamentals of a good presentation, how product is displayed and marketed. And then there are those successful retailers who have credibility within their institution. They know their presentation isn’t limited to the product in the store. They take a 50,000-foot view of the institution and envision how they and their stores contribute to the picture as a whole. They get out of their stores and engage in conversations with people from other departments. They incorporate what they see around them into what they do in their stores.

Presentation and display are elements of marketing. How do we market retail to the broader community of museums and museum management? Presentation and display—tasks not easily handled by phone or email. Positioning oneself as a thought leader is a visual, collaborative, face-to-face exercise.

You have to be in the mix, listening to the conversations, being aware of the issues and opportunities, contributing ideas and opinions.

Successful retailers know a lot about presentation. How do you take that mix of talent and skills and make an even bigger presentation about the contributions of retail to the broader institution?

Jama Rice Executive Director/CEO

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MSA Staff EXECUTIVE DIRECTOR/CEO Jama Rice, MBA, CAE

DIRECTOR OF MARKETING Patrick Mulcahy

MEETINGS & CONFER ENCE MANA GER Jennifer Anderson

S Y S T E M S A D M I N I S T R AT O R Adriana Herald

american made The label “Made in America” brings us back to the future.

BY PAT MULCAHY

f

...soon Americanmade products will take a prominent position in many museum stores.

lip over virtually any item on the shelf, and the label on the bottom tells a story. If the tag says “Made in America,” then the story is one of perceived quality and social responsibility. American-made items are riding a new wave of patriotic purchasing based on social, economic, and environmental impact. If grocery stores are able to create a new niche market by promoting their organic selections, then museum stores may be able to create a market based on products made in America.

When a customer sees “Made in the USA,” that small voice in his or her head reaffirms that purchasing the item is a wise decision. According to website MadeintheUSA.com, if every American spent an extra $3.33 on American-made products, it would create almost 10,000 new jobs. The Manufacturing Institute claims every dollar generated by American manufacturing returns an additional $1.48 to the U.S. economy. The Made in America Movement website reports more than 17 million jobs and more than 12% of the U.S. GDP are created by American manufacturing.

As manufacturing returns to American shores, jobs are created—often in cities that watched many of their jobs migrate overseas. According to research cited by Andria Cheng on MarketWatch.com, 60,000 U.S. manufacturing jobs were added in 2014, compared to 12,000 a decade previously. Cheng also noted that this meant that only 50,000 jobs left the United States last year versus the 150,000 jobs lost in 2003. This movement empowers cities and helps struggling communities get back on their feet.

Many American manufacturers see their companies as partners in a closed loop that goes throughout the manufacturing cycle. Raw materials are purchased from American vendors, often in close proximity to the manufacturing site. This reduces transportation costs, collateral pollution, and time to market. It also gives manufacturers greater control over source material. American manufacturers can gain an edge over large, foreign mass producers by using commitment, caring, and detail.

American consumers are also evolving. It wasn’t long ago that the promise of a good deal and a cheap price outweighed the concern about products being made in a sweatshop halfway around the world. Most Americans now realize they can create better global outcomes by making more educated choices about their purchases.

©iStock.com/filipefrazao

For many museum store shoppers, the American-made label is a strong product differentiator. Prominent in-store marketing touting “Made in the USA” can help reinforce your customer’s buying decision. Customers are looking for an excuse to buy, and if the label reminds them of the good things their purchase will do, then you’ve increased your odds of making the sale. Your customers will respond to products that are sustainable, eco-friendly, and high quality. Just as organics are taking hold in grocery stores, soon American-made products will take a prominent position in many museum stores. Best of all, when they get home, they’ll be prominently displayed— possibly upside down—just to show that pretty little American flag on the bottom.

(For some American-made products from our vendor members, see page 18.)

M U S E U M S TO R E

9

what’s a planogram?

Planograms employed by big retailers can be useful in the world of museum stores.

BY ANDREW ANDONIADIS

Retailing is science in the form of statistics. ”

m

uch like a road map, the planogram is a drawing or spreadsheet showing specifically where fixtures and product should be placed in a retail store to maximize revenue.

Used mostly by large retailers with multiple locations, planograms are intended to allow stores to be merchandised in a uniform manner. Although cultural institutions are decidedly different, elements of planograms can be valuable for nonprofit retail operations that feature products focused on collections or special exhibitions and events.

Retailing is science in the form of statistics. Price, margin, turnover, and sales are the raw statistics used to help determine where products should be merchandised within a store. But good retailing includes the art of merchandising, display, store layout, and so on. Planograms include both of these elements. Two words used frequently when describing a planogram are “specific” and “detail.”

The majority of retail store space is dedicated to fixtures and merchandising, both of which are central components of planograms. Merchandising is defined by the type of fixture, location, and where on that shelf or rack a product should be placed. It also encompasses the placement of products in the store to nudge customers into making their selections. Displays are best described as vignettes that incorporate multiple products with a common theme with the intent to capture a visitor’s attention, tell a story, visually suggest incremental add-on purchases, and encourage the visitor to linger. If done well, this will lead to sales beyond what the customer intended to buy. This is the ultimate goal: sales directly affected by merchandising and display.

Using the fundamental ideas behind planograms for museum stores detours from the typical planogram, but the principles remain the same. How are products best merchandised given the fixtures you have or can get? Should you stack merchandise vertically on shelves or spread them out horizontally? Do you arrange them front to back or side to side? Can it be hung from hooks, waterfalls, or hangers? Where does a slatwall, grid, tackable surface, glass display, or bin fit in?

Planogram software, such as SmartDraw, can help you visualize your plan.

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Merchandising the highest-margin products toward the front of the store so visitors must pass by them as they enter should be part of your merchandising design. The most popular products should be merchandised toward the sides and back to draw foot traffic throughout the store similar to how milk and meat are merchandised in a grocery store. There is an art to placing products that are popular or experience high turnover toward the back of a store in a fair balance with those related to the institution’s special exhibitions, book signings, or lectures near the entry. Many planograms include merchandising less popular products at eye level in proximity to better-selling products to enhance their visibility. And always plan to merchandise more expensive items in a manner that enhances their perceived value.

Books present a special challenge.

Although I’m not aware of any bookstore that plans where every title should be placed, museum stores have the ability to plan where its book section is located. Books can be merchandised in the least attractive or accessible part of the store because book people will always seek out the books. Plan where each book subject will be within the book section, and you can extend the displays to include ancillary products, such as bookends, related plush, and bookmarks. You also have the option to use discounted books as the draw into the book section.

which you place items and products to best drive sales.

With children’s products, place them so children can access them without having to traverse the entire store. And give some thought to the height at

One last thought: It’s good practice to plan in advance what will go where before it arrives.

Most importantly, make sure all parts of your planogram are driven less by your needs and wants and primarily by what you think will be attractive to the visitor and showcase your store’s products in the best manner.

Andrew Andoniadis is the principal at Andoniadis Retail Services, a consulting firm that has specialized in revenue-generating strategies for museum stores for 21 years. He can be reached at (503) 629-9279, Andrew@ MuseumStoreConsult.com, or www.

MuseumStoreConsult.com.

Because many museum stores are merchandised to tell a story with style, a strict planogram may be not be the right fit, but it is still a very good way of thinking about the decisions you need to make when merchandising.

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BOG BODIES UNCOVERED

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Miranda Aldhouse-Green The grisly story of the bog bodies, updated via details of archaeological discovery and crime-scene techniques

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A guided tour through the National Gallery of Art’s celebrated photography collection, from early experimental photographs to contemporary pieces 326 photographs | $65.00

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MATISSE IN THE BARNES FOUNDATION Edited by Yve-Alain Bois A landmark volume—the first authoritative publication to cover in its entirety one of the most significant holdings of Matisse in the world 656 illus. | $275.00 3-volume slipcased

FASHION AND THE ART OF POCHOIR April Calahan and Cassidy Zachary A celebration of the painstaking hand-stenciling technique, pochoir, used to create the glorious, rarely seen fashion illustrations of the early twentieth century 300 illus. | $85.00

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CRUCIAL INTERVENTIONS Richard Barnett A beautifully illustrated look at the evolution of surgery, as revealed through rare technical illustrations, sketches, and oil paintings 350 illus. | $30.00

ART & RELIGION IN THE 21ST CENTURY Aaron Rosen A fresh approach to the connection between art and religion that seeks to redefine their relationship in the contemporary age 225 illus. | $60.00

the feeling of your retail environment Does your store extend the experience of the museum visit for your guests?

BY STEVE ANDERSON

w

hen MSA asked me to contribute an article on retail fixtures, I thought, what more can be said? There have been countless articles and books from myriad experts about how you should handle the function, look, and design of your store. However, I love and believe in the mission of museum stores and have many thoughts and observations about retail after four decades on the visual and design side of the industry across a wide variety of specialty-type, guest-based retail stores.

Correctly designed fixtures create an appealing environment and present your merchandise in the best possible light.”

Many times, clients ask me about the latest trend in retail merchandising, and I never really have a clear answer. Although some cool fixtures have been invented, the trends are mostly about commerce and the manufacturing side coming up with ideas that compel retailers to buy—be it a fixture, finish, or technology.

For me, when I walk into a store, it is about what I sense and feel in the space.

When a space is warm and inviting, guests feel that right away. But what makes that kind of retail environment? In my experience, it has to do with several aspects often overlooked because of (or even prevented by) the constraints of time and budget.

When a shop has that welcoming feeling, when it feels great but it is hard to say exactly why, it is almost always because of the attention paid to detail. Frequently, this means custom fixtures throughout the space, which have an extra level of detail in some way.

Courtesy of Krista Gratigni, Director of Visitor Services These informational panels, created by Corman and Associates for the National Museum of the Pacific War, are also doors that open to reveal sales floor storage.

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Custom or not, the quality of the fixtures matters. When merchandise you or your buyers took great care in selecting is placed on a discount fixture, its perceived value is quickly reduced in the eyes and minds of your guests, which can ultimately reduce your margins. Correctly designed fixtures create an appealing environment and present your merchandise in the best possible light.

This approach also includes not using vendor fixtures. Your vendors don’t need their own personal outpost in the store in order for you to sell their product. The presence of multiple vendor fixtures indicates a store design was never fully completed or it lost itself along the way. With that said, be kind to your vendors. You can and should maintain positive vendor relationships without them getting involved in your displays.

Another aspect of attractive retail design, especially in cultural facilities and guestbased attractions, has to do with creating a continued immersive environment.

Does your store reflect the time your guests spent in your exhibition areas? You can extend and enhance the guest’s experience through the use of strategically placed graphics and photo images. These elements can be part of the design of the fixtures. Adding text in a fun and informative way and placing artifacts or replicas on the upper walls or in cases makes the store feel like a not-to-be-missed part of the museum visit.

In the end, without thoughtfully procured merchandise, it simply doesn’t matter how great your store looks. You know what sells, so be sure to balance that knowledge with enhancing the guest experience. Does it show that you really care? Make sure it’s as tasteful as the museum itself, that it gives back, that it provides a continuing immersive journey while being a perfect ending to that experience.

I was in a store the other day. It was

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not a museum store, just a privately owned shop in a small mountain town.

I was so impressed. The blending of the product mix was so tasteful, so well thought out, there was hardly a single item in the shop that I didn’t want to buy, and it was not a small store. The owner wasn’t just stocking her shelves; she created a culture of caring about every single item and showed that a successful approach comes from the top down.

Steve Anderson is a retail interior designer specializing in experiential and themed retail environments and a senior associate with Corman & Associates, Inc., a premiere fabricator of retail environments nationwide for over 65 years. He can be reached at Andersonretaildesign@gmail.com.

Courtesy of Krista Gratigni, Director of Visitor Services

To this end, the institution as a whole must recogize its stake in reducing the gap that can sometimes exist between its retailers and the rest of the museum, national park, botanical garden, zoo, or aquarium.

This display by Corman & Associates in the store at the National Museum of the Pacific War illustrates the incorporation of artifacts with merchandise for sale.

AN APPAREL ICON MEETS AN AEROSPACE ICON.

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BUYER’S GUIDE

Made in America “Where an item comes from, how it’s made, and the story behind it are all the parts of its heritage that make it unique.”

EVERY DAY, store buyers need to make important choices about what items to stock. Considerations include their relevance to the institution’s collection, providing customers an interesting mix of items, and increasingly, who made it and where it came from. Regardless of whether customers choose to buy only those products that are made in America, most consumers want to know and have that information before making their purchase.

Put simply, “Identification is paramount,” says Jay Rotberg of JMR Sculptures.

Mark Boulding of Boulding Blocks agrees that knowledge is key. Boulding says, “‘Made in America’ is not the same thing as ‘Buy American.’ Buy whatever works for you. It’s a free country.” He holds that the phrase means “a product carries the cache of freedom, independence, ingenuity, integrity, and entrepreneurial spirit that is America’s main calling card.”

Michelle VanBibber of Ciao Bella Jewelry says, “I believe that customers are willing to spend a little more for higher quality and to support the workforce in our country. Therefore, I think it is important for the origin to be listed on the products museums sell.”

Museum Store Products owner Wood Huntley says the designation “Made in the USA” appeals to a customer’s desire to support the American workforce. Huntley adds, “Consumers generally tend to agree that domestically made items are of a better quality.”

Something being made in America is more than simply keeping manufacturing jobs from going overseas. It also applies to smaller operations that employ local artisans.

Barbara Ross-Innamorati, owner of Évocateur, believes that “Made in America” has a special meaning because the pieces she sells are handmade in a Connecticut studio.

She says, “Our customers, and particularly museum visitors, have a deep appreciation for the original work of artisans. Each piece is unique. Each tells a story.”

Where an item comes from, how it’s made, and the story behind it are all the parts of its heritage that make it unique. Being made in America is an attribute many shoppers look for and it might influence their decision to purchase. What is critical to a store buyer is that the parts that make up the whole factor into the decisions they make when putting product into their stores that will draw traffic and be profitable.

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MUSEUM STORE

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MADE IN AMERICA

BUYER’S GUIDE

American Heritage® Chocolate An authentic, historic line that celebrates chocolate’s role in the lives of Americans in the 1700s.

American Heritage® Chocolate items offer consumers a variety of usage occasions: drinking, onthe-go snacking, sharing, and baking. Our products make wonderful gifts and souvenirs, so your visitors will always remember your special shop.

American Heritage® Chocolate Made by Mars Chocolate North America americanheritagechocolate.com (800) 800-7046 See ad on page 11

Alucik Wearable art by Venezuelan light artist Claudia Bueno. Designs are developed through a series of watercolors and drawings inspired by a lifetime of international exploration. Claudia refers to Alucik as “concept jewelry,” each limited-edition design reflecting her artistic vision in a unique blend of nature and culture. Made outside Joshua Tree National Park in California.

Alucik alucik.com (213) 448-4467 See ad on page 3

JMR Sculptures Jay Rotberg’s work has found its way into shops, galleries, and museums around the country. Rotberg’s bonded resin sculptures are finished in a verdigris patina. His metal pieces are cast in zinc and finished with a pewter patina. With simplicity and quiet dignity, Rotberg’s creations capture comfort, depict abandon and joy, convey compassion and understanding, and inspire strength and hope.

JMR Sculptures (336) 389-0333

jmrsculptures.com See ad on page 46

ScreenCraft Gifts At ScreenCraft, we make custom gifts. Your art, your quotes, your photos on our complete product line. Celebrate your museum, location, or exhibition with our complete line of custom marble gifts! Coasters, magnets and ornaments, trivets and clocks, too, make beautiful keepsakes of a visit as well as lovely home decor additions for your patrons. Handcrafted in the USA. ScreenCraft Gifts ScreenCraftTileworks.com (401) 427-2813 See ad on page 41

Popcorn Custom Products Not all mugs are created equal! Ask for the embossed “Made in USA” seal on the bottom of Popcorn’s mugs that guarantee their country of origin. Popcorn’s premium USA glassware features a wraparound imprint area perfect for printing artwork. Popcorn’s USA mugs blend coffee culture, museum culture, and Made in America craftsmanship.

Popcorn Custom Products popcornposters.com (800) 660-1060 See ad on page 34

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M MU USSEEU UM M SSTTO OR REE

MADE IN AMERICA

BUYER’S GUIDE

Boulding Blocks

EcoSmart Designs

Boulding Blocks are for kids of any age. Start with the cube: four white pieces and four black pieces. Take it apart and see how long it takes you to put it back together without the directions. You will immediately see how science, mathematics,, engineering, g g, and art connect with each other iverse of possibilities. More blocks, more possibilities. in an unlimited universe

EcoSmart Designs manufactures thousands of popular, original castings mounted on beautiful, informative story cards available in a large variety of thematic categories from animals to zodiac. Perfect for museums, zoos, aquariums, and more.

Attractive POP displays available. Every product is handmade in Colorado, using recycled, lead-free, SafePewter™. Mention this editorial for an exclusive MSA discount on your opening order.

Boulding Blocks (720) 599-3298

bouldingblocks.com See ad on page 37

EcoSmart Designs (888) 884-7090

ecosmartdesigns.com See ad on page 31

Évocateur Our Lisbon cuff is inspired by the beautiful tradition and artistic use of tiles in Portugal, where hand-painted tiles are used to decorate interiors and facades of houses and buildings.

Like our jewelry, each one tells a story. Our jewelry is made by hand in our Connecticut studio and features 22K gold leaf. SRP: $328. Évocateur EvocateurStyle.com (203) 820-8786 See ad on page 25

The Colad Group Give us eight photographs and we will ill customize notecards and a printed card ard box your patrons will keep as a memento ento of their visit or send to their friends. What ally would make a better gift and potentially inspire others to visit than this one-offa-kind design? Let us take your visuals ls and create a collector’s piece that truly uly commemorates a time to remember.

The Colad Group (800) 950-1755

colad.com See ad on page 255

Ellen’s Silkscreening Ellen’s Silkscreening has worked for more than 35 years with many of the best-known museums and cultural institutions in Southern California. Our sales team is tuned in to the exacting standards of museum store buyers and is able to actively collaborate in the development of innovative lines of printed apparel and other branded products. All screen printing and embroidery is done in house in South Pasadena, California.

Ellen’s Silkscreening (941) 365-1117

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ellenssilkscreening.com See ad on page 29

M MU USSEEU UM M SSTO TOR REE

Newood Display Fixture Mfg. Co. Browse our 214-page online e-catalog through hundreds of wood display fixtures for your gift shop: shelving, gondolas, t-stands, slatwall, and even service counters. If you don’t see a stock item you are interested in, call and discuss having custom items made. Everything is made in Eugene, Oregon.

Newood Display Fixture Mfg. Co newood.com (800) 233-9663 See ad on page 3

The Frank Lloyd Wright Collection from Galison

Collection Includes: • Puzzles • Notecards • Bookmarks • and more!

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MADE IN AMERICA

BUYER’S GUIDE

Ciao Bella Jewelry Ciao Bella Jewelry’s image jewelry allows guests to take a special wearable art keepsake from their visit to your museum. Incorporate images from exhibitions, artwork, and historic people and places into any of our collections.

Designs available in necklaces, earrings, bracelets, cufflinks, tie pins, brooches, ornaments, rings, and more. Low minimums/setup fees and affordable prices.

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Solmate Socks Midnight socks are a monochromatic standout in our sea of color; these black, white, and gray socks are absolutely stunning.

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The award winning Fractiles Magnetic Tiling Toy (large edition) includes 192 colorful, flexible magnetic tiles, one 12-by-12-inch powder-coated steel activity board and a color-illustrated storage folder. Fractiles uses a unique sevenfold geometry in the designs created using three different shaped magnets.

Two similar editions, Travel Fractiles and Fridge Fractiles, are also available. Perfect for STEM education.

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The Boeing Store American apparel manufacturer Schott NYC, originator of the iconic leather motorcycle jacket and World War II bomber jackets, created three versions of its classic aviator jacket especially for the Boeing centennial. These jackets are all crafted in the United States and are exclusive to the Boeing Store.

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Museum Store Products Museum Store Products is proud to design and manufacture all of our custom museum gift products in our New Jersey office and factory. We offer expertise in working primarily with museums, flexibility with minimums and reorders, and quick turnaround times. Our in-house design department makes the product development process easy! Call or email for a catalog.

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MUSEUM STORE

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intangibles The Walker Art Center Shop offers a very different kind of merchandise to a whole new market.

BY STEVE WHITE For most museum shop operators, thinking outside the box is a daily occurrence.

But these days the people at the Walker Art Center in Minneapolis are thinking way outside the box. As a matter fact, for much of its new product line, there is no box. Earlier this year, the Walker Shop introduced a series of new products called “Intangibles.” Aptly named because Intangibles are just that: They are as much an experience as they are a product.

So What Is It? A new concept developed by Michelle Tobin, Walker’s museum store retail director, and Emmett Byrne, the museum’s design director, Intangibles create an intersection where the digital age meets the old school mission of a museum store selling things you put in a box or a bag. “The museum deals with intangible experiences everyday … it made a lot of sense for us to translate that into our gift shop,” said Byrne in an interview with PBS’s NewsHour.

For Tobin, Intangibles are an extension of the mission of the Walker—one more opportunity to create an intimate relationship between audience and artist although, in this case, the audience is also a consumer “E-commerce becomes a platform for the performance,” Tobin says.

©iStock.com/Pailoolom

Of course, creating and implementing an intangible line of products came with its own unique set of challenges. For most museum store operators, their expertise lies in finding new products from traditional vendors and finding ways to attractively market them within the walls of the store. What’s special about the Intangibles line is that it doesn’t come with a ready-made catalog or even a standard vendor. Rather, the museum chose to break new ground by building on existing relationships with artists whose work they know and collaborating to design truly unique products that will strike a chord with museum patrons. “Luckily, we know artists, and they do trust us … And we let them do whatever they wanted,” says Tobin. “We did not guide them, but we tried to figure it out together.”

The types of intangible products include everything from Snapchat photos by local artist Alec Soth and personalized ringtones by composer Nico Muhly to a visceral sculpture by the attack art collective known as Slavs and Tartars. Some of the conceptual art is a momentary experience, and some is investment-grade artwork worthy of any serious collector. It makes for an interesting mix and a genuinely fun lineup.

How Did This Happen?

Every step along the way required collaboration and more than a fair amount of creativity. The first step was explaining the concept to the museum administration—a significant challenge when the pitch is that you’re selling something that will never sit on a shelf. This new way of thinking about products required interaction between many of the museum’s different departments to define parameters and to create new rules of engagement. As a result, the idea for this new line of products took nearly three years to come to life.

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One of the other challenges that the operators of the store had to overcome was

that of how to display and sell these eclectic pieces of art. What they devised was a giant light box placed in the store that required a relatively small footprint in the 2500-squarefoot shop.

As for in-store sales, oddly enough, customers are directed to the museum’s e-commerce site. The products use a QR code, which is entered by the store cashier into the museum’s website to complete the sale. “The goal is to connect online and in-store experiences together,” says Tobin.

Although the end result hasn’t yet been a substantial financial windfall, the Intangibles product line has provided a tidal wave of publicity and notoriety. As the product line was being introduced

Courtesy of Walker Art Center

Dealing with 16 individual artists required creating an agreement that would benefit everyone involved.

In this case, the artist and the store split the profits 50/50. It also required devising a pricing scheme that would (in some way) reflect the value of the product while allowing for a wide variety of price points to attract a broad market. Ultimately, the artists chose the price they wanted—even if it substantially undervalued the art. As a consequence, the Walker Shop was able to create a product lineup with price points that spanned from $10 to $12,000.

Architect Andreas Angelidakis is offering a spectacular—virtual—suburban seastead to be built in Second Life.

last spring, the store received coverage from notable publications that included The New York Times and Wired as well as the previously mentioned PBS NewsHour coverage. “In an ideal world, where the museum is presented, you’re telling your story and exposing people to your mission and to your values, so even if it doesn’t sell something, perhaps it’s programmatically important,” Tobin adds.

Courtesy of Walker Art Center

With the first generation of products now on sale (many have already sold out), the museum is now looking down the road at what’s next for Intangibles. Although the first group of products was developed with artists the museum already had relationships with, the publicity and credibility generated by this early offering now has artists knocking on the Walker’s door wanting to participate. Tobin’s hope is that this will lead to a continual evolution of the products they sell. Of course, that means a perpetual set of new challenges to overcome. “As with any new project, you’re really glad that you pulled it off right the first time,” says Tobin. “The next step is to find out what really works, decide what we can make better, create other iterations, and ask how we want to embrace this and evolve in the future.”

The Walker Shop’s current crop of Intangibles include paper versions of products meant to be burned at the grave of a loved one, a reading group experience, a Champagne cocktail to be consumed, and a selection of curated Snapchat photos.

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Steve White is a freelance writer and business owner who lives in Denver.

You can contact Steve at steve@ worspy.org.

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stocked means profit Always be prepared to make the next sale.

BY MARGE D. HANSEN Product has arrived. You’ve created a visually exciting display. Browsers become buyers and immediately deconstruct the presentation. Filling in the display with more product and maintaining the integrity and theme of the original design can be challenging, but making sure merchandise is always available for customer purchase is a prerequisite to increasing profitability.

Just as buying and merchandising go hand in hand, selling and restocking store displays are interdependent. “You can’t sell it if it’s not out on display,” Miriam Works, owner of Works Retail Consulting in Seattle, WA, says. “Immediate and efficient restocking is a critical component of maximizing sales.” Among other things, her firm specializes in improving daily operational efficiencies and procedures. She describes her team as “retail silver bullets,” who identify and solve profit-impeding problems for a wide variety of museum, nonprofit, and independent retailers across the country.

The House Works divides a store into back- and front-of-the-house units. Organizing each area respects the “place for everything and everything in its place” maxim. A wellorganized and clearly labeled stockroom keeps things in good working order in back. When arranging back stock, she recommends allocating a “To Be Displayed” shelf on which “one of each new product should be placed and moved to a display out front as soon as possible.” In the front of the house, it is essential to keep in mind that, when building displays, the principles of good design don’t change even though the merchandise will.

With the previous day’s sales report in hand, it’s easy to see what sold and which products need to be restocked, says Michael Higdon, retail manager at the National Building Museum in Washington, D.C., where he has been on staff for the last decade. “All of our staff and volunteers use this tool to do their work,” he says, adding that every store should have a roadmap for display and restocking practices that explains why these tasks are handled in specific ways.

Higdon says it is imperative for team members to understand and implement these strategies to achieve success.

“Another tool I use is a shared calendar for all the staff to know when changes need to occur and as a reminder that certain product needs to be put out for display,” Higdon says. “I set up email reminders for tasks such as when to display Mother’s Day and Father’s Day cards.”

Make It Easy A good mantra is “easy to see, easy to touch, and easy to purchase.” A packed display may minimize trips to the stockroom, but it doesn’t allow merchandise to shine. Shopability is the primary goal, and alerting staff to restock quickly and efficiently is critical to a store’s success. (continued on page 32)

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(continued from page 30)

IT’S IMPORTANT! Miriam Works offers six top tips for stocking merchandise.

Create a simple zone plan for display changes.

Review zones with sales figures in hand.

Displays, including props and fixtures, must earn their keep.

Non–revenue-producing displays must be changed regularly.

Include restocking and display in job descriptions and train new employees in these duties from the very beginning.

Assess restocking and 6. display reliability in performance employee evaluations.

“I always spend some time educating and training my sales staff on my vision for store displays, both individual displays and the overall store look,” says Nancy Whittaker, retail operations manager and retail buyer at the Bellevue Arts Museum (BAM) in Bellevue, WA. “This empowers staff to make decisions regarding visual merchandising, especially when I cannot be there to direct it.”

Whittaker, who joined BAM five years ago, also has owned her own store and worked as a sales representative in the gift industry. She has found that to give up creative control can yield surprisingly positive results. “It’s happened many times that a sales person has created a display that works great, and it was a combination I would have never considered,” she says.

Supporting the less-is-more notion when creating displays, Whittaker likes to keep things simple. “It’s appropriate for some of the smaller, less-expensive items to look full and abundant, but the larger pieces should be discoverable by the customer,” she says. “This means giving the larger, more expensive pieces more space to make them feel unique. It’s easy to restock when there is a hole where that one piece used to live. Because of the full display for the

smaller items, usually that stock is out on the floor.”

Still, Whittaker admits restocking is a demanding job because it coexists with serving customers. Tactics that work well to keep her store displays sparkling include generating a product restock list as items are sold. (Works notes that many POS systems can produce this record in 30-minute or hourly increments, which is an effective reminder to replenish specific items on a timely basis.) Bestsellers are kept in close proximity and can be readily replaced. Additionally, a specific time each day is designated for restocking.

“Nevertheless, I always find something that has not been restocked quickly.

I think it’s just my job as a manager to find the one thing that hasn’t been restocked, despite the fact that my staff has been working really hard to keep the shelves full,” she adds.

Marge D. Hansen is a freelance writer based in Broomfield, CO. She recently wrote an article about collaborating with local purveyors, which appeared in the Spring 2015 issue of Museum Store.

(left to right) Van Gogh–related items are grouped at the Getty Museum; clearly displayed prices in a National Gallery display, an example of a full, but not crowded, display.

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scarves & ties These are two colorful items that sell well and give you a variety of ways to display. Now you just have to find the best option for your store.

What’s nice about scarves and ties is the ease with which they can be displayed.

Simply hang them over a bar to show off color and texture. This is an especially good choice for scarves with intricate designs. Try a knot; it’s quick, easy, and keeps them in place as customers browse. And with ties, a knot also gives the customer an idea of what they will look when worn. There are three basic ways to display scarves and ties: You can hang them, place them on a table or shelf, or—thinking out of the box—put them in a box!

Adisa/Dreamstime.com

Jacquespalut/Dreamstime.com

Hanging

Aarochas/Dreamstime.com

(left) Kyrien/Dreamstime.com; (right) ©iStock.com/Luanateutzi

Scarves and ties can simply hang over a bar to highlight their color and texture. This is an especially good choice for scarves with intricate designs.

Tied in a knot shows what they might look like on and keeps them neatly in place.

Alessandro/Dreamstime.com

©iStock.com/JannHuizenga

Some Other Options

Scarves can also be braided on a rod.

Fabric merchandise can be hung on a bar. It’s also striking to use furniture or architectural decor that carries the theme of your museum or store. Try a ladder, wrought-iron gate, umbrella, or chair back—use your imagination!

In some museum stores, wall space is at a premium. Or maybe you have more windows that limit your ability to hang things. If this is your situation, a table or shelf is a great option for displaying scarves and ties. (r to l) Bellphotography, Elizabeth Hoffmann, and Luisrftc/Dreamstime.com

©iStock.com/Esokolovskaya

Tabletop

Scarves can be rolled, folded, or braided on a table.

©iStock.com/color of time Sleek ties lend themselves well to being fanned out flat.

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Minipig/Dreamstime.com

Gianluca Pisano/ Dreamstime.com

Displaying scarves and ties tucked into cubbyholes—either on a table or hanging on a wall—enables you to show them off individually.

Depending on the size of the display, it can be easy to move as well.

The great thing about ties is that they can be tied, rolled, or folded.

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Another way to show off a tie’s color and design is to place the rolled tie in a box sideways and lift up the outside edge or the center of the roll.

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Just a couple of stickpins can turn a necklace display easel or mannequin into creative tie display.

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Props, such as a vintage suitcase, can be a really fun way to show off scarves and utilize your store’s decor.

Acrylic boxes can showcase colorful ties and serve as a gift box for added value.

MUSEUM STORE

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BUYER’S GUIDE

Children’s Products “Why is it important for museum stores to cater to this group demographic when it might not be part of the institution’s target market?”

CHILDREN’S PRODUCTS can be an important part of any museum store’s array of merchandise. These products include teaching tools, games, collectables, or unique toys—all of which will extend the experience of the visit plus offer opportunities to further the family bond.

“If families come to the museum,” says Lynn Araujo, communications director for U.S. Games Systems, “purchasing a game that can be enjoyed by the whole family allows them to continue the shared experience long after the trip is over.” She cites, as one example, themed playing cards (butterflies, optical illusions, American generals), which allow adults and children to interact with each other, recall the visit, and share knowledge. “This kind of souvenir makes a nice conversation starter, so parents can reinforce what the children may have gained from their museum visit,” Araujo says.

Kaitlyn DiPerna, developmental editor at Silver Dolphin Books, says “Museums are integral in educating and inspiring our children.” Her company creates nonfiction books and other products designed let children take the essence of a museum exhibition home, interact with it, and reinforce their understanding of what they saw.

“We love to see a day at a museum capped off with a trip to the museum store where children can reflect on their favorite exhibit, then take home a corresponding interactive book to continue their experience,” she says.

It should come as no surprise that not every museum or cultural institution is for children. In fact, many would not even be of interest to children at all. Many of them do include exhibitions, dedicated areas, or interactive displays meant to be targeted toward children, and others rely on the parents to gauge their child’s interest and potential for engagement in what is on display.

Yet many, if not most, museum stores do stock items—games, toys, books, and more—intended for children with the intent to teach them more about the subject matter while being fun and age-appropriate. The question is why is it important for museum stores to cater to this group demographic when it might be not be part of the institution’s target market?

Extending the experience is more than just offering gifts and collectibles that interest the visitor. The store’s merchandise should further the visitor’s engagement to the point at which they are inspired to share it with friends and family. Think about all the items that are purchased as gifts for others. It’s safe to say that this group most definitely includes children, grandchildren, nephews, and nieces.

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CHILDREN’S PRODUCTS

BUYER’S GUIDE

Folkmanis Dive in for fun with the Folkmanis® Pelican puppet, which is realistically designed with shiny, wetlooking “feathers” and large webbed feet. You’ll love the whimsy of her “swallowing” mouth with a wiggly fish snack attached. Scoop up this hilarious water bird before it flies off store shelves!

Folkmanis folkmanis.com (800) 654-8922 See ad on page 47

Galison/Mudpuppy Mudpuppy’s Keith Haring MagnaChalk Wall Decals offer the perfect opportunity to introduce the art of Haring to children in a hands-on and creative way. Two sheets of magnetized chalkboard wall decals with adhesive backings and included full-color magnets feature Haring’s pop artwork. Stick the decals to any wall to create an interactive play area. Just add chalk! Ages 3+; $39.99.

Galison/Mudpuppy galison.com (800) 670-7441 See ad on page 23

Printers Row Publishing Group With Silver Dolphin’s Smithsonian program, it has created titles that uphold the tradition of producing high-quality nonfiction novelty books. Each title is created in conjunction with the curators of the Smithsonian Institution. From interactive books to vibrantly printed magnetic tins, leveled fact cards, sticker books, and beautifully illustrated puzzles, Silver Dolphin has built a program that brings the Smithsonian into your home.

Printers Row Publishing Group silverdolphinbooks.com (800) 788-3123 See ad on page 38

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CHILDREN’S PRODUCTS

BUYER’S GUIDE

U.S. Games Systems A game filled with intriguing history and magnificent art! Take on the role of a renaissance luminary, battle opponents, and accumulate the wealth and power to dominate each era of the game! In Renaissance Wars, you must quickly adapt to changing circumstances and events, using only the cards in your hand and the powers of your luminary. Ages 12 to adult.

U.S. Games Systems (800) 544-2637

EDC Publishing Usborne’s exciting book of Drawing, Doodling and Coloring ($13.99) has lots of fun ideas to spark your imagination. Finish the faces in the crowd, fill the trees with leaves, doodle your ideal meal, and much, much more. Use pens, pencils, markers, or crayons to doodle to your heart’s content!

EDC Publishing edcpub.com (800) 475-4522 See ads on page 16 and 43

Thames & Hudson From fairy tales and wild animals to fashion design how-tos and art activity books, children’s titles from Thames & Hudson cover fascinating subjects in superbly produced books. Young museum-goers will especially love age-appropriate volumes about great works of art and the artists who created them.

Thames & Hudson (212) 354-3763

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MUSEUM STORE

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DesignMasters Associates A colonial twist on a classic game! Use the included letters and body part pieces to play hangman on a handy magnetic board. Game includes magnetic game pieces and a scorecard and comes packaged in a reusable cardboard carrying case, making it the perfect on-the-go game.

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WAFF WAFF Combos are available in glitter and solid colors. Each set comes with a journal, decorative accessories, and two silicone clips that can be used as lock accessories (cubes and pins have emoji, colors, and alphabet symbols), which can be used to personalize or customize the WAFF journal cover or purely for design. WAFF Combo sets are a perfect fun gift that will keep the entire family busy during the holiday season. WAFF = endless creativity!

WAFF ilovewaff.com (877) 817-2640 See ad on page 45

MUSEUM STORE

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