Museum Store Winter 2012 by Museum Store Association

www.MuseumStoreAssociation.org WINTER 2012 | $15

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CUSTOM PRODUCTS BUYER’S GUIDE

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Winter 2012

Museum Store helps cultural commerce professionals operate more effectively, find sources of museum-quality products and contribute to the missions of their institutions.

Volume 40

Issue 4

Features

MSA STAFF EXECUTIVE DIRECTOR

BEVERLY J. BARSOOK

COMMUNICATIONS STAFF SENIOR MANAGER FOR COMMUNICATIONS

Custom Products Buyer’s Guide Offer your customers an exclusive experience with these one-of-a-kind products in our latest buyer’s guide. BY APRIL C. MILLER

STEPHANIE PETERS COMMUNICATIONS EDITOR

KATHY CISAR

Kids Only Take a look at the Getty Center’s recently relocated and re-imagined destination shop just for kids! BY MARGE D. HANSEN

Idea Gallery: Gift Baskets More than ribbons and bows: Get inspired by these themed gift groupings from your colleagues.

One Museum Two Stores Learn how to survive a traveling exhibit that brings its own store and products.

COMMUNICATIONS AND OFFICE ASSISTANT

SYBIL FAURER

ADMINISTRATIVE STAFF DATABASE ADMINISTRATOR

ADRIANA HERALD MEMBERSHIP & MEETINGS COORDINATOR

C ANDRA HENDRICKS CONFERENCE & EXPO SERVICES COORDINATOR

JENNIFER ANDER SON OFFICE ADMINISTRATOR

LEIGH RUSSO

BY CATHERINE NEWTON

SKIES AMERICA PUBLISHING COMPANY

ART DIRECTOR

JACQUELYN MERRILL EDITOR

Winning Store Publicity Gain media attention for your store with these practical tips. BY NICOLE LEINBACH REYHLE

REBECCA OSTER BACH ADVERTISING

MARY PETILLO

Departments

PRODUCTION MANAGER

CINDY PIKE CIRCULATION

President’s Message Share your passion and knowledge and watch as MSA thrives.

Executive Director’s Message Promote your unique shopping destination to cultural heritage tourists.

Knowledge Standards Q&A How do we effectively hire, train and retain employees and volunteers?

ALLEN NELSON HOW TO CONTACT US E-MAIL: speters@museumstoreassociation.org Please provide your full name, location and institution or company name. MAIL: Museum Store Association 3773 E Cherry Creek North Dr, Ste 755 Denver, CO 80209-3804 www.MuseumStoreAssociation.org Phone: (303) 504-9223 Fax: (303) 504-9585

32 26

ADVERTISING: Mary Petillo: (503) 726-4984 maryp @skies.com Museum Store magazine (ISSN 1040-6999) is published quarterly by the Museum Store Association.

BY SALLIE STUTZ

Postmaster: Send address changes to Museum Store Association 3773 E Cherry Creek North Dr, Ste 755 Denver, CO 80209-3804

Operations The right store lighting can attract visitors and increase sales. BY ANDREW ANDONIADIS

Communications Free YouTube tools make everyone a promotional video expert. BY JOE DYSART

© 2012 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 MSA. Opinions expressed by contributors are not necessarily those of the Museum Store Association. Printed in the USA.

Merchandise Planning Eight keys to improved buying and stock control. BY MIRIAM WORKS

Product News

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

New Vendor Showcase/Ad Index WINTER 2012 | MUSEUM STORE

| president’s message |

Creating Future Leaders SHARE YOUR PASSION AND KNOWLEDGE AND WATCH AS MSA THRIVES. | BY ELIZABETH RICKER s part of the search process for our new executive director, the candidate review committee first sat down and listed the qualities of a good leader. As we verbalized what we were looking for, I realized how much these core values describe the qualities we prize in our industry as a whole.

A • • • • • •

Vision and the ability to communicate it to others. A good listener and open to new ideas. Disciplined: to work single mindedly toward a vision, always doing something in pursuit of that vision and inspiring others to do the same. Creative: thinking outside of the everyday and exploring the “what if.” Fair, assertive and a sense of humor. Giving credit where credit is due; sharing success and shouldering failure.

I don’t know of a single cultural commerce professional who does not share all of these qualities and more. Jack Welch, former chairman and CEO of General Electric, said: “Good business leaders create a vision, articulate the vision, passionately own the vision and relentlessly drive it to completion.” As we go forward into the New Year, take a moment to reflect on your skills as a leader—whether you are a small store with just yourself, a medium-sized store with a small staff, or the director of a large staff—and share your leadership skills with those around you. Grow your leadership skills by actively participating in MSA or other organizations in your community. Take the opportunity to join us in Los Angeles to learn more from your peers and then take what you learn home to your staff. Help them grow to be leaders of the future.

The core purpose of MSA is to advance the success of cultural commerce and of the professionals engaged in it. An international association, MSA is governed by a seven-member board of directors.

BOARD OF DIRECTORS PRESIDENT

ELIZAB ETH R ICK E R NEW MEXICO MUSEUM OF NATURAL HISTORY AND SCIENCE ALBUQUERQUE, N.M.

FIRST VICE PRESIDENT

STAC EY STACHOW WADSWORTH ATHENEUM MUSEUM OF ART HARTFORD, CONN.

SECOND VICE PRESIDENT

B ARB ARA LEN HARDT THE JOHN F. KENNEDY CENTER FOR THE PERFORMING ARTS WASHINGTON, D.C.

SECRETARY

J ANIC E W R HE L GEORGIA O’KEEFFE MUSEUM SANTA FE, N.M.

TREASURER

C AND AC E ALLE N

Elizabeth Ricker bricker@naturalhistoryfoundation.org

MUSEUM OF NEW MEXICO FOUNDATION SHOPS SANTA FE, N.M.

DIRECTORS AT LARGE

G LORIA ROSENA U- STE RN

T H E 5 8 T H A N N UA L M S A R E TA I L C O N F E R E N C E & E X P O A p r i l 1 3 – 1 5 , 2 0 1 3 | Lo s A n g e l e s , C a l i f.

MINNESOTA HISTORICAL SOCIETY/ SPLIT ROCK LIGHTHOUSE TWO HARBORS, MINN. -AND-

J ULIE STEIN E R THE BARNES FOUNDATION PHILADELPHIA, PA.

R E G I S T E R B E F O R E F E B. 2 8 , 2 0 1 3 , A N D S AV E !

www.MSAmeeting.org 4

MUSEUM STORE | WINTER 2012

| executive director’s message |

Cultural Travelers Are Plentiful Oblo is a 3-D spherical puzzle that challenges and inspires kids of all ages. To graduate from one layer to the next, users will progressively build spheres within spheres. The unraveling discovery happens when taking the puzzle apart; and the true mental challenge occurs when putting the puzzle back together.

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ADS GET YOU NOTICED

CONTACT MARY PETILLO

503-726-4984 20% off multi-ad contracts Use code MSAW12 Expires June 30, 2013

MUSEUM STORE | WINTER 2012

PROMOTE YOUR UNIQUE SHOPPING DESTINATION TO CULTURAL HERITAGE TOURISTS. BY BEVERLY J. BARSOOK

“Yesterday is history, tomorrow is a mystery, today is a gift.” —Eleanor Roosevelt ive years ago, MSA entered into a strategic partnership designed to promote cultural heritage travel and shopping in museums and related cultural venues. Out of this relationship was born The Cultural Traveler. The next annual issue is about to go to print and I am delighted to report that the 2013 edition will feature 56 pages and be perfect bound. This is an increase of about 40 percent from last year’s edition. The American Alliance of Museums has again endorsed this project.

Heritage Tourism Trends” and “The Top 10 Cultural Finds,” among others. New this year is that all content from the past five years of The Cultural Traveler will be available in the new searchable Travel Planner at www.TheCulturalTraveler.com, an excellent tool for consumers and travel writers and more free exposure for MSA members. We are grateful for the continuing support of the Getty Center, Sauder Village, Bayou Bend, California Academy of Sciences, Garst Museum and The Henry Ford.

New this year is that all content from the past five years will be available in the new searchable Travel Planner, an excellent tool for consumers and travel writers and more free exposure for MSA members. The Cultural Traveler is a high-quality print publication with a circulation of 40,000, plus additional online distribution, at travel trade events including the International Pow Wow, World Travel Market/London, Shop The World Tourism Conference/Toronto, Ontario Motor Coach Association, Go West Summit, Visit USA UK, MSA Retail Conference & Expo, GLAMER Group Travel Leaders, Bank Travel Conference, Boomers in Groups, Going on Faith Travel, ONE Travel Conference, as well as a growing list of airline clubs and electronic distribution to 29,000 Canadian travel agents. Quality editorial content continues to increase and the 2013 edition will include articles such as “Artful Shopping in Museum Stores,” “New Cultural &

Plan now to participate in the 2014 edition. This remains a cost-efficient method for cultural institutions to promote their venues and the unique shopping to be found in each and every destination. This brings to a close my quarterly messages for Museum Store. I am sure my successor will pick this up for the next issue. Once again, thank you all for your good wishes and for the wonderful friendships I have made at MSA over the years. Wishing each and every one of you success in your stores.

Beverly J. Barsook bbarsook@museumstoreassociation.org

Give those with an appetite for history a taste of it.

Chocolate is more than a treat; it’s a way to engage your visitors in our nation’s history. American Heritage Chocolate is an authentic historic recipe using only ingredients available during the 18th century. AmericanHeritageChocolate.com americanheritagesales@effem.com

Sampling Our Chocolate Drink is Easy! We Will Include a Free Hot Drink Machine With Your $200 Order* ®/TM trademarks © MARS, Incorporated 2012

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Ask Us How You Can Incorporate This Historic Chocolate in Your Menu Items: 1-800-800-7046

5 .0 H UMA N RE S OU RC E S

How do we effectively hire, train and retain employees and volunteers?

According to MSA’s Knowledge Standards for the cultural commerce professional, human resources is defined as the skillful management of personnel (both paid staff and volunteers). It is essential to hire qualified staff, provide focused training, encourage teamwork and give regular performance evaluations. Hiring the right person to provide the welcoming and knowledgeable service for your store is critical for success. Providing ongoing motivational tools, information and training is the key to retaining your staff and volunteers. Encouraging their involvement to participate in team goals and projects is essential to improved customer service. Here are some tips on how to accomplish this: • Know your institution’s HR policies and procedures on recruiting and hiring. Work with your human resources department to learn the procedures so that you can do it efficiently and strategically. Research the best options for job listings for each position. Write an effective job description (paid and volunteer positions) that has key words for applicant searches using job listing sites. Post listings on MSA’s Job Source. Word-of-mouth referrals from colleagues have gotten me my best employees. • Provide a shop handbook with rules, guidelines and tips for your employees. You may have an institutional handbook, but there should also be a more specific shop handbook with rules and tips that are exclusively shop-related, such as shop hours, dress code, customer service techniques, mail order instructions, phone etiquette, etc. Require your employees to read it and sign a form that they have done so. Document all disciplinary problems as well as outstanding accomplishments in writing. Hold award ceremonies for recognition! • Implement ongoing motivational strategic training for individuals and teams. Create team and individual goals and don’t forget to give feedback and praise on their accomplishments. Set up monthly customer service breakfast meetings to talk about the real visitors and customer problems. Be solution-focused. Be the role model. Tip: Keep your sales team and managers on the selling floor and out of the back room for improved sales. • Execute timely performance evaluations. Everyone needs and wants to know how well they are doing their job. Usually your institution has a basic probationary period evaluation as well as an annual performance review; use it, but understand that it may not be applicable enough to address unique shop staff expectations. Be sure the evaluation addresses all of your benchmarks. Work together with your staff to determine annual sales, product knowledge and customer service goals. Establish self progress reports to be done every three months. Review staffing in terms of appropriate compensation levels to make sure you are competitive in your community.

Sallie Stutz is the vice director of merchandising for the Brooklyn Museum and is a longtime member of MSA. She has served on several committees including the educational task force, nominating committee and the board of directors. 8

MUSEUM STORE | WINTER 2012

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OPERATIONS

Becoming Enlightened THE RIGHT STORE LIGHTING CAN ATTRACT VISITORS AND INCREASE SALES.

| BY ANDREW ANDONIADIS

ighting is arguably the most impactful retail design element. Effective lighting will attract visitors into the store, heighten interest in the products and increase sales. The impact of lighting is improved by having the flexibility that comes from the availability of the core light sources described below.

Natural, ambient and accent lighting Natural lighting, once eliminated at all costs from retail environments, is now a welcome source of light, from big-box discount stores to the smallest museum store environments. However, now that it is a welcome source, it also has to be controlled because of its potential harmful effects, especially on paper, fabric and packaging. The control of natural lighting can start with the application of similar standards of protection used in museum galleries and the regular rotation of products most affected by sunlight.

Crystal Bridges Museum of American Art, Bentonville, Ark.

flood and spot lamps on track lights that also can provide ambient lighting that is warmer than fluorescents. A critical benefit of accent lighting is that it is adjustable to meet merchandising changes, which requires that it be easily accessible for focusing and maintenance.

Effective lighting will attract visitors into the store, heighten interest in the products and increase sales. Ambient lighting usually refers to that which provides the basic level of light for the entire store. A store that only has ambient light is perceived to be merchandising lower priced and basic quality products. Higher end and better quality products require less ambient and more accent lighting. Some typical ambient light fixtures include fluorescents, hanging/pendant fixtures and up lighting. Accent lighting can include recessed fixtures, lighting within fixtures and 10

MUSEUM STORE | WINTER 2012

Windows Windows that offer views into the store from the outdoors or well-lit internal common areas also need attention. The view into the store from these areas will benefit from cutting the glare and reflection off the glass that is created because of the difference in brightness between the brighter external areas versus the comparatively darker store. Interior lighting located very close to the glass and focused down toward product merchandised close to the glass will make

that product more visible. Also, be aware that larger, lighter colored products will show up the best.

Special lighting applications Some areas of the store and certain product categories benefit highly from specialized lighting. Most important among these is jewelry. Jewelry: In most museum stores, the jewelry selection includes many pieces that are priced at the upper levels of the storeâ&#x20AC;&#x2122;s retail price range. In addition, jewelry is frequently the best-selling product category and usually has the highest margins. Maximizing jewelry sales requires a focused and significant amount of light. Jewelry lighting characteristics include: â&#x20AC;˘ Lighting in the jewelry case. So jewelry can be seen clearly and the perceived value enhanced, reflection from the glass jewelry case needs to be reduced which requires internal case lighting about three times brighter than the

store’s general light level. Even moderate levels of effective jewelry lighting cannot be achieved through a lighting source external to the jewelry case. • Multiple sources of light points, rather than a florescent tube for example, help to make sure light reaches and reflects from every jewelry surface. A series of small lights that provide a white natural light is usually the best. • The light sources can come from the front of the jewelry case where the horizontal glass meets the vertical glass or the front vertical corners. Lighting shining toward the customer from the back of the case is less effective and often problematic. Books: Most book buyers at least thumb through a book before buying it. The light levels in this area need to be bright enough that a quick preview is encouraged and can be done comfortably. General merchandising: Products merchandised on tall perimeter fixtures, especially those with glass shelving and

products that are either transparent or less densely merchandised, thus allowing the light to penetrate deep among the shelves, benefit from lights integrated into the fixtures. Most typically these lights are either directly above, forward of the shelving or mounted vertically along the sides of the fixture. Perhaps the most effective integrated fixture lighting is that used to illuminate the highest priced, nonjewelry products in the store. Incremental lighting that enhances their perceived value increases sales of these products. Clear and translucent art pieces can be highlighted effectively, with no lighting hot spots, using back-wall and under-shelf semiopaque surfaces for an even distribution of light. Products merchandised on pedestals under glass or clear acrylic covers will come alive through the use of spotlights shining down through the tops of the covers. A brighter lighting scheme will draw customers to where you want them to go. For certain, the back wall, regardless of how big or small the space, should be one of the brightest parts of your store.

Task lighting and lighting circuits In-store task lighting includes that above the cash wrap and transaction areas where light levels need to be bright enough that electronic and manual transactions can be seen clearly. Multiple light circuits can provide additional flexibility: • Full lighting when the store is open. • Partial lighting for working in the store when the museum is closed. • A timer on a circuit to light the store when it is closed but the museum is open. Perhaps the strongest trend in retail lighting, often encouraged by LEED certification requirements, is the realization that improved lighting must be balanced with energy efficiency and controlled costs of operation. Andrew Andoniadis is the principal in Andoniadis Retail Services, a consulting firm that has specialized in revenue-generating strategies for museum stores for 20 years. He can be reached at (503) 629-9279, Andrew@MuseumStoreConsult.com or www.MuseumStoreConsult.com.

WINTER 2012 | MUSEUM STORE

COMMUNICATIONS

Web Video on the Cheap FREE YOUTUBE TOOLS MAKE EVERYONE A PROMOTIONAL VIDEO EXPERT.

f you’re looking for an inexpensive way to add video to your store website— complete with analytics on who’s viewing that production—YouTube has an enticing offer. They’ll do it for free. In a move to become the go-to platform for video on the Web, the company has rolled out a series of free tools that essentially enables any business to edit, post and analyze viewership of a promotional video at absolutely no cost. The beauty of YouTube video is that the content need not specifically promote the museum store. Often, videos that promote a museum overall result in more traffic to the museum store—and more sales at the register. The museum store at the Asian Art Museum of San Francisco, for example, has seen a spike in foot traffic since the museum started running promotional videos on

YouTube. “I always believe that more traffic to the museum is good for the store,” says Raymond McKenzie, assistant manager, retail operations, at the museum. “It’s part of the reason we help support the efforts of programming, community events and even special rentals. The Asian Art Museum takes a collaborative approach in how we run the museum. We all talk together to create the best experience possible, from marketing, to front lines, to exhibition, to programming and to the store.” Jana Machin, museum store director at the San Francisco Museum of Modern Art, says she also has seen a spike in store traffic after videos promoting her museum popped up on YouTube. Probably the best aspect of promoting on YouTube is that it’s absolutely free. In a move to retain its moniker as the de facto (Clockwise from top left) YouTube offers a number of free videos on how to get the most from its Insight analytics service; YouTube (and Google) CEO Larry Page; Michael Miller is author of “YouTube for Business,” a guidebook chock full of ideas for museum stores.

MUSEUM STORE | WINTER 2012

| BY JOE DYSART platform for video on the Web, YouTube allows businesses and organizations to post promotional productions free of charge. Plus, it offers users free analytics to track the performance of the videos they post, and continually refine their pitches. “Video is compelling,” says Mark Merenda, president, Smart Marketing, based in Naples, Fla. “The Pew International Report on Internet Behavior from last year cites viewing videos as the number one Internet activity—exceeding even emailing.” YouTube also makes it very easy for even the most novice of museum stores to get a promotional video on its service. For starters, there’s a YouTube “Creator’s Corner,” where you can learn the basics on how to create and set up an account and get inspiration on how to shoot your first video. You’ll also find editing tools here, which will help you polish your raw footage, as well as tips on how to optimize your video. Plus, there’s a free users forum, where you can get advice from seasoned YouTube posting veterans. Once your video is on YouTube, the free service offers you an embeddable video player that you can add to your website. The technology embeds a small screen on your website, which visitors can click on to view the promotional videos you’ve posted about your company on YouTube. The player creation tool also enables you to optimize your video for the search engines by allowing you to include titles, descriptions, ratings and viewer comments that are associated with your video. But the real beauty of the player is that the technology enables you to offer a window to your business’ videos on your

own site, while shifting the hosting and transmission costs associated with the viewing of that video to YouTube. The reason? While the player is embedded on your website, the actual video visitors are viewing resides on YouTube’s computer servers. That means every time someone views your video, it’s YouTube’s servers that are transmitting the video—not your company’s Web servers. So it’s YouTube’s servers that are picking up the bandwidth transmission costs, not you. It’s a scenario especially ideal for companies that are interested in reaching out to Web video viewers with a number of offerings, but have little or no budget to do so. Plus, it’s also an excellent insurance policy for any museum that happens to produce a video that goes “viral”—i.e., a video that becomes an overnight sensation on the Web that is viewed by hundreds of thousands or even millions of viewers. For most small- and medium-sized companies, the onslaught of that kind of massive downloading generally results in crashed servers and countless

NIFTY YOUTUBE TOOLS: To learn the basics of creating a YouTube video, go to Creator’s Corner: www.youtube.com/t/creators_corner To set up a YouTube account: www.youtube.com/t/about_essentials To embed a YouTube viewer: www.youtube.com/youtubeonyoursite To analyze metrics of how your YouTube video is performing: www.youtube.com/t/advertising_insight

missed sales/public relations opportunities. For YouTube, it’s nearly an everyday event the firm has learned to accommodate. Once your video campaign is up and running, you’ll also be able to continually analyze how your videos are performing with another free tool, YouTube Insight. Essentially, Insight is an online analytics service that offers you a heat-map of where your views are coming from. It also will show you how people are discovering your videos by revealing the search terms they used to find your videos. Plus, you’ll be

able to discern the age and gender of your audience, observe how many times viewers rate or comment on your videos, and more. Bottom line: whether you’re looking to experiment with Web video for the first time, or you’re an experienced user looking to cut costs while increasing the sophistication of your Web video promotions, YouTube is a free solution that is tough to beat. Joe Dysart is an Internet speaker and business consultant based in Manhattan. Email: joe@joedysart.com. Voice: (646) 233-4089. Web: www.joedysart.com.

WINTER 2012 | MUSEUM STORE

MERCHANDISE PLANNING

From Good to Great EIGHT KEYS TO IMPROVED BUYING AND STOCK CONTROL.

here are key differences between buyers who consistently stock their store with swiftly selling merchandise and buyers with a hit-or-miss track record. Savvy buyers understand that excellent buying and topnotch inventory control go hand in hand. They work hard to create a comprehensive system to support both. Here are eight practices of great buyers that promote good inventory control while maximizing sales.

Great buyers study their successes. They can easily name their top 20 to 30 best-selling products—what they are, why they sell and where they’re best displayed to support optimal sales. Less experienced buyers sometimes pay more attention to their mistakes than to their successes, wasting precious energy and time. While it’s important to learn from mistakes, it’s most important to focus on top performers. What makes a particular item a strong seller? Be

ISTOCKPHOTO.COM / © STEVE DEBENPORT

MUSEUM STORE | WINTER 2012

| BY MIRIAM WORKS

able to verbalize and support your observations. When you buy again, remember the characteristics of best sellers and search for similar traits in other products. Great buyers take the time to determine inventory budget allocations for each department. They would never dream of re-ordering or attending a tradeshow without consulting their updated opento-buy plan. A critical tool for buying success, an open-to-buy budget provides

rapidly. Ask questions to understand why an item or a group of items is not selling. How long has the product been in the store? Where has it been displayed? Was signage entertaining and educational? Did signage demonstrate a connection to the mission? Was the product a poor fit for visitor ages or income levels? Evaluate and understand both mistakes and successes. Then use your data to make popular items even more successful and reduce mistakes.

Great buyers embrace the daily challenge of improving both the art of product selection and the science of inventory systems.

savvy buyers with the parameters they need so they don’t overstock or understock in any merchandise department. Great buyers understand their mistakes, but don’t spend too much time agonizing. They analyze why a product didn’t work, then focus on moving it out

Great buyers know a product must “earn its place.” They develop a sense for how many turns to expect of products in each department to justify its space in their store. For example, in studying your sales history you may conclude that popular products in the souvenir category typically sell about 18 pieces every month, books at least eight per month, apparel at least six pieces per month. (These are examples only, not a guideline for any particular store.) You’ll need to test a product during your busy season to grasp its potential, but don’t let product evaluation drag on season after season. If a product does not achieve your “success benchmark” even after redisplaying, refreshing signage, etc., mark it down to make room for the new. Great buyers are bold in marking down slow sellers. Start the markdown process after 30 days of limited/no

sales. Make markdowns significant. A 30–50 percent discount will move product much faster than a 10–15 percent markdown. Moving non-selling merchandise frees up time, energy, shelf space and inventory dollars to focus on better selling items. Donate sale merchandise still on hand after 120 days to a local charity. Great buyers gather and review product feedback in a consistent manner. They know they must step outside their own preferences to buy for maximum profitability. Set up a comment log to record customer and staff opinions and reactions. Make providing feedback a job expectation for staff or volunteers in the store. Then make it part of your routine to review the feedback regularly—once a week or once a month, depending on store volume and ordering schedule. When selecting new products, great buyers are wary of high minimums or devoting too much floor space to an untested product line. Search for vendors who are able to offer reasonable per piece minimums. MSA vendors understand that the needs of various museums and destination stores are very different and want to collaborate with buyers to make each order into a long-term relationship. Work with your sales representative to invest in a line gradually and test the waters before jumping in with both feet. Great buyers work with their colleagues to develop a seamless receiving process. Efficient receiving and tagging mean that products get to the sales floor quickly, which supports higher sales. To reduce slowdowns and problems, include the following information with new orders: merchandise department, retail price range (ask vendor to estimate shipping

for you), display and signage ideas, and tagging requirements for each item. Selecting compelling, mission-sensitive products is only half the race. Buyers haven’t won until their carefully chosen products are received efficiently, sold and are restocked smoothly, neither over- nor understocked at any time. Buying is a creative art form as well as an exacting science. Great buyers embrace the daily challenge of improving both the art of selection and the science of systems. Retail Consultant Miriam Works has been buying and managing inventory with profitable results since 1980. Contact her at miriam@worksconsulting.com or (206) 930-9629 to learn about tools and programs to assist you in becoming a great buyer and inventory manager.

WINTER 2012 | MUSEUM STORE

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MUSEUM STORE | WINTER 2012

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MERCHANDISE PLANNING

Custom Products BY APRIL C. MILLER

BUYER’S GUIDE

Offer your customers an exclusive experience with these one-of-a-kind products.

hen you offer one-of-a-kind, custom wares, you’re building your brand and creating an air of exclusivity with patrons. They want to remember their visit and, if the item is not available elsewhere, it will boost that “buy now” atmosphere. “It is important for museum stores to distinguish themselves from each other and from other gift shops. Custom items cannot be purchased anywhere else, which makes them, and the store selling them, unique,” says Cate Bell, owner of Found Image Press. Vendors say it’s even better when you can source custom products that are American-made, artisan-produced or cause-related. “A big trend that is also a good practice is linking these promotional custom products with humanitarian causes,” explains Andres Arango of muichic. It not only raises awareness and support for the cause, but ties your institution’s name to it. “Museum store buyers can choose products that go that extra step of helping,” Arango says, “it’s definitely a win-win scenario.”

As with all products, promotion is key. Don’t miss the opportunities—both in-store and online—to tout the merchandise’s special appeal. Use signage, your website and social media to explain that these items have been designed exclusively for the museum. “Otherwise, people might put off the purchase believing they can buy the same item elsewhere,” says Lorne Kotzer of Soft Stuff Creations. “Creating a sense of urgency is vital to all sales.” Ask manufacturers if they offer signage, displays and high-resolution photos you can use in print and online marketing materials. Ciao Bella Jewelry provides buyers with media-quality photos they can use on Facebook and Pinterest. “Having a promotion and unveiling of the new custom products brings excitement and customers into the museum store for the special event,” says Ciao Bella’s Michelle Van Bibber. “We also will feature the items on our fan pages, Twitter page and website, and include where it can be purchased, and will link your store/items directly from our website.” As you source your selection of custom wares, consider mixing in some of the following merchandise: WINTER 2012 | MUSEUM STORE

Custom Products Buyer’s Guide [1]

[2]

[3]

Align your institution’s logo on American-made pottery from Sunset Hill Stoneware. Custom pieces, such as this one depicting the Statue of Liberty, are available as part of the company’s Signature Stoneware that combines old-world technologies with modern innovations. Choose the product style and the glaze. All items are microwave, oven and dishwasher reliable. Ciao Bella Jewelry’s hand-crafted designs provide the latest trends in fashion jewelry. Custom design options incorporate images and logos into fashionable, wearable art. Designs can include historical buildings, landscapes, people, sculptures, replicas of art works, visiting exhibit designs, animals, dinosaurs and more. President and designer Michelle Van Bibber is based in Pittsburgh.

[4]

You Can Learn kits for beginners (with customized packaging labels), from YouCanLearnKits.com, provide pre-cut materials, photo-illustrated instructions and necessary tools for projects that teach basic skills from early American life. This quilt kit includes materials to make your own folk art quilted pillow. Other kits include: tin punching, doll making and weaving. Owner Gin Randolph, based in New England, has been weaving for almost 30 years. Christina’s World presents the Van Gogh Sunflower mouth-blown and hand-painted glass ornament. Brilliant yellow provides a sunny backdrop for a free-form sunflower with bronze windblown leaves and gold beaded center. The Van Gogh is just one of a series of Christina’s ornaments representing the work of some of our most cherished artists. Custom designs available.

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[5]

Ameropean Corporation offers custom designed, top-quality leather bookmarks. The company’s products are made from real leather skins—no bonded leather scraps or adhesives are used. Bookmarks may be imprinted with your logo, image and message. A free countertop display is included with first-time orders. Available in standard and mini with various bottoms, such as fringe.

[6]

For more than 30 years, Galison has developed private label paper and children’s goods for museum clientele. Choose from more than 70 formats— note cards, stickers, journals, address books, children’s games and much more—to customize with your brand and artwork. For quick turnaround and no minimum, imprint an instock product.

[7]

Harmony Designs specializes in custom, made-in-the-U.S.A. products.

[5]

[6]

[7] [8]

[9]

[10] [12]

MUSEUM STORE | WINTER 2012

[11]

[13]

Glass paperweights, mugs, bookmarks, tote bags, tree ornaments, aprons, key chains and more can be created to your specifications. Product development includes free set-up and full-color printing. Products can be personalized with any image or text, and the company’s website lets buyers build and preview products before ordering. [8]

[9]

NoMonet offers custom frame necklaces with the ability to insert artwork or a photo of your choice into them to easily create a product line for temporary exhibits. Custom artwork can be created with a minimum 24-piece order or choose from the company’s existing art. LaGrave Designs, launched in January 2012, turns photographs into stunning kaleidoscopic designs. The designs are meticulously cut, hand assembled and framed in shadow boxes to create dimensional works of art. Coasters

and trivets also are available; all items are made in America. The company offers a low, one-time set-up fee and no minimums for custom work. [10] Personalize Joolz Hayworth’s bubbly, statement-making stretch bracelets, cuffs and rings with photos, paintings, artifacts, maps and more. The fashion jewelry is made in the United States using a patent-pending process that results in durable, fade-proof and water-resistant pieces. Designing your own collection is easy and fun with the “build your own Joolz” web application. [11] Found Image Press offers custom product development of premium quality paper products with low minimums, short runs and one-time set-up fees. Note cards, postcards, magnets, postcard booklets, easel desk calendars and art prints are hand-crafted in the United States. Use your institution’s own images or

Custom Products Buyer’s Guide choose from the company’s archive of more than 50,000 vintage images. [12] Silk neckties and scarves from Josh Bach Limited offer sophisticated design, subtle cleverness and pride in craftsmanship. That same attention to detail can be used to create custom designs for your museum. All products are manufactured in New York City, at the South Street Seaport, and minimums are as low as 50 pieces. [13] Place your organization’s name on the front of Pine Garden Baskets’ project kits at no charge. For those age 8 and older, the basket-making kits share the lost art of pine needle basketry. American-made, each kit includes all necessary supplies, detailed instructions and photo illustrations, and helps young and old alike acquire basket-making skills.

WINTER 2012 | MUSEUM STORE

[14]

[15]

[17]

[18]

[16]

[19] [21]

[20]

MUSEUM STORE | WINTER 2012

[22]

[14] The Tree of Life collection, Arbor Vitae Card’s largest note card selection, is available to be customized. With a minimum order, cards can have an institution’s name, logo or location placed on the front or back with no extra charge. Each 4.25" x 5.5" card is printed on bright white, high-quality card stock. [15] Super Wally wallets, by Ollin Arm Candy, are made from Tyvek for tear-free and long-term durability. The innovative design includes no stitching, and there are multiple pockets for cash, receipts and business/credit cards. Wallets can be customized with museum collection pieces. All goods are produced under Fair Trade and sweatshop-free practices in Mexico. [16] The family game Pastiche is a 2011 Mensa Select Award winner from Gryphon and Eagle Games.

Paintings from your museum can be included as an expansion pack to this entertaining game for the whole family that encourages the discussion of art, artists and the creation of color. For ages 10 and up and two to four players. [17] Functional and wearable art from Nina J. Design Studio can be customized for your institution in several ways. Hand-built pottery, using your flowers and herbs, can be produced. All pottery is dishwasher, oven and microwave safe. Limited edition, 100 percent silk scarves can be printed using a museum theme or state flower. [18] Silver Creek Industries creates exclusive gifts featuring the central theme of your museum. Stained art glass, made in the United States, uses a single pane of glass and lacquer-based stains. While it

Custom Products Buyer’s Guide looks like stained glass, the costs are lower. The company offers low minimums and free design service to MSA members. [19] Innovative, high-quality custom plush toys are available from Soft Stuff Creations. Shown is a 12-inch pirate ship with separate pirate fish created exclusively for the Quebec Aquarium in Quebec City, Canada. Soft Stuff Creations’ custom products are unique, fun and playful. Other “soft” products also are available, such as keychains and finger puppets. [20] Muichic unveils its new line of custom Tagua wares, including magnetic picture/card holders, keychains, pins and fridge magnets. Ethically handmade in Colombia from the Tagua (vegetable ivory) seed, these fun, quirky and eco-friendly

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promotional products can be fully customized with an institutionâ&#x20AC;&#x2122;s logo and colors. All are sustainable, organic, vegan and Fair Trade. [21] Print your logo on TreeSmart Industriesâ&#x20AC;&#x2122; recycled school and office products. Choose from rulers, pencils, color pencils in a tube and more. The company, in business since 1998, offers four-color imprints, minimum quantities and a onetime set-up charge. The products are perfect for special gifts and rewards for students and art enthusiasts. [22] Live Your Dream Designs offers pop-up greeting and gift cards by Los Angeles-based artist Joyce Aysta. Using origami architecture (combines the ancient Japanese art form of folding paper with kirigami, the art of cutting paper), the exquisite cards display a 3-D image when opened. Custom design of your building or logo is available. April Miller is a Cleveland-based writer and editor and a regular contributor to Museum Store. She last wrote the Fashion & Apparel Buyerâ&#x20AC;&#x2122;s Guide in the fall 2012 issue.

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Ameropean Corporation www.leatherbookmarks.com (800) 466-4648 See our ad on page 37 Arbor Vitae Cards www.arborvitaecards.com (918) 557-4290 See our ad on page 36 Christinaâ&#x20AC;&#x2122;s World www.christinasworld.com (631) 242-9664 See our ad on page 46

Ciao Bella Jewelry www.CiaoBellaWholesale.com (412) 818-7271 See our ad on page 45

NoMonet www.nomonet.com (805) 644-9525 See our ad on page 15

Found Image Press www.foundimage.com (800) 927-3722 See our ad on page 8

Ollin Arm Candy www.ollinarmcandy.com (732) 460-1900 See our ad on page 41

Galison www.galison.com (800) 670-7441 See our ad on page 15

Pine Garden Baskets www.pinegardenbaskets.com (910) 799-8363 See our ad on page 36

Gryphon and Eagle Games www.eagle-gryphon.com (270) 259-8833 See our ad on page 30

Silver Creek Industries www.buysci.com (800) 533-3277 See our ad on page 9

Harmony Designs www.harmonydesigns.com (888) 293-1109 See our ad on page 29

Soft Stuff Creations www.softstuffcreations.com (888) 228-5001 See our ad on page 29

Joolz Hayworth www.joolzhayworth.com (323) 892-0656 See our ad on page 8

Sunset Hill Stoneware www.shstoneware.com (800) 509-4662 See our ad on page 44

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LaGrave Designs www.lagravedesigns.com (321) 427-9238 See our ad on page 44

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MUSEUM STORE | WINTER 2012

OPERATIONS

BY MARGE D. HANSEN

Kids Only At the Getty Center, the third time’s a charm! The recently relocated and re-imagined destination shop is proving to be a favorite with visitors, and profits are up, too.

hat a fun and fabulous spot: a new store just for kids all wrapped up in the J. Paul Getty Museum at the Getty Center in Los Angeles. Known for its visual splendor, impressive collection and innovative exhibits, the Getty has always held a special appeal for young museumgoers. Now, in addition to the museum gallery art stops, art-making workshops offered in the Family Art Lab and activity coves and treasure-hunt walls in the Family Room, the Children’s Shop welcomes families and school groups to explore a store created just for them and extend their museum experience by taking home something uniquely Getty. “Our Children’s Shop has a long and complicated history,” Chloë Simon, general manager of retail operations at the museum, explains. “While we did not have a dedicated children’s shop when the Getty Center opened in 1997, we did dedicate a portion of one of our satellite shops to children’s books and merchandise. This was not ideal, as the space was quite small and the

location itself was not highly trafficked. It was, however, on the path of school groups, so we were able to capture this demographic.” In 2006, space was allocated for a stand-alone children’s shop, but the site was on a sort of “road less traveled” and not very easy to find. “We had the opportunity to move into a more central location in the museum’s West Pavilion on a temporary basis in March 2011. This became our popup shop, focused on children’s books and merchandise,” Simon notes. “The space more than doubled that of our previous shop. We quickly saw a jump in sales of three to four times the revenue in the prior location. This space was re-appropriated by the museum for exhibition-related purposes after a few months spent there, but we had enough time to demonstrate the potential for a children’s shop in this location. We knew it was important for our museum to have a children’s shop based on the level of visitation by children and families, as well as school groups. Fortunately, we were able to move back into this great space on a permanent basis in June of 2012.” WINTER 2012 | MUSEUM STORE

Kids Only THE STRATEGY n museum retailing, it is uncommon to find stores solely merchandised for kids outside of museums that are intentionally designed and built for children. However, the Getty group knew they had lockeddown a highly visible location, organized the right product mix and could rely on significant visitation from family and school groups, key essentials for turning a shopping spot into a successful venture that drives profitability. Based on this due diligence, a

suit the spaces allotted, and we were able to put everything together in just a couple of days after the furniture was in place.” Drawing on the talents and creativity of the Getty’s design department and inspired by the museum’s popular children’s publication “An ABC of What Art Can Be” by Meher McArthur, with pictures by Esther Pearl Watson, a vision for the new retail space began to emerge. Just as the ABC book uses clever couplets—“A is for artist, creator of art, making all sorts of things with the hands and the heart”—to spur young readers to move beyond the box, the designers integrated this inventive-thinking theme into the 800-square-foot store.

number of real and mythical animals that “speak” to little visitors as they tour the galleries, a creature corner has become a focal point for plush toys, puppets and wooden kits. What child wouldn’t head for a 3-D fire-breathing dragon? In this case, the Topozoo (meaning layered animals) are fun and satisfy the parental quest for playthings made of eco-friendly, recycled, non-toxic materials that are designed, manufactured and shipped in the United States. They sell fast and are typical of other thoughtful, high-quality selections throughout the store. “Do Not Touch” signs have no place here. This is a hands-on, play emporium

Customers are encouraged to play with the toys, watch the videos and read the books in a space designed to bring out the youthful joy in visitors of all ages.

three-point children’s shop action plan was developed: 1) Shift children’s merchandise from the Getty’s main store to a child/ family-centric shop with additional space to expand inventory; 2) Meet the retail needs and specific interests of school groups; and 3) Stock books and provide products for infants to teens at various price points. The Getty did not retain an independent store designer. “We met as a team—store management and buyers—evaluating the floorplan, determining furniture and fixture needs, and mapping out the space by category,” Simon recalls. “The buyers then brought in books and merchandise to 28

MUSEUM STORE | WINTER 2012

CONSTRUCTION AND MERCHANDISING

xisting fixtures and furniture went back into service as the substructure for new, cohesive display concepts. Two walls of cases, featuring flexible shelving and slatwall backing, showcase books, toys, art kits and more. A large, attention-grabbing flat screen monitor mounted on the back wall runs DVDs available in the store, such as strong sellers like “Alphabet Soup” and “The Way Things Go.” The continuous show is a great way to draw visitors in and make time spent in the space even more entertaining. Since the museum collections feature a

where little guests and their grown-up escorts put together puzzles, check out games, peer through kaleidoscopes and walk action figures around a pair of tables stacked with amusing, intriguing, educational, fun-sized products. Marble tricolor pencils help with multi-color picture production that become watercolors with the touch of a damp sponge or wet finger. Playable art balls can be configured into sculptural works of art. Brightly-colored

rulers fold up for pocket storage and fold out for accurate measuring. Overhead, an engaging mobile display fascinates—and tempts—shoppers. “It is a great place to find unique gifts for the kids in one’s life. Our sales associates are encouraged to really interact with visitors in this space, demonstrating toys and games and actively suggesting things the customers might enjoy,” Simon smiles.

GOOD VIBRATIONS

tore sales associate Jean Green is often on deck in the new Children’s Shop. “One thing I consistently see in the Children’s Shop is how even adults are inspired to play with the toys, watch the videos and look at the books with such a youthful joy, almost as if they become kids again,” she observes. “I have even seen a distinguished-looking man in a suit with a puppet on each hand, engaged in conversation!” Another of the store’s hot spots is the bench near the Getty Publications bookcase. Kids and families are invited to sit and read stories, like “Going to the Getty,” a collaboration of Vivian Walsh and J.otto Seibold, whose witty descriptions and colorful illustrations of the museum, its tram and gardens jump off the page. A range of age-appropriate picture books, how-to titles and materials for more advanced readers are on display. The store also includes a conveniently arranged assortment of non-kid items. “Adjacent to the cash wrap area is a bay displaying some of our best-selling Getty items, so that adults wanting to purchase a cap, mug or magnet can do so if they don’t have time to visit another shop,” Simon adds, emphasizing that the team continuously analyzes sales patterns throughout the store, and restocks and remerchandises to maintain fresh, full displays. The Children’s Shop is getting rave reviews from museum visitors and Getty staff members, who stop by often and are part of the all-important, repeat-customer demographic. The location and expanded space, combined with targeted purchasing and creative, eye-catching merchandising is turning out to be a good investment.

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Kids Only â&#x20AC;&#x153;From a financial perspective, this specialty shop is a home run,â&#x20AC;? Thomas Stewart, the Gettyâ&#x20AC;&#x2122;s head of merchandise development and retail store operations, proudly comments. â&#x20AC;&#x153;We are happy to report a four-fold increase in sales for this category. With a larger dedicated space, we offer families not only a tailored shopping destination but also a comfortable space for children to explore, play and learn.â&#x20AC;? Marge D. Hansen is a freelance writer based in Broomfield, Colo., who regularly contributes to Museum Store. She recently wrote the â&#x20AC;&#x153;Wearing 2 Hatsâ&#x20AC;? article in the fall 2012 issue.

Toy Sales News

t 0SJHBNJ BSDIJUFDUVSF HSFFUJOH DBSET t $SFBUFE GSPN B TJOHMF TIFFU PG DVU BOE GPMEFE QBQFS UIBU XIFO PQFOFE EJTQMBZT B UISFF EJNFOTJPOBM JNBHF t -BTFS DVU BOE IBOE GPMEFE t $BMM +PZDF UPEBZ UP EJTDVTT EFUBJMT PG DVTUPN EFTJHOT

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ccording to The NPD Group, a leading market research company that works closely with the Toy Industry Association (TIA), toy sales in the United States reached $21.18 billion in 2011. TIA is a nonproďŹ t trade association for producers and importers of youth entertainment products sold in North America. TIA sees consumers adopting a â&#x20AC;&#x153;save â&#x20AC;&#x2DC;nâ&#x20AC;&#x2122; splurgeâ&#x20AC;? attitude, with shoppers who buy childrenâ&#x20AC;&#x2122;s toys â&#x20AC;&#x153;staying mindful of what they buy and who they spend on.â&#x20AC;? A â&#x20AC;&#x153;resurgence of toys on the higher end of the price scaleâ&#x20AC;? has been noted. U.S. births are predicted to rise in 2013, motivating toy manufacturers to expand their tot and toddler focus in an effort to encourage an early start on establishing lifelong learning patterns. The â&#x20AC;&#x153;little learnersâ&#x20AC;? trend supports the development, production and sale of â&#x20AC;&#x153;challenging, educational and creative toys that stimulate the youngest of minds and produce well-rounded kids.â&#x20AC;? (Perfect merchandise for a museum store setting!)

SOURCE: Toy Industry Association, www.toyassociation.org

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WINTER 2012 | MUSEUM STORE

BUSINESS RELATIONS

ONE MUSEUM

TWO STORES

WHEN TRAVELING EXHIBITS SELL THEIR OWN STUFF BY CATHERINE NEWTON 34

MUSEUM STORE | WINTER 2012

`1 p m, we 7 []\ 0 v - g 6 45 []\ . r 8 ad - bn = hj 7 6 ad `1 y 9 f = m, q k 8 7 f 45 ui 0 g q . we l 9 8 g 6 p - hj we `1 r ;’z 0 9 hj 7 [ ]\ = k r 45 y v 0 k 8 ad q l y 6 ui bn = -A PACKAGE l DEAL 9 f we ;’z ui 7 p m, q stores, sometimes called exit =T raveling ;’z 0 g r v p 8 [ ]\ . we stores, are typically associated with for-profit exhibits, and their terms and qlarge, v - hj y bn [ ]\ 9 ad `1 r options are as varied as their offerings. When the King Tut exhibit visited the Denver we bn = k ui m, ad 0 f 45 y Art Museum, for example, Shop Manager McKay had little to say about the rGreg m, q l p . f - g 6 ui accompanying store. “The exhibit came with its own merchandise, set up the space and y . we ;’z [ ]\ `1 g = hj 7 p operated the store with its staff,” he recalls. was part of a package deal that provided ui“Ita revenue-sharing `1 arrangement r withv ad 45 hj q k 8 []\ the but there was no involvement on “It was an interesting experience to have would go directly back to support the museum. pmuseum, 45 y bn f 6 k we ad my part. Our shop could not compete with a competing store set up shop within our That’s a tipl I’d pass along9 to other shop store, although we carried a museum.” managers. In the end, the exhibit was a []\thesmalltraveling 6 ui m, g 7 l r 0 f assortment of Egyptian merchandise Although Hata’s opportunity for input success for;’z the museum overall, and everyone to our collection.” was limited, he did insist on reviewing contributed to it.” adrelated 7 p . hj 8 ;’z y v - g As McKay watched the King Tut store merchandise and packaging in advance ring up sales, he saw the big picture. to make sure they were appropriate to TOP-TO-BOTTOM f 8 [ ]\ `1 k 9 v bn = hj ui “The exhibit created a lot of buzz for the the museum’s mission and standards, and OPERATION museum and was very successful from the he vetoed several items. “The public has eather Heath, museum store manager at g 9 ad 45 l 0 bn p m, qof Naturalk institution’s standpoint,” he says. He also no idea that a traveling store is a separate H the North Carolina Museum took lessons from the store’s success when operation, so it’s important that it reflects Sciences in Raleigh, had a “pretty frustrating” his ownf 900-sq.-ft. exit 6 store well on our museum,” artifacts exhibit hjhe designed 0 ;’z -he says.m, [experience ]\ with.a historicalwe l for the Denver Art Museum’s Vincent van Visitors flowed into the King Tut store as that brought its own merchandise but left the exhibit, which store. managers ad expected her to handle daily kGogh special -exhibit.g 7 theyv = `1 roperations. ;’z Stuart Hata, director of retail operations agree is the ideal way to capitalize on exhibitThe schedule was disorganized, pricing was Young andhj Legion of Honor/ excitement. Hata unclear, she45 had to pay iny advance for a large lat the de= 8 goers’bn qtook advantage `1of the f v Fine Arts Museums of San Francisco, had event to promote his store’s Egyptian-related amount of book inventory and merchandise a similarq experience with The offerings in signage throughout 45 the museum, g showed up the6 day before the exhibit opened. ;’z kKing Tut.9 m, we ui bn contract stipulated an exit store, and revenue as well as in marketing materials and member So when Heath learned that the Titanic shared with the museum to communications. In addition, 6 he placed hj exhibit was 7 coming and would its vwas we laccording 0 . r pmanagem, a formula that encompassed both ticket merchandise on racks outside his store—which exit store, she was all for it. “For me, not merchandise “In my 26 years in just`1 happened to y be where visitors7 lined up to k having to run8 an exit store[ is great,” bnand r sales.;’z ]\she says.. the museum world, it’s the only time I’ve enter the exhibit. “I also reinforced the message RMS Titanic, Inc., is a subsidiary of interacted with a traveling store,” he= says. that all proceeds from the museum8 store’s sales l Premier Exhibitions, in m, y v 45 ui 9 headquartered ad `1 . ui bn q 6 p 9 ;’z 0 f 45 RIDDLE: King Tut, Titanic and Body Worlds arrive at your museum. What happens next? Answer: They bring their own store and start ringing up sales.

THE BIGGER RIDDLE: Are traveling stores a positive or negative experience for museums? We posed this and other questions to store managers and heard responses ranging from “challenging” and “frustrating“ to “learning opportunity” and “moneymaker.” But managers did agree on two things: If the traveling store beneﬁts the museum as a whole, consider it a success. And, get involved with plans and contract negotiations whenever possible so you can provide input on the best way to coordinate the traveling store with your own.

Capitalizing on their excitement, visitors to the King Tut exhibit at the de Young and Legion of Honor/Fine Arts Museums of San Francisco ﬂowed directly into the traveling exhibit store.

WINTER W TER R 2012 | MUSEUM MUSE M STORE TORE ORE

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ONE MUSEUM TWO STORES Atlanta, Ga. Marcy Davis, senior vice president of merchandising, venue operations and strategic partnerships, describes the Titanic’s store as a top-to-bottom operation with managers, staff, merchandise, POS system, fixtures and visuals. “We absorb all the costs of running the shop and take all the inventory risk,” she explains. Revenue splits are negotiated with the museum, the store honors member discounts, and it has a 21-day return policy. “Our goal is for the store and museum to appear seamless to the visitor,” Davis says.

COLLABORATING FOR A SHARED GOAL ody Worlds is another blockbuster exhibit that travels with its own merchandise. “We collaborate with each museum to determine what will work best,” says Shelly Fritzler, retail manager, in Denver, Colo. Some museums choose a Body Worlds exit store, others place exhibit merchandise in their permanent store, or they opt for a combination of both. Museums typically supply their own staff or hire temporary workers, and membership discounts, special promotions and return policies are negotiated in advance. On a consignment basis, museum stores sell Body Worlds merchandise, pay the exhibit a predetermined percentage and can return unsold items when the exhibit closes. Museum shops are also free to stock their own merchandise related to the exhibit. “It’s a very straightforward process,” Fritzler says. “We welcome special requests from museums and try to work those out during contract negotiations. “Museum store managers know what works well at their venue and in their market, and we know what works well for the exhibit itself,” she continues. “But we share the same goal: to offer a variety of merchandise that will interest visitors and result in a successful store. Open communication and combining the knowledge of both parties are keys to a win-win event.”

MUSEUM STORE | WINTER 2012

Stuart Hata, director of retail operations at the de Young and Legion of Honor/Fine Arts Museums of San Francisco, insisted on reviewing merchandise and packaging in the King Tut exhibit store to make sure they met the museum’s mission and standards.

EVERYTHING IS NEGOTIABLE ennifer Morehead, assistant director of museum enterprises at the Science Museum of Virginia in Richmond, takes the view that “everything is negotiable” when working with traveling exhibits. But that also means getting involved early in the process. “There are no cookie-cutter contracts,” she says. “Even though the contract is negotiated at a senior management level, I see my role as providing input and education on how decisions will impact the store.” Morehead feels fortunate that her museum uses a team approach when making decisions that affect the overall institution. So when Body Worlds was proposed, Morehead contributed her ideas. The final contract called for a store located at turnstiles for both entering and leaving the exhibit, but was also accessible to other visitors. The exit store was stocked with 30 percent Body Worlds merchandise and 70 percent items purchased by Morehead, with a similar assortment carried in the permanent store. (Sales reflected the same 30–70 split.) Rather than using Body Worlds fixtures, Morehead purchased fixtures that she could re-use. She set up the same POS system as in her permanent

store, and she insisted on control over the hiring and training of exit store employees. “The greatest risk with a traveling store is jeopardizing the visitor experience,” Morehead explains. “Visitors don’t see the difference between our store and the traveling one, and they get aggravated if the staff is not knowledgeable, member discounts aren’t honored, pricing seems out of line, items can’t be returned, or the quality of merchandise is not up to standards.” One example: A museum store has a “Made in America” policy, but items in the traveling store are imported. “The visitor could leave with the impression that the museum is not standing behind its own policies,” Morehead says. A budget and sales and operating plan for an exit store are other critical elements, Morehead says. “Share them with your business office to make sure you have a healthy cash flow to invest in merchandise and hire extra staff, and can keep spending in line with sales projections,” she advises. As an example, Morehead initially bought about two-thirds of what she planned to sell during the Body Worlds run. Then she determined what to re-buy a couple of weeks into the exhibit. “Body Worlds was a huge success,” Morehead concludes. “We saw a 100 percent increase in store sales compared with the same period a year earlier, and feedback from visitors was overwhelmingly positive.” At the North Carolina Museum of Natural Sciences, Heath adds, “We’ve made a lot of money for our organization with special exhibit stores, but they can be challenging. What’s most helpful for me is contacting other store managers who have already had the exhibit to ask about their experiences. In turn, I tell the next person what to watch for and what works well. I do for them what others have done for me.” Catherine Newton is a freelance writer based in Denver, Colo. She last wrote how museum stores are exploring and joining the e-book phenomenon for the 2012 fall issue of Museum Store magazine.

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QUICK TIPS BEFORE • Look out for the best interests of your store. • Ask to provide input on the contract. At the very least, get a copy of the signed agreement’s merchandise clause so there are no surprises.

DURING • Try to make the shopping experience seamless for visitors. • Expect exit store employees to meet the museum’s standards for service and knowledge.

AFTER • Hold a wrap-up meeting after the exhibit closes to compare notes on what went well and what to do differently next time.

WINTER 2012 | MUSEUM STORE

COMMUNICATIONS

Winning PUBLICITY STORE

By Nicole Leinbach Reyhle

aining press in a competitive market is a challenge for any business, but gaining press while competing with your own museum creates an even more taxing scenario. If you consider your store as a separate entity to your museum—even if only in the case of gaining press—then it’s important to pitch your store to the media with this in mind. Of course, the reality is your existence is a part of the larger institution, but how you present yourself to the media can help you achieve solo publicity. Competing Against Your Own Institution ike all retailers, you must have a reason to pitch the press in order to receive deserved publicity. It’s important to identify details that will capture attention, therefore developing a story to be told in the media. Naturally, your store will be linked to your institution. However, your role is to make your store the spotlight, with your institution taking a backseat. Unlike other retailers, this scenario makes pitching the press even more tricky—ultimately giving you more of a challenge to gain credible, front-row consideration. Since your institution isn’t going anywhere, it’s best to look at this as an advantage to your pitch. Your institution’s vast schedule of exhibits, special events and other attractions can be used as leverage; however, it’s up to you to define how your store and its inventory stand out among these details. The best way to approach this is to identify what products and attractions in your store stand out on their own. Is there a particular product that sells out any time of year? Do certain merchandise categories lure customers into your store without a museum visit planned? What store services or attractions do you offer that keep customers engaged, happy and coming back? Combining your store’s unique attributions with your museum’s unique attributions is a fantastic way to gain media attention, yet make sure you keep the store and its product front and center in conversation. When you consider that the media loves buzz words, consider your museum name the buzz word. After all, your institution’s name will likely be more recognized than your store name alone. But remember to refer to this as simply a buzz word, otherwise it may become the main focus of the media. Using your institution’s name to attract attention makes sense. Using your institution to steal all the attention from your store does not.

MUSEUM STORE | WINTER 2012

WINTER 2012 | MUSEUM STORE

Winning PUBLICITY STORE

STANDING OUT IN A CROWD nce you have a story to tell, pitching to the press becomes the largest obstacle to conquer. According to PR expert and founder of Avante Garde Communications Group, Inna Shamis Lapin, competing against more brandrecognized retailers is always a challenge. “The biggest struggle is being able to stand out amongst the big chain retailers that might be in the same market category or offer similar products. Museum shops have to work twice as hard to help differentiate themselves to the media, making them understand how they are unique. This is what’s going to resonate, though, so it’s worth your efforts.” Instinctively, unique retailers assume they will stand out to the media since they are, in fact, unique. However, Shamis

Lapin continues to explain that this theory isn’t necessarily the case. “The media knows their audience, so they are always looking for stories that their audience will be attracted to. Often, this means sharing stories about mainstream businesses and retailers,” Shamis Lapin states. Megy Karydes, principal of Karydes Consulting, a marketing communications agency that works with socially-conscious businesses and nonprofit organizations, agrees that a compelling story is vital when pitching to the press, but it is not the only factor that will seal the deal. “The most integral part of pitching to the press is pitching it to the right member of the media. Making your story timely to current affairs or trends can give you an extra edge for a reporter to want to pick up the phone and learn more about your story,” Karydes explains. STEPPING UP TO BAT n order to be prepared to pitch to the press, there are a few key factors

to consider. The first is to know their editorial calendar, if they have one. Most print publications, including magazines and newspapers, have editorial calendars that identify future topics they will be highlighting, as well as a timeframe. Additionally, many television shows offer media calendars that identify future stories they are working on. Typically you can find these details on each respective website with some research on their business platforms versus their consumer pages. “If you see a magazine is doing a huge issue on food in September, for example, you can think of story ideas as it relates to food using items in your museum shop and possibly weaving in an exhibit that incorporates food, too. Savvy media professionals learn to use editorial calendars well because they know it helps their chances of getting covered exponentially,” Karydes explains. It’s fair to assume that some stories simply won’t overlap with anything your target media outlet has on the horizon, and

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Winning PUBLICITY STORE

that’s okay. Still, pitch these stories; just do so with even more persistency as to why it’s important for their audience. The next thing to consider when pitching to the press is who you are pitching to. Since most media outlets have a variety of editors, reporters or producers, it’s up

to you to determine who is best suited to receive your pitch. If you are familiar with the outlet in which you are pitching, you should be able to recognize the name of the reporter, editor or producer who most likely connects with your pitch, finding their contact information on their website or in the publication. Blindly pitching your story makes zero sense, particularly because the media get a lot of pitches and any extra work they have to do to field those pitches limits your chance of gaining the right attention.

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Another thing to remember is that pitching to the right person combined with a story based on their editorial calendar equals a winning combination. As Karydes states, “Knowing what’s on the docket via a media outlet’s editorial calendar provides two major benefits. It shows the reporter that you’ve done your homework and that you have information that the reporter can possibly use immediately.” No pitch will be successful, however, without the right construction involved in bringing it to life. In publicity, there are five basic principles you want to identify in all your construction efforts. They include answering the questions of who, what, when, where and why in every communication outreach you take to share information about your proposed story. Traditionally, a press release answers each of these questions for the media. However, social media is becoming more and more of a go-to resource for media outlets to discover story ideas. “Members of the press are increasingly using social media outlets to develop story ideas or secure sources. If your museum maintains a Facebook page or Twitter account, be sure to send the person who manages those social media accounts updates on what is happening in your store,” Karydes states. As a helpful reminder to make sure you do this routinely, Karydes suggests scheduling this on your calendar if it’s not something you will make a habit of otherwise. Sharing pictures, as well, also is encouraged. Terry Emma, executive director of the Geneva History Center in Geneva, Ill., finds that keeping an organized spreadsheet helps her team stay on track when pitching to the press. “Some of the publications require up to two months notice, such as monthly magazines. We keep an Excel spreadsheet list of when to send press releases and to whom to send them, with reminders in advance. We also have reminders for follow-ups one month, one week and as needed, in advance,” Emma explains. Keeping an organized list is a fantastic way to stay on track with your PR goals

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Winning PUBLICITY STORE

and stay consistent in your outreach. Investing the time to organize these details with your target media outlets may seem lofty upfront, but ultimately will save you time and provide convenience to you in the future. Adding these reminders to your preferred calendar takes this one step further, making sure you never miss a deadline or a chance to get PR. GETTING THE HOMERUN ress releases and social media combined can often do the trick in gaining the media’s attention, but don’t give up if you do not get immediate responses. And definitely don’t eliminate using the phone and email, as well. “Persistence is key,” Shamis Lapin states. Shamis Lapin believes that being concise in your communication is important to the media, as well as offering them quick, summarized yet compelling pitches. “Don’t waste time with formalities. Get right to the point while being professional and polite. And always, always spell check,” Shamis Lapin stresses. If you really want to impress the media, include statistics. The press loves numbers that provoke interest and curiosity. Lean on your vendors, industry organizations, studies and your best partner—your institution—for these details to help place your pitch in a winning spot. Finally, be realistic. Not every story you pitch will capture the spotlight, but without any pitches made, you won’t get your deserved spot in the press at all. Nicole Leinbach Reyhle is an experienced retail and wholesale professional who founded Retail Minded—News, Education & Support for Boutique Businesses. She is a frequent contributor to a variety of retail trade publications, including Retail Minded magazine, the only retail lifestyle publication in the marketplace. To learn more, visit www.retailminded.com.

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WINTER 2012 | MUSEUM STORE

JEWELRY

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| ad index |

s a member of MSA, you have access to some of the best product vendors. When you purchase from them, you are supporting your community. Following is one of MSA’s newest affiliates waiting to help you stock merchandise that will coincide with your museum’s mission.

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