Museum Store Winter 2011 by Museum Store Association

made

IN THE 26

USA

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whatâ&#x20AC;&#x2122;s hot for 2012 excess inventory control marketing to travel groups

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AMERICAN DESIGN AMERICAN STYLE AMERICAN MADE Jewelry, art, gifts and souvenirs in custom and limited editions by American and Canadian studio artists Contemporary styles for home, holiday, office, garden and gourmet Specialty categories: under $50, eco-friendly and inspirational

Buyers Market of American Craft February 18-20, 2012 Jewelry Preview, February 17 Pennsylvania Convention Center, Philadelphia

SUSAN RODGERS

HOLMAN POTTERY

GLASS EYE STUDIO

www.BuyersMarketofAmericanCraft.com E-mail: registration@rosengrp.com

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Winter 2011

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

Volume 39

Features

MSA StAFF

ExEcutivE DirEctor

Beverly J. BArS ook

cOMMuNIcAtIONS StAFF sEnior managEr for communications

STepHAnie peT erS

communications EDitor

kATHy ciSAr communications anD officE assistant

SyBil FAUrer

ADMINIStRAtIVE StAFF

ADriAnA HerAlD sEnior managEr for mEmbErship anD programs

BriDgeT DUMMeTT clAire leMASTer confErEncE & Expo sErvicEs coorDinator

JenniFer AnD erSon officE aDministrator

cAnDrA H enDrickS

SKIES AMERIcA PuBlISHING cOMPANy art DirEctor

JAcqU elyn M errill

proDuction managEr

cinDy pike circuLation

Allen nelSon

maiL: Museum Store Association 4100 e Mississippi Ave, Ste 800 Denver, co 80246-3055 www.MuseumStoreAssociation.org phone: (303) 504-9223 Fax: (303) 504-9585

aDvErtising: Mary petillo: (503) 726-4984 Museum Store magazine (iSSn 1040-6999) is published quarterly by the Museum Store Association. postmaster: Send address changes to Museum Store Association 4100 e Mississippi Ave, Ste 800 Denver, co 80246-3055

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Idea Gallery: Holiday Displays get inspired by these festive product displays from your cultural commerce colleagues. Putting Out the Welcome Mat Discover how to market to tour groups and build your travel group business.

President’s Message Stay focused by connecting with your colleagues.

Executive Director’s Message Be indispensible by staying on top of trends.

Operations Bring the details of physical inventory counts into focus. By MiriAM workS

Financial Management Using provenance cards for UBiT and beyond. By AnDrew AnDoniADiS

Business Relations Make licensing more agreeable to all parties. By JoSepH HAMMer

43 45 46

© 2011 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. MSA and Museum Store Association are registered in the U.S. patent and Trademark office.

Out With the Old Use these practical strategies to manage your excess inventory. By TrAci rylAnDS

Departments

aDvErtising

MAry peT illo

HOW tO cONtAct uS

Made in America learn about the complex “made in the USA” issue and take a different approach to a product’s country of origin.

By cATHerine newTon

EDitor

MATT w illiAMS

E-maiL: speters@museumstoreassociation.org please provide your full name, location and institution or company name.

What’s Hot for 2012 Find out what merchandise will delight next year’s customers in this buyer’s guide of the latest trends. By April Miller

By MArge D. HAnSen

DatabasE aDministrator

mEmbEr & EDucation sErvicEs coorDinator

Issue 4

cover image: istockphoto.com/© Michael Marschke

New Vendor Showcase Product News Advertiser Index

WINTER 2011 | MUSEUM STORE

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| president’s message |

Stay Focused connect with your colleagues.

| by Valerie troyansky

y last two columns have focused on the business of the MSA board and the changes we anticipate in the coming year for the annual Conference & Expo, networking opportunities and improved communications. As many cultural institutions enter the height of the holiday selling season alongside main street retailers, we may be tempted to take our eyes off broader strategic goals and focus on the day-to-day adjustments we must make in order to achieve our shortterm sales goals. Are we adequately staffed? Do we have the merchandise in the store? Have we anticipated all the “what ifs” that are truly within our control? While the seasoned professional must juggle the past, present and future, networking and checking in with your colleagues is an important way to stay on top of trends. MSA’s role is more critical than ever, providing access to more than 1,500 nonprofit retail professionals and vendors experiencing many of the same challenges as you, and willing to offer their advice, experience and suggestions. How do you tap into this amazing resource of knowledge? • MyMSA—A valuable online tool for connecting with your colleagues, MyMSA offers more than 15 niche groups connecting you to members in your regional chapter, discussions about POS systems and the ShopTalk group, which members consistently rate as the number one benefit of MSA membership.

• MSA Retail Conference & Expo— In addition to learning about the latest industry trends through educational sessions and shopping the one-of-akind Expo, this is the best place for face-to-face networking with other cultural commerce professionals and vendors. • Social Media—Another great way to stay on top of the latest trends with both MSA members and nonmembers is through MSA’s LinkedIn, Facebook and Twitter pages. Share your thoughts about what’s happening in the industry with your colleagues. • MSA Blog—Subscribe to the MSA blog, On Display: The Nonprofit Retailing Blog to hear about trends, observations and discussions in the nonprofit retail industry. While those daily tasks are an important aspect of running our stores, I urge you to take a step back to connect with your colleagues and stay focused on those broader goals. Whether you’re a seasoned professional or a newbie, manage a big or small store, or come from a high profile museum or a lesser known cultural attraction, you’re sure to find some great advice. I can’t imagine trying to do my job without the invaluable support system that my MSA membership provides.

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

v alerie troyan sk y the metroPolitan museum of art new york, n.y.

first vice President

elizab eth (be th) rick e r new mexico museum of natural history and science albuquerque, n.m.

second vice President

stac ey stachow wadsworth atheneum museum of art hartford, conn.

secretary

c hac ho he rm an san diego museum of art san diego, calif.

treasurer

c and ace alle n museum of new mexico foundation shoPs santa fe, n.m.

directors at large

stua rt hata de young and legion of honor/ fine arts museums of san francisco san francisco, calif. -and-

Valerie Troyansky valerie.troyansky@metmuseum.org

b arb ar a le n hardt crystal bridges museum of american art bentonville, ark.

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An essential ingredient to every toybox, every childhood, every generation. See more puppets at www.folkmanis.com 0r call 1-800-654-8922 for a free catalog.

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| executive director’s message |

Be Indispensible Stay on top of trendS.

| by beverly j. barsook

here’s an interesting e-book published by TrendHunter.com. It’s called “Exploiting Chaos: 150 Ways to Spark Innovation During Times of Change.” Author Jeremy Gutsche, a noted expert on trend hunting, has composed a fascinating quick read of examples and advice on how to see through all the chaos to create your own strategies for innovation. You can download and read the book line by line or you can just read the page headlines for some great step-bystep advice. Steve Jobs was a wizard at creating products that fulfill unmet needs. This season we are seeing QR codes in store windows and a new mobile phone with superb verbal query capabilities that is spreading into our cell phone culture very rapidly. I doubt there is any retail store that is not going to be filled with people busily comparing price and availability of the hottest products on the market this season. Here in Denver, the Cherry Creek Mall is already in high holiday sales mode (well before Thanksgiving) and the stores are jammed with people. How can a small independent retailer in a museum compete

in this environment? One thing’s for sure, it won’t be by sticking your head in the sand or resisting the spread of comparative shopping. One piece of advice from Gutsche is “Learn the game and start to play.” Find a way to make your store the indispensible place to shop—whether or not it is the holiday season. Tell your story.

MSA is looking for strategies to help you stay on top of what is new and important in independent retailing. MSA also is looking for strategies to help you stay on top of what is new and important in independent retailing. In addition to the new MSA website and MyMSA community launched this year, we plan to provide even more in the coming year, including: • MSA Retail Conference & Expo— New Orleans, a city rich in culture, history and heritage, will be the place to be April 14−16, 2012, to experience exceptional educational programming, creative networking events and more opportunities to shop

It’s not just beautiful one-of-a-kind jewelry; it’s a 700 year old story.

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unique museum-quality products. • Educational Webinars—Presented by experts in their field, you’ll have the opportunity to continue your professional development throughout the year. • MSA Blog—Stay connected with colleagues and read about topics

important to you, written by your peers and other industry experts. • MSA Publications—“Numbers By The Book,” released in 2011, is the essential guide to answering the unique questions about the financial operations of a specialty retail store. “Marketing Cultural & Heritage Tourism” is the latest book available through MSA, and is a comprehensive guide to developing your organization’s tourism marketing plan. We’re proud of what we’ve accomplished in the past year, and are excited about all we have to offer in 2012. If you haven’t already renewed your MSA membership, now is the time. Don’t miss out on all MSA plans to offer to help you increase sales, source unique merchandise and make smart business decisions.

Beverly J. Barsook bbarsook@museumstoreassociation.org 13845 N. Buckhorn Cholla Drive Marana, AZ 85658

Use code MOTY23 for FREE SHIPPPING

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operations

Physical Inventory Counts bringing the detAils into focus.

| by miriam works

s an awkward high school freshman I was diagnosed with severe nearsightedness and fitted with a pair of thick cateye frame glasses. I didn’t like them—the nerdiness of the way they looked, how they felt on the bridge of my nose, the humiliation of needing them. But I also loved them—I could see the blackboard! I could recognize friends in the hallway! I finally knew what was going on! Doing inventory feels like putting on that old pair of glasses. I still don’t love the look and feel but I know I need a clear picture, to bring details into focus and to know what’s going on. A regular physical inventory of all your merchandise

one place. Schedule time to review them and print missing tags. Return merchandise to its proper location •

istockphoto.com / © kali9

•

Keep in mind that technology can’t solve problems of mysteriously missing products, untagged merchandise, skipped items or poor planning. is required to gain that clear picture, solve potential problems and plan for the future. Specific procedures vary from store to store but preparation and planning are key. Careful scheduling, close supervision and proven practices are cornerstones of a smooth inventory process, whether your store is large or small, and regardless of technology, or lack thereof. The most obvious procedural difference is between conducting a manual count or using Portable Data Terminals (PDTs or scanners). Scanner counts are easier and much faster. But keep in mind that technology can’t solve problems of mysteriously missing products, untagged merchandise, skipped items or poor planning. So, if you usually slog through inventory, 8

wishing for an easier way, fueled by caffeine and chocolate and the fleeting reward of having it over with, consider these tips. • Develop an inventory timeline and staffing plan to fit your store size, past inventory valuation, access to helpers and past experience. • Clean, organize and consolidate merchandise in the store, storage room, office and anywhere merchandise is located. Pull fixtures out from the wall and clean behind shelving units to find those wayward postcards, dropped earrings and dusty plush toys. • Do a thorough tag check, making sure every single product has a legible price tag with a SKU number or bar code. Put untagged items in

•

• •

•

before counting. Develop and document a consistent process for losses. During tag check, identify and make decisions about write offs and mark downs. Make inventory adjustments before you count to ensure pre- and post-count valuation are closest, and shrinkage figures are most accurate. Consolidate merchandise that is displayed in several locations and place an extra supply of best sellers on the sales floor. Borrow ideas from local department stores for showing multiples of the same product in displays. It’s okay to count merchandise in the stockroom several days, or even weeks, before counting the sales floor, but then you must “freeze” that merchandise. This means no re-stocking of sold items, so schedule pre-counts carefully to avoid a negative impact on sales. Your store should be closed during physical counts. Stop shipping, receiving, sales and return transactions until after the final count is posted. Be sure your printer is working and has plenty of paper. If possible, work in teams of two— one person calls out the item number and quantity, and the other fills out the form or enters data into scanner. Switch teams for re-counts. If using handwritten forms, remind helpers to write legibly.

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• Use some type of a visual reference as counts are completed, turning items so they face backward or placing a sticker on the edge of each shelf after counting. • Determine your policy on an acceptable variance level and stick to it. Recount items with a significant difference between pre- and post-count figures. • Counts are easiest when inventory levels are lowest, but this isn’t always possible. Most institutions require an annual physical inventory at the end of the fiscal year. • While not necessarily required for your finance department, conducting rolling counts by department or vendor will help you reorder, make shrinkage easier to monitor and identify other inventory management issues. • Keep administration and other museum staff informed of the

timing and importance of inventory. Communicate clearly with your finance office and know what information and reports they need. • Match volunteers and staff to tasks they can do well. Be direct about tasks involved and realistic about helpers’ skills. Some people love to organize and clean, others are sloppy. Some people love the challenge of counting accurately—others will race to the finish line. Empower your team by giving them the tools they need and clear direction to do a good job. • Take helpers to lunch or supply snacks and drinks. Be sure helpers take breaks. This includes you! Fatigue and pressure never yield accurate results. • Keep an eye on ShopTalk, post your questions and share your inventory tips.

Some of the pointers listed here were shared recently along with details of MSA members’ inventory procedures. While it may never become a favorite part of your job, completing an organized count, understanding exactly where your inventory level stands, and being secure in the knowledge that you’re basing purchasing, mark downs and merchandising decisions on accurate information is very satisfying. They say ’60s style is back. So let’s all don our cat-eye glasses and begin our next season with confidence and clear vision. Miriam Works is principal of Works Consulting, which provides full-service museum retail consulting, including design, merchandising, management, buying, staffing and operations. She last wrote in the spring 2011 issue about how to train your store staff on upcoming museum exhibitions. Visit the Works Consulting website at www.works-consulting.com.

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financial management

UBIT and Beyond Using provenance cards to relate merchandise.

U “

BIT is your friend.” I have used this mantra for years to help ease unnecessary concerns about the sometimes unclear and tangled regulations associated with Unrelated Business Income Tax. This article is not about UBIT itself but about how to leverage adherence to the rules and regulations into a pro-active selling tactic that will enhance revenue. Most everyone agrees the use of provenance cards (aka, shelf-talkers) is a proven way to connect the products in the store to the mission and exhibits in your institution, thus taking a big step toward meeting UBIT requirements. Far beyond this technical step, provenance cards can also drive sales by educating the visitor about a product’s mission-related characteristics, providing a background story about the product or the

| by anDReW anDOniaDiS

• Description of how a handmade product is crafted • “Stories” about the product Regardless of the purpose, how you execute the production and use of the card is important. Provenance cards should all be printed on the same colored card stock using

Cheese making in WI

Dictionary of Wisconsin history entry on cheese-making

Oleomargarine wars

Friday night fish-fry

Gerry Strey’s article on the Oleo-margarine wars in WI

Joe Kalpler’s article on Wisconsin traditions

Provenance cards can add to a merchandising ambiance that enhances the products’ perceived value. artist and pro-actively explaining higherpriced and unusual products, and items such as hand-crafted products, where the value may not be readily apparent. Information that can be incorporated in the cards includes: • Connection to the mission and/or exhibits of the museum • Artist background • Educational material that puts the product into perspective • Community connection such as history or being made locally • Description of materials especially if rare or unusual 10

the same fonts and museum or store graphics and logos. Generally, the only change from card to card should be the text and the size of the card required to accommodate the text and fit the size of the product. For example, most cards may be put in holders or on small easels and placed on the shelf next to a product, but a card for a piece of furniture may be larger and hung using ribbon threaded through a hole in the card. An example of provenance card variations on the same theme is the threetier signage recommendations we made for the Seminole Ah-Tah-Thi-Ki Museum in Clewiston, Fla. Although Rebecca Petrie,

retail manager at the museum, advises that the card program has not yet been fully implemented, the provenance cards will highlight three levels of proprietary and hand-crafted products, each with a slight difference in complementary card stock colors. The three levels are:

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• Seminole Made: Made by members of the Seminole Tribe of Florida using traditional methods and materials • Seminole Designed: Features traditional Seminole Tribe of Florida designs but are not made by members of the Tribe and/ or traditional methods and materials were not used in its manufacture • Seminole Inspired: Reﬂective of the characteristics of traditional Seminole Tribe of Florida design but are not made by members of the Tribe and did not use traditional methods and materials Other uses and advantages of a provenance card program include: • They can be a nice finishing touch by including less expensive provenance statements in the box or bag so the buyer or gift recipient gets artist or background information on the product. This also is an opportunity to provide more information (website address, phone number, etc.) that can be attractively printed on the provenance card itself. • The provenance cards and supplementary handouts can be used as a way to casually train paid and, perhaps especially important, volunteer staff. One training idea is to assemble a binder with plastic sleeves for all provenance material that can be read easily when convenient and on occasion used as a reference guide. • The cards also take the role of a silent, accurate and always available salesperson. While nothing compares to a staff person interacting with the customer to deliver product information, you don’t always have enough staff available, they aren’t always the “A” team and they are sometimes difficult to get out from behind the cash-wrap. • If we assume that a significant percentage of the products that have provenance cards associated with them have a higher than average price point for your store, the card can add to a merchandising ambiance for these products that enhances their perceived value.

• John Lemke, formerly of the Wisconsin Historical Society, advised that they were starting to use QR codes as provenance cards that linked to a web page that provided more in-depth information. See example on page 10. Many thanks to Sandy Fisher, manager and buyer of retail operations at The Mint Museum of Art, Charlotte, N.C., and Kathee Hoover, Academy shop manager at the Honolulu Academy of Arts, for examples

of provenance cards and their input for this article. Andrew Andoniadis is the principal in Andoniadis Retail Services, a consulting firm that has specialized in revenue-generating strategies for museum stores for 19 years. He can be reached at (503) 629-9279, Andrew@MuseumStoreConsult.com or w w w. Mu s e u m St o re C o n s u l t . c o m . Andoniadis Retail Services is a Champion Level Sponsor of the 2009 MSA Retail Industry Report.

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business relations

Making Licensing Agreeable a Look at Licensing contracts.

istockphoto.com / © Brian pamphilon

icensing can be an effective way to spread your organization’s name and message, and to inform the public about your collections and expertise. It can also be a source of additional revenue. Do you have a name that could add value to a manufacturer’s image or products? Do you have a logo that is well known and sends a message? Does your group have expertise that could lend credence or approval to certain merchandise; could it help to design a product that would carry its blessing? Companies are always looking for ways to increase their credibility with the public. Your endorsement of a product with your name and logo shows the marketplace that the company is connected to the nonprofit world. Companies are often willing to pay for your partnership with a share of the sales pie, possibly as an outright donation, or as a portion of sales, in the form of a royalty. Be forewarned that it is never wise to enter into a licensing relationship with only royalties in mind. Such payments are a nice

| by joseph hammer

dividend indeed, but the fact that you are making your organization more widely known is far more important in the long run and sometimes much more valuable. If you decide to take the licensing plunge, I would strongly suggest that you enlist the help of a licensing professional, especially an attorney specializing in intellectual property. That person can save you time and money by teaching you how to navigate the world of copyrights and trade/service marks, indemnity clauses and more. If your museum does not have a person with broad knowledge of this area, many law firms provide pro bono work for nonprofits.

The best way to approach this sort of negotiation is to deal from strengths. This means having your marks protected and registered (which also protects the licensee, the company using them) before you seek to sign any agreements. It means having clear title to the copyrights of any works you might license from your collections (or the permission to use those works), all in writing. Remember, ownership of an original work does not mean that you own the rights to reproduce it. Finally, you will need a compelling reason to convince the prospect to hold hands with you: What value will your organization’s involvement bring to the relationship?

The licensing game is like a mating dance: You want the other party to be interested, but you don’t want to act too interested for fear that you’ll be shortchanged. The licensing game is often like a mating dance: You want the other party to be interested in your organization/logo/ expertise/collection, but you don’t want to act too interested in the other party for fear that you’ll be shortchanged in the transaction.

You should research the company with which you plan to partner. How long has it been in business? Does it have a good reputation? Has it been granted other licenses? How well does it market its products? Will your work on this license pay off in nice exposure or result in a product that few targeted consumers know about? There are a few basic elements that generally should be a part of any licensing agreement. • What will the project be and what will each party do? As simple as this might sound, the project should be clearly drawn as to what your organization (the licensor) might contribute to the project…Expertise? Review? Images? Only a logo? Collateral written materials? • Consider how you (the licensor) will ensure that the product meets your standards of quality. Remember that

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business relations

•

• •

•

it will be viewed by the public as your “brand,” not the licensee’s. What are the obligations of the licensee? Will your museum store be asked to carry the merchandise? Does it want to? What kind of sales volume can it promise? Make it clear that the store cannot carry the whole sales burden. Include a statement of whether this license is exclusive or not. In most cases, you do not want to grant one party the exclusive use of your mark unless for a specific product. Include a statement of royalty terms and a payment schedule. This can range from two to 10 percent of wholesale sales, the high end being unusual. You can check royalty rates for various products online. Alternatives include advances or even

•

a flat one-time payment. The latter can be a godsend on a new, unusual project; it minimizes your risk. Agree on whether you will receive royalties on all merchandise sold, including what your organization itself sells. Make arrangements concerning any special prices your organization might pay for merchandise…or the possibility of free stock. Include a termination date and process, plus procedures for disposing of unused inventory owned by the manufacturer. Make marketing arrangements, including details as to how the licensor’s name is to be used in selling the goods. Include an indemnity clause. This helps protect your organization in case the product turns out to be harmful or otherwise questionable. Attach examples of specific logos, artwork, etc., that are to be licensed

and comments as needed about the style or rules of use. • Include other “boiler plate” but very important legal paragraphs having to do with representations and warranties of each party, remedies in case of problems, binding effects, etc. (This is why an attorney should look it over!) It’s a good idea to have your own version of a licensing contract on file and ready to present to any company that might come a-courtin’. This ensures that the above elements always will be included. It also will please many suitor companies, who will be happy not to have to write an agreement themselves. And it will be good to know that you have the bases covered for your organization, because the proposed contract itself can act as a guide to negotiations during the courtship. Joseph Hammer is the director of product marketing and licensing for the Lady Bird Johnson Wildflower Center in Austin, Texas, and has contributed to Museum Store in the past.

“We remain steadfast in our commitment to producing the highest quality handmade stoneware in the USA.” Peter Deneen

Introducing our 3 newest matte glazes: Aqua, Dark Olive, and Red

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Hand silk-screened apparel and totes with the likeness of artists such as Van Gogh, Monet, Degas, Renoir, and more. A quality piece for the competitive retail market.

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[2]

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[1] [4]

[7]

[9]

[8]

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MERCHANDISE PLANNING

BY APRIL MILLER

FOR 2012 M

“

useum stores rock!” says Claire Harkness, owner of Arbor Vitae Cards. To keep that cool credibility going in 2012, vendors advise sourcing American-made items, conveying the stories of the artists and products you sell and being passionate about what you do. “Consumers are looking to spend their precious dollars carefully. They are looking for a beautiful product to provide wonderful memories,” says Connie Davidson of North Country Wind Bells. “These days, museum stores are searching for all true American-made work with value.” David Changar of David Changar Ceramic Designs expects a focus on American-made as well as local products to increase sales throughout the coming year and he encourages buyers to ask vendors for labels that state where items are made. When he began using a “Hand-crafted in NYC. I make it here so you can take it anywhere.” hangtag for his ceramics, he noticed an uptick in sales.

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[3]

Being able to discuss an artist’s background or a company’s heritage is all part of telling—and selling—the story. “That is what museums and museum stores are all about,” says Jan Diers of Mata Ortiz to You. “The more information you can tell and send home with your customers, the more they will appreciate what you offer.” Even vendors, such as jewelry artist Krista Bermeo of Krista Bermeo Studio, admit that when they shop these days they are looking for a lot more than they used to. “We want a human connection and really customized service,” Bermeo adds. Retail buyers who have attended open houses at her studio have anecdotes to share and are better able to explain her process to their customers. Continue to utilize the many advantages of technology, “but always keep in mind,” says Elaine Sheth, designer and owner of Esprit Creations, “the time-proven number-one sales concept: genuine, friendly and personal customer service.” As you stock your shelves for a rockin’ 2012, consider some of the following items: [1]

[2]

Joining the Folkmanis award-winning Stage Puppet Line, the toothy donkey puppet has lifelike details and an easy-to-use movable mouth. The puppet measures 16-inches tall and has a suggested retail of $26. More than 200 other puppets are also available from the Emeryville, Calif.based company. Original painted images of herons, hummingbirds, dolphins, turtles and spoonbills are recent additions to Arbor Vitae Cards’ Tree of Life Collection. Printed in the United States, each 5.5" x 4.25" card includes a white envelope. Available individually for $1.25 or in boxes of eight for $6.

Mata Ortiz to You offers one-of-akind jewelry, such as this handmade silver collar. A story card accompanies each piece to describe the lifeline of the jewelry from the 1400s until the present. Pendants, earrings, bracelets, rings, wine stoppers and bookmarks are also available.

[4]

Beauty meets brains in this slide puzzle from Recent Toys. The Mona Lisa combines Mirrorkal technology with classic slide puzzle movement. Angled mirrors inside the blocks reflect off the other cubes; position them in a way that creates one of two images.

[5]

Made in Maine of more than 60 percent recycled steel, North Country Wind Bells’ newest design, the Compass Rose, comes in three colors and wholesales for $35. Each is powder-coated for a durable finish so that the wind bells are able to hang outside year-round.

[6]

[7]

[8]

Solmate Socks are fun for the feet! The whimsical and mismatched socks are knitted with recycled cotton yarn in Vermont at a family-owned knitting mill. Shown are the Luna and Poppy Socks from the adult line, but sizes for kids and babies are also available. The hand-thrown, 10-ounce Round Belly Mug from Deneen Pottery is shown here in red with black/white glaze. The glaze is Deneen’s newest and most popular. The company, celebrating its 40th anniversary in 2012, did more than 100 in-house tests to achieve the shade. The How to Draw Cartoons Kit from General Pencil received a Best Green Products Award in 2010 by Dr. Toy. The American-made products feature recyclable packaging, recycled content and books printed on FSC certified paper. Cartoonist Matthew Luhn created the books included in the kit.

[9]

New from Artwear is the Slap Bracelet Bag—it’s not only a reusable shopping tote, but with a fold and a slap, it’s a fashion accessory. Made of durable white nylon with a sewn-in slap bracelet. Custom print a name, logo and text at no additional charge.

[10] Earrings from Esprit Creations’ Natural Selection Line are inspired by nature’s elegance and provide a piece of wearable art crafted from sterling silver and natural gemstones. Designed by Elaine Sheth, who works closely with artisan families in India, all items are consciously sourced and handmade. [11] For ages 4 and above, the mystical and translucent Cloud Dragon from Safari Ltd. measures 8.5"L x 4"H and is just one of several 2012 introductions. As are all of Safari’s products, the intricately handpainted model is phthalate- and leadfree. Educational information, in five languages, is included. [12] Kolling Cards and Things Made Here! Minne-Mural Coloring Posters are detailed, hand-drawn designs by Northern Minnesota artist Cindy Kolling. The posters are a great travel activity, memento or wall art. More than 175 designs are available. Custom site- or subject-specific designs may also be ordered. [13] Breeke’s Rosie the Riveter Tote by J. Howard Miller is just one of a variety of accessories and apparel the company offers. Other artists depicted include Van Gogh, Renoir and many more. The cotton canvas totes have an inside lining, zipper pocket and zipper top closure. [14] Full of fascinating insights from physics, chemistry, engineering and geography, “Inflight Science” from Icon Books is a voyage of scientific

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The widest range, the most important trends, the best ideas for your product line. The world’s leading consumer goods trade show brings vitality to the market. Discover the unique joy of giving and inspire your customers with unusual gift ideas – at the Giving area. Increase your sales with an attractive and contemporary product assortment. Success happens here. For information and tickets at advance sales prices visit: www.ambiente.messefrankfurt.com info@usa.messefrankfurt.com Tel. 770.984.8016

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discovery. Learn why the coastline is inﬁnite in length, what causes thunderstorms and why it’s impossible to make a decent cup of tea mid-air. [15] The Fosforo (Spanish for matchstick) Necklace by Krista Bermeo Studio lights up in translucent tones of fuschia glass. Shown on sterling silver, another bestseller is oxidized black sterling and crimson glass. Using gravity and dental tools, she creates each component separately by melting glass on a torch. [16] New for spring is Galison’s Van Gogh ﬂoral writer’s notebook sets. Packaged together with a belly band, all three notebooks (one with lined paper, one with graph paper and one blank) are all made of 100 percent recycled paper. It measures 6 inches by 8¼ inches and wholesales for $5.50.

[17] DeskWare style designs, such as this crayon caddy, from Sunset Hill Stoneware are made in America and great for use in offices, workshops and on kitchen counters. Each piece is hand-crafted by master potters and available in a choice of glaze colors. Items can also be customized. [18] Saraye, original Tatami style purses, from Baskets of Cambodia, are available in a variety of colors and styles. The company, a founding member of the Cambodian Fair Trade Forum, provides point-of-purchase material as well as warranty tags signed by the makers and inspectors. [19] From Germany-based Petra Meiren (represented by Diane O’Donnel Contemporary Designs) is a new floral collection of metal designs finished in silver, anodized silver, gold and rose gold. Necklaces, brooches, bracelets and earrings

are available with a suggested retail price range of $100−$300. [20] Designed by Catherine Murphy (who previously worked in the construction industry as a welder), the freestanding copper birds from Haw Creek Forge are handmade in the company’s Asheville, N.C., studio. The birds are available in seven colors and can be displayed indoors or outside. [21] “The Road to World War II” from Questar is a 16-part series exploring the turbulent world events that gave rise to the greatest conﬂict of the 20th century. Respected journalist Eric Sevareid presents this extraordinary series featuring stunning original newsreels, soundtracks and rare archival footage.

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[20]

[21] [23]

[19]

[22]

[24]

[25]

[27]

[28]

[26]

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[22] The Nido Hook creates more space for hanging art. The coated metal brackets (available in two sizes) slip over the front end of a shelf allowing one to hang frames. The hooks have been tested to hold up to 20 pounds. [23] David Changar Ceramic Designs’ Euphoria Line of ceramics (shown here is pitcher #7 in purples) is inspired by the work of the “Mad Potter of Biloxi,” George Ohr. Available in two sizes—5-inches and 10-inches tall—it is watertight and food safe. All pieces are hand-crafted in New York City. [24] Made in the United States, custom easel desk calendars and postcard booklets from Found Image Press, are created using your selected image, logo and text, or choose from the company’s extensive archive of vintage graphics. Found Image offers low minimums, quick turn-around and easy re-orders.

[25] Made in the United States, this glass stein from Heritage Metalworks depicts the custom logo created for the CIA gift shop. Custom images can be applied to a multitude of products, including wind chimes, key chains, ornaments, coffee mugs, bottle stoppers and more. [26] Made in her Alabama studio, these birch leaf lariat necklace and earrings from Sarah Cavender Metalworks are hand-formed from a ﬁne brass screening. They are then twisted and soldered around a piece of foxtail chain, silver-plated and handﬁnished with bronze powder colors in a lacquer base. [27] With patterns derived from King Tut’s sarcophagus, Museum Reproductions’ stackable, bangle bracelets are a contemporary spin on ancient motifs. In addition to Egyptian patterns, the ever-

expanding line includes Klimt selections and modern designs from the Virginia Museum of Fine Arts. A collection can be created for any museum. [28] Global Village Glass Studios’ mini glow-in-the-dark jellyfish is the bestselling item from its Environmental Series. Available in red, green, blue, aqua and pink, each is 2½ inches tall and glows for about four to six hours. In addition to the mini, two other sizes also are available. April Miller is a Cleveland-based freelance writer and editor. A frequent contributor to Museum Store, she last wrote the Children’s Buyer’s Guide in the fall 2011 issue.

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General Pencil Company, Inc. www.generalpencil.com (800) 537-0734 See ad on page 13

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Haw Creek Forge www.hawcreekforge.com (828) 285-9785 See ad on page 32

David Changar Ceramic Designs www.davidchangar.com (718) 842-6362 See ad on page 46

Found Image Press www.foundimage.com (800) 927-3722 See ad on page 9

Heritage Metalworks, Inc. www.pewter.com (800) 336-0829 See ad on page 43

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Icon Books www.iconbooks.co.uk +44 (0) 207 697 9695 See ad on page 40 Kolling Cards and Things Made Here! www.kollingcards.com (218) 268-4396 See ad on page 42 Krista Bermeo Studio www.kristabermeostudio.com (317) 965-0685 See ad on page 34 Mata Ortiz to You www.mataortiztoyou.com (520) 744-0639 See ad on page 6 Museum Reproductions, Inc. www.museumreproductions.com (800) 839-8956 See ad on page 44 Nido Hook www.nidohook.com (818) 986-3727 See ad on page 29 North Country Wind Bells www.northcountrybells.com (877) 930-5435 See ad on page 42 Questar, Inc. www.questarentertainment.com (800) 544-8422 See ad on page 35 Recent Toys USA www.recenttoys.com (512) 879-7256 See ad on page 42 Safari Ltd. www.safariltd.com (800) 554-5414 See ad on page 41 Sarah Cavender Metalworks, Inc. www.sarahcavender.com (256) 831-6241 See ad on page 33 Solmate Socks www.socklady.com (802) 765-4177 See ad on page 33 Sunset Hill Stoneware, LLC www.shstoneware.com (800) 509-4662 See ad on page 34 WINter 2011 | MuseuM store

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made

AMERICA Taking a different approach to a productâ&#x20AC;&#x2122;s country of origin BY MARGE D. HAnSEn 26

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STRATEGIC MANAGEMENT

ade in America is a complex issue. It involves globalization, politics, patriotism, import/export ratios, the offshoring of American jobs and the negative ripple effect caused by economic decline and slow, slow recovery. For a number of years, retailers have watched the supply of consumer products manufactured in this country shrink. When an outraged Sen. Bernie Sanders (I-Vt.) saw products made in China significantly outnumbered domestically produced items at the Smithsonian’s National Museum of American History gift shop, the media jumped on the story. The public and museums around the country took notice. While anti-“made in Asia” sentiment fuels organized movements and social media discussions, others prefer to take a more positive, pro-USA stance by personally instituting or renewing efforts to buy American—and even locally—whenever and as often as possible. Consumers are scrutinizing country of origin labels in a big way, and the general perception among shoppers is that products from the Far East, particularly China, are poorly made and cheap. China excels at low-end manufacturing, but lacks quality control and innovation. Goods from Western Europe, however, continue to be identified as high-end, well-constructed and worth the premium price tag many of the products carry. Nevertheless, they are all imports.

company, but they bring it into the states. They do the design and customization here. That provides jobs,” Riley says. The lines get blurred for consumers because the end product is, after all, partially made here. Maybe the definition of Made in America needs to be expanded to reflect that fact. “Every week I hear a visitor make a comment about something made in China,” she notes. “I try not to be defensive. I engage them and explain it. Some people hear it. Some people refuse to hear it.”

Other Considerations

resentation is important, too, and a proven way to set products apart. In Riley’s experience, customers will pay more if a product attracts their attention and communicates value. Just like their shoppers, if the cost is a little higher, the Association’s goal is to choose the Made in America alternative, but the quality has to be there. The venue and mission are other pieces of the import vs. Made in America pie. At the Statue of Liberty and Ellis Island, for example,

Fair Description

few years ago the U.S. National Park Service had an initiative that “encouraged due diligence with the intent to try to buy more products made in America,” according to Kimberlee Riley, formerly vice president and chief operating officer of Jefferson National Parks Association in Saint Louis, Mo., which partners with national parks and public lands. The Association has 17 stores in six states, including a robust e-commerce operation. “Over the last year specifically, we’ve talked to our vendors, re-examined our inventory mix and discussed product development to make sure we include American-made products,” she relates. Where China and Korea used to supply significant numbers of imports, today many U.S.-based vendors provide similar items from other Asian countries and emerging nations around the globe. “A vendor may purchase a mug or t-shirt from a foreign

The Children’s Museum of Indianapolis store takes advantage of the Dale Chihuly blown glass sculpture in its collection by showcasing locally designed glass jewelry for teens and moms.

they have a number of products from other countries because their missions are to educate visitors about immigrants and the parts of the world they came from. Conversely, Levee Mercantile, across from the Gateway Arch, in Saint Louis, Mo., specializes in food, home goods, books and toys reminiscent of America in the 1870s, which are provided by local or regional suppliers. A higher percentage of products made in America are inventoried at the Mercantile. WINTER 2011 | MUSEUM STORE

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made in AMERiCA

HORSE-OPOLY from Late for the Sky and Gyroscope by Tetco are just two of the items offered by The Children’s Museum of Indianapolis’ store in their efforts to purchase made in America products.

As might be expected, the Gateway Arch store offers a much higher ratio of imported souvenir products. Even though there is a smaller selection of American-made items, they really resonate with the high numbers of foreign travelers that visit. “We infuse the economy with revenue from these purchases. We become almost an exporter,” says Riley. Helping the customer understand a store’s inventory and why some products are imported and perhaps fewer are domestically made is a complicated task. As Riley points out, “one message just doesn’t work for every customer. At our merchandising meetings, we talk about Made in America signage and how to make our personnel more aware of whether something is made in America or not. We discuss how the frontline staff can incorporate partially made in America so they

can address this in customer conversations. It is a difficult message to craft.” Procuring product is a competitive process. “Price is very, very important,” emphasizes Riley. “We are trying to make a profit which we in turn invest in visitor education programs, workshops and curricula. If we flat out said we were only going to buy American, we would not be able to supply the educational support that we do to the country.”

Educating the Consumer

“

he public can want to buy American, but they have to be willing to pay the price,” says Leslie Genszler, director of retail operations at the Madison Museum of Contemporary Art (MMoCA) in Madison, Wis., which was recently honored by Niche magazine in the top retailer/museum store category. She has been at the museum for two decades and is grateful for the abundance of local talent, which has always allowed her to maintain a large inventory of items produced by local and regional artisans. In her opinion, while the price point is higher, it also encompasses valuebased tangibles such as quality assurance and exceptional customer service. The MMoCA store is filled with jewelry, wearables, blown glass, wood jewel boxes and a variety of other hand-crafted products. “We have some books, toys and a few accessories

that are not made in this country, but the bulk of the merchandise shows our support of local artists. Yet, customers will often say ‘show me who is local’ and then purchase something not made locally because it is less expensive. Museum stores are not discount retailers. You try to find the most unique, best-crafted pieces at the best price, but that requires tremendous effort.” When The Children’s Museum of Indianapolis, in downtown Indianapolis, Ind., was preparing for their “Terra Cotta Warriors” exhibit, someone asked, “Do we have anything in the store from China?” Carol Toth, buyer and product development manager at the museum, responded “Do we have anything that isn’t?” Reps that are able to tell Toth they offer items made in America are on the top of her companies-to-order-from list, and the store carries as much as it can. The fact is, however, that isn’t as much as she would like. “It’s never really been easy,” Toth reflects. “People go for the price. It is just the way it is. They want more ‘stuff’ cheaper than the kinds of products that support our people.” While nearly all small souvenir items are sourced from China, Toth has found other ways to see there is an American return on at least some of the costs involved in merchandising the museum’s 9,000-squarefoot store. “I use a local sales representative and order in smaller quantities,” she says. Also, two of their highest impulse buys, Slinky® and astronaut ice cream, distributed by Luvy Duvy, come from Plymouth, Mich., and Coconut Creek, Fla., respectively.

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“Gyroscope by Tetco is made right here in Indiana and imprinted with that information. Even the printing is done locally,” says Toth. The museum’s collection includes the 43-foot-tall “Fireworks of Glass,” American glass artist Dale Chihuly’s largest permanent sculpture of blown glass. Toth has a variety of glasswork pieces by area artists in the store that relate to this exquisite masterwork. Glass jewelry locally designed and made for teens, as well as jewelry created for moms, are strong sellers. Indiana- and American-made products are prominently displayed. “It’s encouraging to other artists to see that they could aspire to having their pieces in our store, and art glass is always accompanied by an artist’s bio that tells where they work.” The store also features assembled-in-America items, another aspect of the manufacturing process that’s worth noting.

Are You R eady?

variety of new terms have found their way into the American vocabulary recently. Reshoring, homeshoring, onshoring and backshoring describe initiatives that have the potential to return some or all of a company’s manufacturing activities to the United States. “I think we are going to see a turnaround,” predicts Toth. “The days of lower wages in some of these countries is coming to a close as their economies expand. Companies are only going to accept so many price increases, then they will have to re-evaluate where they will manufacture their products. It is important to be aware and start doing research now so we can stock as many of those products as possible as they become available.” Riley adds, “That’s part of the message. We help the domestic economy with the way we operate our businesses.” Editors Note: At the time this article was written, Kimberlee Riley was the vice president and chief operating officer of Jefferson National Parks Association (JNPA), and is quoted throughout the article. Please note that Riley is no longer employed by JNPA. Marge D. Hansen is a freelance writer based in Lafayette, Colo., who regularly contributes to Museum Store. She recently wrote the “Welcome to My (New) World” store renovation article in the fall 2011 issue.

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MERCHANDISE PLANNING

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OUT WITH THE OLD...

Strategies to Manage Excess Inventory BY TRACI RYLANDS

hose cute note cards with your museum’s logo seemed like a dream come true. You bought a lot of them for a great price because you were sure customers would snap them up. Now they’re collecting dust because they didn’t sell well and on top of that, the museum’s board voted to change the logo. The challenge of moving older merchandise that takes up valuable space is a constant one. Should you discount it until it sells or store it away until you get a better idea? What can you do to keep overstock inventory from getting out of hand?

Manage Shelf Life

ne way to keep excess merchandise from overwhelming you is to regularly track how long an item has been in the store. That’s what Karen McNeely did when she became director of retail operations of the Milwaukee Art Museum and inherited a large amount of existing inventory. “Because I wasn’t here when the merchandise was bought, it was tough for me to know exactly what was here,” she says. “Having a report helped me to strategically find the largest lumps of old age merchandise and develop a strategy to liquidate it.” McNeely makes a point of running monthly reports to determine what items are lingering. “Virtually every day something becomes a year old. It’s constantly evolving. It’s important to be mindful that merchandise is continually aging, so you can’t rest on your laurels.” winter 2011 | MUSeUM StOre

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OUT WITH THE OLD... McNeely’s main challenge is finding appropriate merchandise for her temporary exhibit stores that can fit in her permanent store once the exhibition is over. “Our main store’s fixturing is also very rigid, so it’s difficult to properly merchandise oversized items there that might have easily fit into the exhibition store. Add to this the fact that the closing weekend of the exhibition is typically the busiest, so you want to look full and not lose any business. But realistically, the next day you just want all of it to be gone,” she says. “When re-ordering for an exhibition I try to focus on product that will easily integrate into the main store but, unfortunately, it’s impossible to completely control what is left over.”

Send it Back or Pass it On

n the past, many vendors wouldn’t even consider taking back previously purchased stock. But for some, it’s a handy way to keep the stockroom less cluttered. About half of the sales at the Virginia Historical Society (VHS) museum store in Richmond, Va., come from general books. VHS holds many lectures so senior retail officer Doris Delk keeps speakers’ books on hand. Gauging how many she will need can be tricky but Delk makes sure she can return much of what doesn’t sell. “A lot of publishers will allow you to set an account up as returnable or non-returnable,” she explains. “If it’s for an author event, you want to make sure you have enough. For an author signing, they will put them on a returnable basis but you have to tell them that’s what you’re ordering for.” Pre-selling also helps Delk get an idea of what to expect. “When we announce upcoming lectures online, we have a link to the speaker’s book so you can pre-order it. The author will come in the morning and we have them sign the pre-sold ones so the person doesn’t have to stand in line afterward. We then put them behind the

Participating in the Virginia Historical Society’s library book sale at the annual open house has been a successful way for the store to move old merchandise by discounting books that have been lingering on store shelves.

desk, already paid for, to pick up. That’s given us a pretty good insight on how popular books will be.” Delk has also contacted fellow museum stores to see if they are interested in taking on some of her slower selling items. “I’ve sent e-mails to other museums asking if they might be interested in something, even at cost. It might be something they can share. This reduces your inventory and helps someone else out.”

Mark it Down

nother way Delk moves lingering books is by taking part in the VHS library’s book sale during its annual open house. Museum members also donate history books to the sale. “This year we priced them inexpensively, $1 for a soft cover book and $3 for a hard cover one. We put all of those leftover exhibition catalogs out there, too,” Delk says. “The museum sold about 1,500 books in one day. That’s amazing. We got rid of a lot of old stock that way.” Many museum store managers have a clearance table for discounted items. Museum of Aviation (Warner Robins,

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Ga.) Retail Director Sarah Parker only does that at the end of the year. Usually, she sprinkles her marked down items throughout the store to keep customers looking for deals. “I like to mark an item down and leave it in its current location so the customer feels like they ‘found’ a bargain,” she explains. One strategy McNeely tried was highlighting an “Item of the Day,” something that happened quite by accident. “We were working on markdowns and placed a few things on the end of the cash wrap. We noticed that people were picking up the pieces that we placed there and that they were buying them. So we decided to play it up a bit by selecting items, pricing them to sell within a day and signing them to highlight them. Our rule was that it had to be $20 or less and at least 50 percent off, but preferably much cheaper.” McNeely advises museum store managers to get past what an item originally cost and focus on getting it sold. “Look at it and honestly evaluate a price that the customer can’t pass up. Good signage is huge in getting merchandise to move. Call out that it’s half off rather than using a generic sale sign. Also, timing can be everything. If you take a markdown while your traffic is good (or for exhibitions, while the show is still running) you can likely get away with a more shallow markdown than if you wait until later.” Delk relies on her store’s point-of-sale (POS) system to help her determine when it’s time to start discounting. “I try to go through and look at what was the last date I bought it, and what’s the last date I sold it. If sales are slow or non-existent, go on and mark it down. Be aggressive about it. Ten percent is not going to move anything. Start at 25 percent and then go from there.” Delk also holds an annual “scratch and dent” sale for staff and volunteers in midDecember to get rid of old stock. She includes items she has already marked down more than once as well as sample items. “I may end up marking it way down but then it’s gone. This keeps the store from looking old. Over the year, I get a

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OUT WITH THE OLD... lot of samples, so I throw those in there, too. That’s total profit that helps the store’s bottom line.”

Learn From Your Mistakes

Not all Presidential Museum Stores Are Created Equal

efore coming to the Virginia Historical Society (VHS), Doris Delk worked at the museum stores of Monitcello (home of Thomas Jefferson) and Ash Lawn-Highland (home of James Monroe). Both museums are located in Charlottesville, Va., and both presidents lived during roughly the same time period. But Delk soon discovered that the two sites, and the merchandise their stores sold, were very different. “Monticello is an international landmark. Everyone knows the fine taste Jefferson had so we sold French china and porcelain boxes on a regular basis,” she explains. “Ash Lawn-Highland is more typical of a Virginia home in the 1800s. It’s a working farm and a much smaller venue. We sold beautiful things but there we sold more rustic items, not the high price point pieces that we sold at Monticello.” As a result, Delk focuses on purchasing items that are clearly linked to VHS’s unique themes. “I stress that my store is ‘Virginia history only!’ and that I don’t want to waste their (salesmen’s) time calling on someone who is not able to purchase. “Just remember, no one knows your store and your customer like you do, so no one can buy for your store except for you,” she adds.

elk learned a valuable lesson years ago when she went through the product development process to create paper products that did not sell well. “It’s taken me a while to work through that inventory. I offered it wholesale to partner museums and had sales,” she says. “Some note cards were used as incentives for membership. I learned that we don’t have enough visitation to support the product development exercise so I don’t do that any more.” Parker advises museum store managers to keep orders for custom items at a low number in the beginning. “Research a company that will allow you to make custom items with a lower minimum quantity. Purchase the minimum quantity of noncustom merchandise to gauge whether it will be a good seller. In this economy, there are vendors that will waive the minimum reorder amount and opening order amount in order to get your business.” McNeely says, “Retail is more of an art than a science, so you are always going to make mistakes. I try, when making a large commitment, to always have an exit strategy. Right now, I’m sitting on more reversible silk jackets left from my China exhibition than I would like. But I knew when I ordered them that it might be a tough sell in the summer and I figured they would sell well going into the fall and holiday seasons. I also have enough mark up that I can mark them down to a very attractive price and still be okay with my margin.” Traci Rylands lives in Atlanta, Ga., and recently contributed an article on how museum stores are using QR (Quick Response) code technology in the fall 2011 issue of Museum Store magazine.

MUSeUM StOre | winter 2011

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PUTTING OUT THE

e m oc

l e W

MAT By Catherine Newton

MUSeUM StOre | winter 2011

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“

COMMUNICATIONS

useums are very popular with tour operators,” says Lisa Simon, president of the National Tour Association in Lexington, Ky. “And tour groups love to shop.” Add the two together, and it’s plain to see that building travel group business can benefit both a museum and its store. Or, as Rosemary McCormick, president of Shop America Alliance in Chesterfield, Mo., puts it, “A tour bus takes up the space of four cars, but it delivers 40 people to your venue.” As a store manager, you may not be in a position to market to tour groups independently of your institution, but you can bring your ideas to the table. “The store manager’s support is very beneficial,” Simon observes. “Become a partner with other members of the museum team in marketing to groups.” Kimberlee Riley, formerly vice president and chief operating officer of Jefferson National Parks Association (JNPA) in Saint Louis, Mo., agrees. “When it comes to promoting to groups, it’s so important for store personnel to collaborate with the rest of the museum’s staff,” she says. “Store managers often complain that tour groups go by their store with no time set aside to come in, or they show up at the store with no notice and overwhelm the staff. If your store is not getting the promotion and scheduling it deserves, get to the table and insert yourself into the process of building tour group business. By drawing in groups, you’ll add incremental sales to your bottom line.”

Something special

a more technical, behind-the-scenes tour of the Gateway Arch. In response, Riley is putting together a customized tour that will include a tram ride to the top of the arch, an on-site presentation by one of the engineers who worked on its construction and a DVD from the museum store about the construction. “We’ll determine the tour’s fee by adding up the costs of the components, and we may include an up-charge because it’s a special package,” she says. The Memorial’s three stores also participate in after-hours events for groups. A special use permit fee covers staff and other costs to keep the facility and stores open, with the expectation that additional revenue will come from store purchases. Riley waives the fee for visiting tour group operators. “We invite several tour group companies to come on the same evening, and we keep the stores open at our cost so we can promote everything that their customers would experience on the tour, including shopping,” she explains. “We consider it part of our marketing costs. We want to build relationships with tour operators so they will continue to bring groups to our venue.” Riley also develops relationships with the general managers of local hotels and works with them to put together packages for hotel guests. For example, a nearby hotel might offer a package that includes a room, admission to the Memorial, a discount Employees in period costume add to the experience at the Jefferson National Expansion Memorial’s Levee Mercantile store.

iley and her team provide staff and support to the U.S. National Park Service’s Jefferson National Expansion Memorial, which features the Gateway Arch, Museum of Westward Expansion, Old Courthouse and three retail stores. “We work with another partner, Metro, to produce packages for tour groups, and we promote shopping in our stores as one of the activities,” she explains. “In our promotions, we include images of products or the stores’ environments, and we might offer store discounts in certain packages or passes.” JNPA and Metro constantly tweak group packages, but they will also accommodate a tour group’s request for something special. Recently, for example, a military reunion group asked for winter 2011 | MUSeUM StOre

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PUTTING OUT THE Welcome MAT at one of the museum stores or a free photo from the store of the traveler on the arch. Ideally, the visitor will pick up the discount voucher at the store, which subtly encourages additional shopping, but Riley will also accommodate other arrangements requested by the hotel. Riley cautions to balance the decision to give store discounts or free gifts against what you expect the visitor to spend anyway. “We get a huge capture rate into our stores, because most visitors want to buy something to commemorate their experience here,” she says. “So in a way, we don’t really need to give a discount. At the same time, offering discounts helps us build relationships with hotels and other groups.” When considering free gifts or discounts as part of a tour package, evaluate the benefit to the museum as a whole. “If you’re concerned that your budget sheet will reflect a higher cost of goods sold, be ready

to show how store discounts benefitted the institution because they helped draw in groups,” Riley suggests. Building relationships with the local convention and visitors bureau (CVB) is key to promoting group business. “The CVB gets calls from tour groups all the time, asking for recommendations of what to see and do in your area,” Riley says. “Make sure your institution is active in your CVB and that it promotes your store as part of the unique experience visitors will enjoy.” Depending on the convention, she will even put store merchandise for sale in a kiosk at the Saint Louis convention center.

MORE Ideas TO BRING TO THE TABlE

Shopping—part of the experience

Lisa Simon

avid Singleman, group coordinator at the J. Paul Getty Museum in Los Angeles, Calif., considers the museum’s store an integral part of group tours. When he leads a group through the museum, he typically concludes the tour in front of the store and invites the group to go in. And when he helps tour operators plan their visits, he makes sure that some free time is built in so the group has time to browse in the store. “Groups comprise around 30 percent of our visitors,” Singleman says. “But they contribute a larger percentage than that to our revenues because they typically are vacationers who are in the mood to spend money. They are looking for the full cultural tourism experience and that includes shopping.” Singleman also offers store discounts to groups; typically, he staples the discount coupon to a museum map and hands one to each tour member as he greets them at the door. “Greeting groups is important— whether it’s done by staff or volunteers,” he says. “It makes the group feel welcome, helps start them off in a good mood and increases their expectation of an enjoyable experience.” In addition, Singleman includes store discounts in rack brochures that he distributes to hotels, visitors centers and other locations. “Group leaders will

Rosemary McCormick Shop America Alliance

• Determine if your venue has the infrastructure to manage groups— parking, dining, interpreters, restrooms facilities, etc. • Open early or stay open late to accommodate a group’s schedule. • Provide a special gift to the tour leader and/or motorcoach driver.

National Tour Association • Offer groups a welcome reception at your store with refreshments and a unique gift. • Develop programs that will encourage tour operators to make your museum (and store) a destination rather than a quick stop. • Work to get your museum and store included in sample itineraries developed by your CVB and state tourism office. • Check out “Find a Tour Operator” on NTA’s website (www.ntaonline.com); attend the NTA Convention to meet tour operators during pre-scheduled appointments.

David Singleman

J. Paul Getty Museum • On the group tour page of your museum’s website, consider offering a free gift for everyone who visits as part of a group; ask the group to come into the store to pick up the gift. • Make sure your docents and other staff and volunteers are promoting the store to groups as an integral part of their overall experience. • A hello and a smile can go a long way toward making groups feel welcome in your store.

MUSeUM StOre | winter 2011

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often see these brochures and hand them out to their group,â&#x20AC;? he explains. The J. Paul Getty Museum depends heavily on tour group business from outside the United States, and Singleman makes a point to attend the U.S. Travel Associationâ&#x20AC;&#x2122;s International Pow Wow to connect with international tour operators. However, like Riley, his most important contact is his local CVB. â&#x20AC;&#x153;LA INC., our CVB, goes to travel tradeshows all over the world. I canâ&#x20AC;&#x2122;t do that kind of traveling, but if I pay them a fee, they will take brochures about our museum with them,â&#x20AC;? he says. â&#x20AC;&#x153;Every museum should be a member of their CVB and in constant contact with them, because they will send groups to your venue,â&#x20AC;? Singleman adds. He also recommends developing relationships with state travel departments. â&#x20AC;&#x153;The smaller the museum, the more important it is to get recommendations from your CVB, chamber of commerce or other tourism organization.â&#x20AC;? To nurture his contacts, Singleman sends a quarterly calendar of events planned at the J. Paul Getty Museum to everyone on his list. He also includes his own newsletter with special information and offers for groups. At Shop America Alliance, Rosemary McCormick observes, â&#x20AC;&#x153;When you work with groups, you want them to see that your museum has thought through the whole experience: a tour, a docent, a snack, a shop and even suggestions of other things to do nearby. Tie it all together into one story, and youâ&#x20AC;&#x2122;ll impress and win over tour operators.â&#x20AC;? Editors Note: At the time this article was written, Kimberlee Riley was the vice president and chief operating officer of Jefferson National Parks Association (JNPA), and is quoted throughout the article. Please note that Riley is no longer employed by JNPA. Catherine Newton is a freelance writer based in Denver, Colo. She last wrote about whether personal shopping services should be offered or not by museums for the 2011 fall issue of Museum Store magazine.

MuseuM store | Winter 2011

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| new vendor showcase |

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. The following are some of MSA’s newest affiliates, all of whom are vendors waiting to help you stock merchandise that will coincide with your museum’s mission.

BULLPEN BOOK SALES Albuquerque, N.M. | (505) 345-7477 Ripp505@gmail.com Bullpen Book Sales is a wholesale remainder (bargain) book distributor. Bullpen actively purchases overstock books and exhibition catalogs in quantity from museums. Whether it’s a few copies of a book from another institution or a pallet load of catalogs from your museum, if they’re not in front of your museum shop’s visitors, it’s time to move them out. If you have publications that have stopped selling and are using up much-needed storage space, contact Ed Ripp at Bullpen Book Sales to clear out your dead stock. KRISTA BERMEO STUDIO Indianapolis, Ind. | (317) 956-0685 www.kristabermeostudio.com Determined to combine her artistic talent for art glass with her vision to satisfy a local marketplace in need of authentic and creative jewelry, Krista Bermeo set aside a lucrative career in pharmaceutical research to build a successful jewelry design business. As a result, she began showing a line of unique jewelry in local museums and galleries. She opened her first studio in 2007, located in the historic arts district of Fountain Square near downtown Indianapolis, filling requests from galleries and specialty shops around the country. Krista’s jewelry ranges from whimsical rings to the more elegant earrings and necklaces paired with precious metals.

HERITAGE METALWORKS INC. Chandler, Ariz. | (800) 336-0829 www.pewter.com Heritage Pewter is our trademark. We manufacture a wide range of souvenirs, gifts and jewelry. Most of our items are 100 percent made in the United States. Our products include bottle stoppers, wind chimes, key chains, magnets, mugs, shots, ornaments, barware, pendants, earrings, photo frames, etc., in a variety of themes such as wildlife, nautical, Southwest, college, military, country and more. Heritage Metalworks specializes in custom designs, and we can create your logo or special interest attraction for application on our products. We focus on detail, and strive for the highest level of quality. Ask for our 64-page wholesale catalog.

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WINTER 2011 | MUSEUM STORE

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LIVE YOUR DREAM DESIGNS Los Angeles, Calif. | (323) 226-2074 www.liveyourdreamdesigns.com Live Your Dream Designs endeavors to amaze and delight your customers with the magic of origami architecture. Artist and owner Joyce Aysta can make custom designed pop-up cards of interesting architecture. The cards can be sold in the museum store, printed as invitations to special events or boxed as thank you gifts for new donors. From the Smithsonian Institution Building (aka The Castle), to Fallingwater – Western Pennsylvania Conservancy, to the Farnsworth House, her designs encompass a wide variety of architecture and are found in every part of the United States. She has been serving museums with quality handmade-inAmerica product for 18 years.

SARAH CAVENDER METALWORKS INC. Oxford, Ala. | (256) 831-6241 www.sarahcavender.com Sarah Cavender specializes in designing and producing objects that are beautiful to wear and admire as objects of art: metal mesh jewelry, belts and handbags. Constantly in search of uncommon materials, she maintains design criteria in which each piece contains woven wire and is handmade to order by artisans in Oxford, Ala., using materials made primarily in the United States. Sarah discovered the beauty and versatility of bronze screening while studying sculpture in college and she applied her skills and understanding of metal to develop a process of forming wire materials into wonderful floral, leaf and insect representations as well as knots and abstract forms.

Bangles!

SOLMATE SOCKS South Strafford, Vt. | (802) 765-4177 www.socklady.com A little something fun for your feet: whimsical and mismatched socks for adults, children and babies. Solmate Socks is proud to create a product that is made in the United States. The sock designing, yarn manufacturing, knitting and finishing final touches are completed at small, family-owned businesses in Vermont and North Carolina. Additionally, the socks are knit from recycled materials. The cotton yarn is created by recovering scraps from the production of cotton products. A pair of Solmate Socks is a totally unique gift, sure to bring a cheerful smile to the wearer. Great gifts for men and women of all ages.

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MUSEUM STORE | WINTER 2011

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WINTER 2011

Handbag Culture_Layout 1 11/22/11 1:25 PM Page 1 Kimono Designs_Layout 1 11/21/11 11:08MSA’s AM Page 1 Scarves_Layout Zazou 1 11/17/11 Store 1:15 PMMerchandise Page 1 Showcase of Specialty

APPAREL/ACCESSORIES Retail N/A

Retail $52–$100

Retail $10–$90

Wholesale $75–$130

Wholesale $26–$50

Wholesale $5–$45

&Print and Online Catalog

Wood Handbag Collection Hand-carved handbags; classic, elegant and functional. Made from sustainable acacia wood using traditional methods and tools by artisans in the Philippines.

Handbags From Japanese Kimonos Vintage Japanese kimonos redesigned into handbags, totes, scarves, hats and neckties. A great recycled product. Made by Theresa Gallup, an artist in Springfield, Mo.

&Print Catalog

Zazou’s Maze Velvet Get lost in dizzying hedges of two-tone silk velvet. Zigs with one color, zags with another. Pointed ends ensure it drapes like a dream.

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CUSTOM PRODUCTS

JEWELRY Retail Starts at $15

Retail Call for quote

Retail $25–$69

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Wholesale $12–$29

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G.DeBrekht Artistic Studios Artistic custom ornaments exclusively created with your logo, landmark, message—a beautiful treasure designed from your image. Low minimum, made in the United States.

Custom Design Pop-Up Greeting Cards Historic treasure or cutting edge icon—I can design a 3-D greeting card of your museum home. Custom pricing upon request.

Derby Necklace & Bracelet Doom Earrings Q3 Art makes fashionable, fun and affordable hand-dyed anodized aluminum jewelry, mobiles and clocks. To access website below, enter artist #20169, then enter the password: tra3q.

G. DEBREKHT ARTISTIC STUDIOS Phone: (800) 787-7442 Fax: (800) 787-7427 info@gdebrekht.com www.gdebrekht.com

LIVE YOUR DREAM DESIGNS Phone: (323) 226-0274 Fax: (323) 226-0274 www.liveyourdreamdesigns.com

Q3 ART INC. Phone: (877) 929-4258 Fax: (773) 929-4258 info@q3art.com www.wholesalecrafts.com/visitor

CONTENTS 45 appaREl/accESSORIES 45 cUSTOM pROdUcTS

45 jEWElRy 46 GaMES & TOyS

46 hOME & GaRdEN 46 INdEpENdENT aRTIST

WINTER 2011 | MUSEUM STORE

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Design Master_Layout 1 11/21/11 11:21 AM Page 1 Diane O Donnel _Layout 1 11/21/11 11:37 AM Page 1 Inkstone Design_Layout 1 11/21/11 11:36 AM Page 1

GAMES & TOYS Retail $5

Retail $36.95

Retail $12

Wholesale $2.50

Wholesale N/A

Wholesale $6

&Print and Online Catalog

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DESIGN MASTER ASSOCIATES INC.

DIANE O’DONNEL CONTEMPORARY DESIGNS

INKSTONE DESIGN INC. Phone: (406) 542-0270 Fax: (406) 542-0256 gofish@inkstone.net www.inkstone.net

Phone:1(800) 322-7583 11:31 Fax: (757) Motawi_Layout 11/21/11 AM566-8400 Page 1 sales@designmasters.com www.designmasters.com

Phone: (716) 863-5200 Fax: (716)9:56 568-8458 NidoHook_SP11_Layout 1 3/1/11 AM Page 1 dod@dianeodonnel.com www.dianeodonnel.com

| ad index |

HOME & GARDEN Retail $32–$180

Retail $22–$24

Wholesale $16–$90

Wholesale $10–$13

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Koi Pond Art Tile New for fall 2011, this striking 6”x 8” art tile is hand-crafted by the artisans at Motawi Tileworks. Many other art tiles and accessories available on www.motawi.com.

Nido Hook Nido Hook is an innovative hook that securely hangs art from bookshelves without using nails or damaging fine woodwork. Patent pending.

MOTAWI TILEWORKS

NIDO HOOK

Phone: (734) 213-0017 x235 1Fax: (734) 213-2569 David Changar_double_Layout 11/16/11 12:44 PM Page 1Phone: (818) 986-3727 Fax: (818) 986-6988 mnancarrow@motawi.com www.motawi.com

info@nidohook.com www.nidohook.com

INDEPENDENT ARTIST Arts & Crafts Inspired Vases Vivid Flambeau glazes finish these striking forms that invoke the essence of Arts & Crafts style. Hand-thrown, they are available in three sizes. Custom work available. NY Gift Show booth #9200. DAVID CHANGAR CERAMIC DESIGNS Phone: (718) 842-6362 Fax: (718) 842-6965 dchangar@nyc.rr.com www.DavidChangar.com Retail $22–$150 & Print Catalog 46

Wholesale $11–$69

2012 MSA Conference & Expo ............................ 24 American Craft Council ....................................... 48 Artwear LLC.......................................................... 7 Arbor Vitae Cards ................................................ 43 Baskets of Cambodia .......................................... 13 Breeke.................................................................. 15 Bullpen Book Sales ............................................. 33 Clear Solutions Inc. ............................................ 25 Deneen Pottery .................................................... 14 EDC Publishing .................................................... 21 Esprit Creations.......................................................... 9 Folkmanis Inc. ..................................................... 5 Found Image Press ............................................. 9 Fractiles ............................................................... 32 Galison/Mudpuppy ............................................... 11 General Pencil .......................................................... 13 Getty Publications..................................................... 47 Glass Eye Studio/ Global Village Glass Studio ............................ 11 Haw Creek Forge................................................. 32 Heritage Metalworks ........................................... 43 Historical Folk Toys LLC ..................................... 25 Icon Books ........................................................... 40 Kolling Cards and Things Made Here! ............... 42 Krista Bermeo Studio .......................................... 34 Maple Landmark ................................................. 28 Mata Ortiz to You .................................................. 6 Messe Frankfurt .................................................. 19 Museum Reproductions ...................................... 44 Nido Hook ............................................................ 29 North Country Wind Bells ................................... 42 Product News ....................................................... 45 Questar Inc. ......................................................... 35 Recent Toys............................................................... 42 The Rosen Group........................................................ 2 TAM Retail ................................................................. 23 Safari Ltd. .................................................................. 41 Sarah Cavender Metalworks................................... 33 Solmate Socks .......................................................... 33 Sunset Hill Stoneware ............................................. 34

For detailed contact information about any Museum Store advertiser, please visit www.MuseumStoreAssociation.org and log in to the Member Directory. Thank you for supporting our advertisers!

MUSEUM STORE | WINTER 2011

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FROM

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The Real Deal AMERICAN CRAFT COUNCIL

WHOLESALE SHOW

BALTIMORE CONVENTION CENTER FEB. 22-23, 2012 ENGAGE with more than 350 makers showcasing their NEW, one-of-a-kind pieces EXPLORE multiple custom commissioning and consignment opportunities IMMERSE yourself in fun, Informative pre-show programming and networking events including a special wine and cheese reception featuring actor, designer, author Bryan Batt of Mad Men fame and author of Big, Easy Style INDULGE come with your professional hat, stay with your personal hat to shop an additional 350 makers work Feb. 24-26

To REGISTER and learn about EARLY BIRD PERKS visit: www.craftcouncil.org/wholesale

Seung-Hea Lee, Flora Oxidized silver, precious and semiprecious stones

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11/22/11 9:38 AM