Museum Store Spring 2016 by Museum Store Association

Museum Store A PUBLICATION OF THE MUSEUM STORE ASSOCIATION

SOUTHERN LIVING: JOIN US FOR THE ANNUAL MEETING IN ATLANTA

TOWELS, T-SHIRTS, AND TIMING: MERCHANDISING THE BEACH

SPRING 2016

EXTENDING THE EXPERIENCE: CUSTOM PRODUCT DEVELOPMENT

Visit Booth

222

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Spring 2016 | Volume 44 | Issue 1

FEATURES

16 All Aboard for Atlanta

The 61st annual MSA Conference and Expo is happening this spring, and special events are scheduled around the city. by Dana R. Butler

24 The Beauty and Proﬁtability of Product Development

Custom products can be a worthwhile addition to your merchandise selection, but it is a complex process. How to know what’s right for your store. by Marge D. Hansen

MANAGING EDITOR

Dana R. Butler dbutler@museumstoreassociation.org

MUSEUM STORE ASSOCIATION 789 Sherman St. Denver, CO 80203 Phone (303) 504-9223 Fax (303) 504-9585 info@museumstoreassociation.org museumstoreassociation.org

SKIES AMERICA PUBLISHING COMPANY ART DIRECTOR

Michelle Fandrey EDITOR

Surf’s Up

Samantha Edington

The National Building Museum’s intereactive BEACH exhibition created a unique opportunity for the retail manager.

MUSEUM STORE MAGAZINE ADVERTISING

by Kimberly Field

Diana Grossarth (503) 726-4986 dgrossarth@museumstoreassociation.org

ARTICLES & MORE 4 Letter from the Board President 6 Letter from the Executive Director 8 5 Things that Make a Lasting Impression Your store staff is often the most meaningful point of contact for the museum visitor, so your training must ensure they create a positive experience. by Andrew Andoniadis

12 Cream Floats to the Top Details matter, and the way they are handled is key to the difference between a profitable, well-run store and slew of problems. by Tom Shay

32 Member Story Meet Teishia Mathews, assistant manager at the San Diego Museum of Art store.

34 Vendor Story Get to know Neena Jhaveri, creative director of Nina J. Design Studios.

44 Community Updates 46 Ad Index

PRODUCTION MANAGER

Cindy Pike CIRCULATION

John Mendez Museum Store magazine (ISSN 1040-6999) is published by the Museum Store Association. Museum Store Association and MSA are registered in the U.S. Patent and Trademark Office. Postmaster: Send address changes to Museum Store Association, 789 Sherman St., Denver, CO 80203 © 2016 Museum Store Association, Inc. All rights reserved. Except for the inclusion of brief quotations in a review, no part of this magazine may be reproduced or used in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from Museum Store Association. Opinions expressed by contributors are not necessarily those of the Museum Store Association. Printed in the USA. On the cover: The National Building Museum in Washington, DC. Photo by Kevin Allen Photography.

BUYER’S GUIDE 36 Buyer’s Guide: Custom Products and Souvenirs M U S E U M S TO R E

FROM THE BOARD PRESIDENT

sending a postcard … to the future! n the infancy of nonprofit retail, the postcard was a staple item: a picture of an artwork, a building, an animal in the zoo. It allowed the visitor to preserve a memory, perhaps to send it on to a friend or loved one or to cherish the image as an emblem of a special day. The goal for nonprofit retail now (besides generating funds for your institution) is to flesh out that memory more fully, to make the whole experience more engaging, to teach something to the visitor, and to present another aspect of the wider institution. The goal now is to “extend the experience.” We see this as a holistic approach so that, at every “touch point” for a visitor, his or her impression of the institution as a whole remains consistent. The merchandise selection should reflect choices that relate closely to the collections and exhibitions that the institution presents. My example has always been displaying objects for a contemporary art museum; you wouldn’t find us selling a quill pen. That would confuse the customer and not support the impression with which we send them away. They might even like a quill pen—and I might sell a boatload of them—but the experience would be disjointed for the visitor (to say nothing of what the IRS may think). Even customer service should feel consistent across the institution. Front-line staff should all receive similar training in greeting and assisting the public so that the “welcome” offered feels right at every point. I have even been to some historic sites where the cafes serve food appropriate to the time period of the site—porridge anyone? Apple pan dowdy? These types of thoughtful steps place real value on thinking about how we present our whole institution to our public. Our stores play an absolutely critical role in extending that experience— most particularly because the store is often a visitor’s last stop before heading home. Our thoughtful assistance, our carefully curated merchandise, our commitment to quality, and our willingness to inform the visitor about the institution and why we sell what we sell will, indeed, extend the experience he or she had that day—all the way into a future when they tell friends and relatives how wonderful their visit was. We all need to be attentive to this useful—and gracious—model. It makes sales—and friends—both of which are important goals in the institutions we value enough to represent. So take that valiant postcard … and send it on to the future!!

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

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

SECOND VICE PRESIDENT Julie Steiner The Barnes Foundation Philadelphia, PA

S E C R E TA R Y Michael Higdon National Building Museum Washington, DC

TREASURER Alice McAuliffe The Walters Art Museum Baltimore, MD

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

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

David Duddy MSA Board President

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FROM THE EXECUTIVE DIRECTOR

msa matters

hen I first joined MSA, I asked the question, “What is MSA’s story?” How do we—members, staff, and board of directors—talk about MSA in a way that is authentic and conveys why MSA matters to members and invites them along on the journey. After some research with members and a long conversation with the then board, I came to understand the unique story of MSA and its members is that all of us—individuals, institutions, and vendors—are all about extending experiences. In thinking about “extending,” meanings such as “lasting longer,” “continuing on,” and “having an effect on an individual” came to mind. How does a store connected to a cultural institution—be it art museum or national park—make the visitor’s experience with the collection or exhibition linger? How does it affect the visitor in a meaningful way and ensure that the connection with the institution continues on? I learned that it takes a professional who deeply understands the institution’s special and distinct story. It takes someone who understands merchandising, customer service, and retail financial management and a person who can stand back and intuitively know what to do to support the institution’s brand—all while seeing how the retail operation fits into the big picture of the institution. It also needs vendors who are willing to learn about the unique story of each institution at which it provides distinctive merchandise, people who understand the strengths and limitations of a nonprofit retail store and who are willing to develop relationships that will return benefits over time. At the MSA Annual Conference & Expo, institutional members and vendor companies are given a special opportunity to connect. It’s at the Conference & Expo that MSA presents opportunities to develop professional skills, share ideas, and understand the opportunities and challenges of nonprofit retailing. Best of all, it is a place where store operators and vendors will develop relationships that will last an entire career. Whether you are able to join your MSA friends and colleagues in Atlanta this year or not, know that we will be celebrating all you do in supporting the institutions you serve and to which you sell. We’ll be extending MSA’s experience to all attendees and participants on an engaging and memorable journey for a few days this April. Regards,

Jama Rice Executive Director/CEO

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

DIRECTOR OF MARKETING Patrick Mulcahy

MEETINGS & CONFERENCE MANAGER Jennifer Anderson

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

D ATA B A S E A D M I N I S T R AT O R Ayrin Herald

O F F I C E A D M I N I S T R AT O R Chloe Hawker

5 things that make a lasting impression Managing a successful store includes a variety of “noneconomic” tasks and opportunities that make an impact. BY ANDREW ANDONIADIS

Visitors to your institution are likely to spend more time interacting with store salespersons than any other museum personnel.”

t’s probably prudent to start this article by acknowledging that practically everything done in any store has a ﬁnancial impact. But as the phrase “retail is detail” acknowledges, a broad range of activities— including some that go beyond just sales—are important, and there are some less obvious responsibilities and opportunities within the store that make an impact.

Interaction with Salespersons Visitors to your institution are likely to spend more time interacting with store salespersons than any other museum personnel. Each visitor may interact with admissions or other personnel, but these interactions are almost always limited in duration and focused on the mechanics of the visit. Visitors may spend more time with docents, but only a small percentage of guests get the chance for meaningful interaction. Once in the store, however, visitors will often connect with the staff on issues of personal preference—such as a favorite exhibit or aspects of the exhibition they enjoyed—and discuss products relating to these good experiences. And when it comes to out-of-town visitors, the interaction may expand to topics such as things to do in town, where to eat, or how to get around. As a result, training efforts must be expended on sales, engagement, and affecting the customer experience. Personnel in the store, whether paid or volunteer, must be responsive to the customer, proactive with their selling techniques, and knowledgeable about the museum in general. It is also beneﬁcial to have a thorough knowledge of the institution’s rotating and permanent exhibitions, the store’s merchandise, and the city and surrounding area.

Yes, I know about the Internet and its vast amount of information and products available. But there continues to be a strong draw to a warm, tactile connection between the museum visitor and the store and staff, especially at the end of a visit. And although books are often listed as a category in which sales are routinely lost to the Internet, the perceptible beginnings of a comeback for independent booksellers could mean this phenomenon is waning. To deepen the “best source” feeling, it’s helpful to note through signage and conversation that the money generated in the store beneﬁts the museum.

Making an Impression Because stores are often near or adjacent to the exit, they could be described as the last exhibit. This advantageous location effectively makes the store the collective focus of the visitor’s full experience. A poor retail experience, the result of unsatis-

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Educational Material

PHOTO: CAROLINE GARDNER

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factory product selection, bad service, or unpleasant ambiance, can have an outsize impact on a guest’s perception of the visit. It may not entirely negate a positive experience within the museum, but it can affect the lasting impression of the experience for some time to come. In addition, how customers feel in the store greatly affects how much they will spend. A great-looking, well-maintained retail space with an attentive, knowledgeable staff well versed in customer service skills is going see more sales and make a positive impression.

Catering to Children Children are important customers because they represent three distinct consumer groups. First, they can be primary buyers who are spending their own

money. They can be agents of inﬂuence who greatly affect how and how much money is spent. And they are future adult customers who tend to repeat activities they enjoyed as a child, including museum visits and museum store buying. Yes, having children in the store may result in refolding more t-shirts, rebuilding displays, more frequently straightening merchandise, and possibly increased shrinkage and breakage. But it is also a very rewarding melding of mission, sales, and future growth.

Signage Excess signage can be a problem, but it is also necessary to communicate information about the provenance of a product, hours of operation, the store’s return policy, and much more. Any signs

you have are there for a reason and should get the message across. It’s important to remember that signs communicate more than what is written on them. The eye is quick to see, evaluate, and then act on or ignore what comes next. A sign may have great information, but if it’s incoherent, shabbily produced, dirty, or poorly placed, it does no good. Signs that are professionally produced, clear, brief, and consistent with other graphics in the store have a much better chance of being read. Andrew Andoniadis is the principal at Andoniadis Retail Services, a consulting ﬁrm that has specialized in revenue-generating strategies for museum stores for 21 years. He can be reached at (503) 6299279, Andrew@MuseumStoreConsult. com, or www.MuseumStoreConsult.com.

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M U S E U M S TO R E

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cream ﬂoats to the top For positive results, surround yourself with supportive people, from employees to mentors. BY TOM SHAY

The difference between an ordinary store and a highly profitable one is the way the details are handled.”

he idiom “cream ﬂoats to the top,” like many others, has its basis in truth. This particular one originated with dairy farmers. Simply put, it means selling the milk produced by the cows provided enough money to pay for the basic needs of the farmer and his family.

The cream, a prized and valuable constituent of the milk, one that literally floated atop it, could be sold on its own so the farmer could make a little more money to purchase some of life’s luxuries. In business, the expression is applicable as well. The difference between an ordinary store and a highly profitable one is the way details are handled. These details, when addressed quickly and regularly, become the cream (profit). If not addressed satisfactorily, all that floats to the top are problems. So how do you get to the cream? You begin by acknowledging that you are the most important person with regard to the store. It may not be the egalitarian approach, but the reality is that everyone else’s job is to support you. And although some of your staff may be able to do some things you cannot, their main job is to support you and what you need to accomplish, which, in turn, is supporting the institution and its mission. The second step is recognizing there are tasks related to the store that only you can do. Unfortunately, many managers don’t make these tasks their priority and find themselves left to complete them as the deadline approaches and often taking the work home to do at night.

The key areas that you as the store manager must focus on are appropriate ﬁnancial management, merchandising of the store (both purchasing as well as physical display), advertising to your patrons and guests, understanding and utilizing ﬁnancials, observing stores similar to yours (including at malls, lifestyle centers, shopping centers, and the downtown central business district). Coming up through the ranks, you were undoubtedly told you cannot do all of the

M U S E U M S TO R E

Why does this happen? Many times, it is because the manager ends up doing tasks that should be done by a subordinate. Although there are many reasons why this happens, one of the more common of them is the staff has not been taught how to do them properly or, worse, they are not held accountable for doing them correctly. And the kiss of death is the attitude that no one can do the job as well—or as quickly or as easily—as you can. How often have you lost 20 minutes (or more) refolding t-shirts?

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yourself. Invite them to coffee or breakfast (your treat, of course).

If you don’t have a mentor, seek one out. Find someone to help you grow and gain experience in the industry—and ﬁnd time to be a mentor to someone else. Take your turn and pay it forward. The best advisors may be just around the corner or down the street. And even better, their advice costs nothing!

Developing a mentorship group of six to 10 individuals is ideal. And don’t be surprised if you ﬁnd them in places you would never think of, such as a grocery store, pharmacy, clothing store, toy store, or hardware center. Meet with this group monthly with the intent to exchange ideas and help each other address any challenges they may have.

Look around at other shops. Which stores impress you the most? It is more than likely due to the owner or manager. Reach out and introduce

To continue the metaphor, something is going to ﬂoat to the top. The question for you is whether it is going to be proﬁt or problems.

M U S E U M S TO R E

Tom Shay is a small business management expert, who created Proﬁts Plus based upon his years of experience in a family-owned business. He is also an author of 11 books and a college textbook, a columnist for more than 70 trade magazines, a business coach, and a small business keynote speaker.

jobs by yourself, nor can you know how to do everything. And frankly, you shouldn’t. Good managers let their support staff support them. And good managers surround themselves with smart people to advise and mentor them.

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SPRING 2016

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MSAProductShop MSA News Brief M JOIN SOUTHERN LIVING: US FOR THE ANNUAL MEETING IN ATLANTA

, AND TOWELS, T-SHIRTS NDISING TIMING: MERCHA THE BEACH

EXPERIENCE: EXTENDING THE DEVELOPMENT CUSTOM PRODUCT

T H E 61 S T ANNUAL M S A R E TA I L CONFEREN April 15-18

, 2016 | Expo CE & EXPO Dates: April 15-17 , 2016 EXHI BITO R PRO SPEC TUS

Museum Store magazine

Program Book & Expo Guide museumstoreassociation.org museumstoreassociation org

Contact Diana Grossarth to reserve ad space and discuss packages. dgrossarth@museumstoreassociation.org • 503-726-4986 M U S E U M S TO R E

all aboard for atlanta This spring, MSA is heading south to Atlanta for the 2016 Conference and Expo. BY DANA R. BUTLER The 2016 Museum Store Association Conference & Expo will feature a schedule ﬁlled with insightful presentations and smart ideas for your store. But this sprawling Southern capital has a lot to offer outside the walls of the Westin Peachtree Plaza as well. As aﬁcionados of cultural institutions, you should budget a little time to explore the city.

Jimmy Carter Presidential Library and Museum In addition to a striking Japanese garden set amid the 35 acres of grounds, this important repository houses more than 27 million pages of Jimmy Carter’s White House papers, documents, and correspondence plus a half million photographs and hundreds of hours of audio and visual material. The Museum of the Jimmy Carter Library includes memorabilia and photographs from the Carter presidency (1977–1981) and an exact replica of the Oval Ofﬁce. jimmycarterlibrary.gov

Learning Excursions Thursday, April 14 Atlanta History Center High Museum of Art Atlanta Botanical Garden The Atlanta History Center sits on 33 acres in the venerable Buckhead neighborhood and includes the Centennial Olympic Games Museum, the historic gardens and trails of Goizueta Gardens, and the 1928 Swan House and the working 1860s Smith Family Farm. Don’t miss “Atlanta in 50 Objects” on view in the museum. The stunning High Museum of Art houses the Southeast’s premier collection of classic and contemporary art. As recognizable as the Richard Meier– and Renzo Piano–designed building may be Roy Lichtenstein’s sculpture House III, which graces the grounds. Thirty acres of spring blossoms await visitors at the Atlanta Botanical Garden.

MSA Networking Reception Saturday, April 16

The atrium of the High Museum of Art

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Although our visit is scheduled a few weeks before the acclaimed “Chihuly in the Garden” exhibition, the garden’s art collection includes some of the glass master’s distinctive pieces as well as other sculpture in a variety of styles. atlantahistorycenter.com, high. org, atlantabg.org

Lichtenstein’s House III at the High

Friday, April 15 Martin Luther King Jr. National Historic Site This historic site, managed by the National Park Service, includes a visitor center that houses the “Courage To Lead” exhibition, which follows the parallel paths of Dr. Martin Luther King, Jr., and the Civil Rights Movement. There is also a ranger-led tour of Dr. King’s Birth Home and access to the historic Ebenezer Baptist Church, Dr. and Mrs. King’s Gravesite, Freedom Hall, and Historic Fire Station No. 6. nps.gov/malu

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Atlanta Botanical Garden

The Atlanta skyline

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M U S E U M S TO R E

2016 SPONSORS

MSA gratefully acknowledges the following sponsors for their support of the 61st MSA Retail Conference & Expo. DIAMOND LEVEL

Opening Keynote Breakfast AMERICAN HERITAGE CHOCOLATE/MARS CHOCOLATE NORTH AMERICA Booth #309

Membership Meeting and Awards Lunch LAS VEGAS MARKET

RUBY LEVEL Closing Luncheon POPCORN CUSTOM PRODUCTS Booth #208

IN-KIND DONATIONS

Conference Pens DAVID HOWELL & COMPANY Booth #100

Conference Mugs DENEEN POTTERY Booth #207

Conference Journals FOUND IMAGE PRESS Booth #320

Conference Pins HOGEYE Booth #340

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M U S E U M S TO R E

Thank You Founded 61 years ago, MSA throughout its history has been supported by thousands of dedicated institution and vendor members. Member involvement keeps MSA vital and ensures it remains the authority for information, education and partnerships in the nonproﬁt retailing profession. These members know that membership dues alone do not cover the costs of providing MSA’s programs and services. MSA received ﬁnancial donations in 2015 from many members who support its mission, and we are most grateful. We sincerely thank the donors listed below who so visibly support MSA. Their support plays a critical role in sustaining the Museum Store Association.

Contributing Friend Terry Aulisio Lynn Brower Diane Bilodeau Greg Cain Charles Products Inc. Christy Connelly Fractiles Janet Goddard Chacho Herman Christine Hacker Historical Folk Toys LLC Wendy Jacoby

Lapis Lazuli Jewelry Distributors Inc. dba Boston Exclusives Irene Light The Orb Factory Ltd. Barbara Silverstein Lauren Simons John Stafford Patricia Toth Susan Tudor Jocelyn Willis Winter Design Group

Supporting Friend

Sustaining Friend

Andoniadis Retail Services David Duddy Stuart Hata Michael Higdon Barbara Lenhardt Alice McAuliffe Betsy Poole Jama Rice Ione Saroyan Julie Steiner

Kristen Daniels David Graveen David Howell Wood Huntley Ari Lowenstein Christine Mallouk Pomegranate Stewart/Stand

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2016 Buyer’s Choice Award Finalists Attendees of the 2016 MSA Retail Conference & Expo will be casting their votes for the Buyer’s Choice Awards in four product categories. Preview those vying for top honors before your arrival in Atlanta. The categories and nominees (including their Expo booth numbers) are below.

BOOKS & MULTIMEDIA

Galison/Mudpuppy #326 Penguin Random House #225

Andy Warhol Coloring Book

Things Organized Neatly: The Art of Arranging the Everyday Based on the Webby Award–winning Tumblr site, Things Organized Neatly is a fun and humorous compilation of images depicting exactly what the title describes.

Introduce well-known classics such as Andy’s Campbell’s Soup Cans to a new generation in a creative and interactive way with this 32-page coloring book. The book features the iconic pop artist’s greatest hits ready to be colored in and customized by young artists, and each page is perforated to easily tear out and display as a new work of art.

BOOKS & MULTIMEDIA

CUSTOM PRODUCTS

Discoveries Egyptian Imports #501

Design Master Associates #222

How to Read Ancient Egyptian Hieroglyphs

Fife & Drum Musical Mug

This elegantly illustrated booklet, written for the museum store market, gives readers young and old a clear understanding of the ancient Egyptian language and culture.

Take a step back in time and enjoy the sounds of the fifes & drums while drinking your coffee out of this ceramic mug.

CUSTOM PRODUCTS

Lapis Lazuli Jewelry Distributors, Inc., dba Boston Exclusives #337

MuseumLight Company #209

Poppy Flower Remembrance Scarf

MuseumLight

Wearing the poppy flower remembrance scarf is your personal tribute to continue to honor all soldiers who have served and given their lives for freedom.

Illuminated film is a new media for MuseumLight—perfect for vintage maps, photos, and custom paintings. Two price point options now fit any budget.to assemble. Ages four and up.

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FASHION

Batucada USA #914

David Howell & Company #100

Fine Art by Holly A. Jones, Inc. #530

Origami Necklace

Earrings by David Howell & Co.

Art to Wear Collection Handbag

Our hand-cast, eco-chic jewelry offers a unique and sophisticated accessory experience. Designed in France by a culturally diverse team of talented artists, the collection presents “art on the skin” in its most elegant form.

These earrings are inspired by the paint splats, drips, and languid coils found on the floor of Jackson Pollock’s studio. This is a new way to look at art, whether the design source is contemporary/modern or from the Old Masters. We are always trying to bring a fresh look to all that we design and manufacture, and our products are made in America.

These handbags are made from original, handpainted canvases and can be stretched back into wall art if the collector decides to do so.

PAPER PRODUCTS

Girl of All Work #410

L. M. Kartenvertrieb & Verlags GMBH Germany #427

Facet Page Flags: Fireworks

Animated Lenticular Card

These geometric foil-stamped page flags (retail $6.75) are a vibrant addition to any museum counter/small gift section.

A perfectly animated lenticular postcard in the style of a cat with a mechanical movement look.

PAPER PRODUCTS

Nick Mayer Art #245

Wizhead, Inc. #331

Ocean Beauties Stationery Line

3-D Paper Head Puzzle—Vincent Van Gogh

Ecofriendly stationery line made from recycled paper and soy-based inks. Created from hand-painted watercolors of sea life by marine biologist Nick Mayer.

The head is a puzzle. Assemble a paper head to get inspired!

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the beauty and profitability of product development From wearables to readables, home decor to gifts, skillful vendors can help successfully create customized pieces that extend the visitor’s experience. BY MARGE D. HANSEN By virtue of their unique identity, custom creations push themselves forward as terrific takeaways from a memorable museum visit. As a retail store professional, you likely have a very good idea of what you would call your product sweet spots. So how can those items be right-sized, customized, materialized, merchandized—and make a profit? Museum Store Products, Inc., is a company that works with museums and cultural institutions to develop custom products that both reflect permanent collections and enhance temporary exhibitions. “Our motto is ‘Tell Your Story, Sell the Experience,’” says Wood Huntley, owner of the Hackettstown, NJ–based firm. “I don’t think any institution should shy away from product development,” he says, but he emphasizes the importance of finding vendors who are flexible on minimums. Sales manager Peter Irwin says the company advises “shallow breadth,” especially in the beginning. “Start with several images on several products at low minimums to tell a compelling story rather than just one or two images on one or two products that could go unnoticed by customers. This approach allows you to present a complete program and test to see what works and what doesn’t without a large financial commitment.” Huntley also adds that many museum retailers still believe product development is expensive and time-consuming. “In this digital age, that’s not the case,” he says. “Vendors should take as much of the burden of product development off the shoulders of the buyers as possible. Successful product development is a partnership.”

Mementoes Speak Volumes

“When we achieve the best possible guest experience, that guest has the desire to bring home a memento of that experience, and they have a desire to ﬁnancially contribute to the institution. By offering a custom product, such as a museum guide or a mission-speciﬁc game like our WWII Monopoly, the guest achieves both objectives,” Michel says. “Custom products are blind from a competitive retail pricing perspective and, if designed properly, could be sold to other institutions, opening up a revenue stream for your institution that did not previously exist,” he adds. (On that

Photo by Johncurrystudio.com

Chris Michel, director of retail services at the National WWII Museum in New Orleans, LA, and president of MSA’s South Atlantic chapter, prioritizes product development even though his store carries only a small percentage of custom items. Since he joined the staff six years ago, the museum has boosted product development efforts and realized signiﬁcant growth in revenue from sales of these items.

STEPS IN THE PRODUCT DEVELOPMENT PROCESS From Chris Michel, The National WWII Museum

front, Michel offers this insight: Instead of placing your logo on the product or packaging, he suggests using straight text stating “Product of…” and adding the name of the institution.)

These charms by Cynthia Gale are part of the Barnes Foundation Arboretum Botanical Collection.

Not Lost in Translation

Symbolizing the Mission

Inspired art jewelry is consistently among the top sellers in both large and small stores. Designer Cynthia Gale, CEO of Cynthia Gale in New York City, stresses two critical factors when developing custom products: solid support of upper management and a realistic budget to support the venture.

David Howell’s designs are interpretations that come alive in the pieces his group, David Howell & Company in Bedford Hills, NY, produces from distinctive artwork they create. He relishes coloring outside the lines. “This is different from copying an image and placing it on an object like a mug or magnet. Design is more costly, and it means that you are going to spend a minimum of $1000 working with us to create something unique for your shop,” says Howell. “This is a high bar for many institutions and should be approached with caution, particularly if your visitation is between 50,000 to 250,000 per year. We’ve had success with smaller institutions that understand it will take several years to sell through the product, and they need to choose pieces that are truly iconic to their mission and will stay evergreen in their stores.”

“Museum developers who have built a robust retail environment both in their brick-and-mortar stores as well as their online platforms stand a better chance of success,” she says. “Well-known artists and meaningful antiquities, which resonate with museum visitors, translate well into custom projects. For longevity purposes, we ﬁnd that sterling silver development based on permanent collection pieces and architectural elements work best for many of our museum partnerships.” Still, she says awareness of minimums is crucial.

• Identify the need/opportunity. • Look to see if something similar already exists. • Create a business plan with achievable goals. • Get financial approval. If the project warrants a significant investment, be sure the CFO is on board before bringing in other departments. • Check references of potential vendor partners—MSA’s ShopTalk offers great feedback, quickly. • Prepare a comparative bid process. • Enter into a formal agreement with your supplier. • Put together a work team with a retail staff member as leader. • Involve several people in the final proofing, including the institution’s president. • Have a plan for reorders and for getting out of a bad decision • Prepare for the worst and work for the best!

Museum Store Products puts images, such as this Van Gogh masterpiece, on items from bookmarks and buttons to postcards and puzzles.

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Worth the Effort Howell says working with nonproﬁt institutions is a valuable experience. “I love the passion of museum store managers,” he says, “They care about their stores, their museums, and the cultural identity that binds humanity together.”

Cynthia Gale created a suite of custom jewelry pieces for the New York Historical Society that includes this cuff representing the city skyline and the Empire State Building necklace that opens this article.

And no, custom is not always the easiest option. Gale admits that creating custom items can be problematic, especially when the art is not well suited to a project or exhibit attendance is less than expected. Yet even though customizing products can have stressful aspects, Michel says, “Perhaps it will be the most satisfying part of your job. It takes retail away from the strictly dollars-and-cents perception and allows a true contribution to the institution’s mission.” Marge D. Hansen is a freelance writer based in Broomﬁeld, CO. She recently wrote an article about selling and restocking store displays, which appeared in the Fall/Winter 2015 issue.

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These bookmarks were created by David Howell and Company for the Preservation Society of Newport County in Rhode Island. One features the façade and front gate of Cornelius Vanderbilt’s opulent Breakers mansion, and the other portrays the iconic Pell Bridge, known by locals as the Newport Bridge.

T H E 61 S T 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 April 15-18, 2016 | Expo Dates: April 15-17, 2016 FOR INFORMATION AND REGISTRATION Visit museumstoreassociation.org

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surf’s up How the National Building Museum spent its hot summer and sold cool stuff. BY KIMBERLY FIELD Each summer, the National Building Museum hosts a summer-long block party to get visitors off the National Mall and into the museum’s cavernous halls. In 2015, its monochromatic beach—essentially a ball pit for all ages—generated a tidal wave of visitors. For Michael Higdon, retail manager of the museum’s store, providing the quarter million “beach”-goers with the perfect souvenir was not exactly a day at the beach. The BEACH was a white “seascape” designed by creative art/architecture ﬁrm Snarkitecture. It spanned more than 10,000 feet of the Museum’s Great Hall, bringing the quintessential summer experience of a beach to downtown Washington, DC. Visitors could lounge on the “shoreline” or swim in an “ocean” of nearly one million translucent plastic balls. The exhibition came together quickly, moving from concept to welcoming visitors in about six months. “Exhibition design considerations pushed the merchandising conversation to the back burner,” Higdon says. “Product development didn’t begin until late—and I mean really late.” How late? “Late spring for an exhibit that opened on the Fourth of July. We had about six weeks to design and order product.”

Ideas Meet Production Realities There were literally tons of beach-themed items that Higdon could have ordered and stocked quickly, including everything from picture frames to a child’s pail and shovel. But he was determined to avoid the cliché. “We were not going to bring in the obvious,’ he says. “I gave our team and internal graphic design department some criteria for what I wanted and let their creativity flow. But because of the tight windows, we couldn’t include some very good ideas.” In addition, virtually everyone associated with the exhibit had ideas about merchandising—as is frequently the case with hotly anticipated events. Higdon held firm as the gatekeeper and vetted each concept to ensure that it fit the overall plan. “Articulating a retail strategy and getting everyone on board is key,” he says. “It’s not easy, especially when you’re working with such tight time frames.” He called on past experiences with summer programming, and decided to keep price points relatively low. That required tightly managing production costs—a tough order when you’re pushing venders for fast delivery. One important piece of advice from Higdon: No matter how squeezed the production schedule, always get a production sample. “We had a BEACH towel that was almost a disaster,” he says. “It was red overprinting on a white towel, only it looked pink! This is a $40 beach towel; it cannot be pink. We had to change it to a gray towel at the last minute. I’m glad I took the time to get a sample.” Steering clear of the usual summery, beachy items avoided another dreaded problem. “Nothing is more wrong than going into Christmas with beach items on the shelves,” Higdon says. The store curated a small selection of items at affordable

A young girl shows off the BEACH ball, a branded item that Retail Manager Michael Higdon fought to include in the summer’s merchandising plan.

price points that included two adult tshirts; a child’s t-shirt; ﬂip-ﬂops; a collectible lapel pin; some jewelry incorporating round shapes that was made on the store’s 3-D printer; a 22-oz., ballshaped tumbler; and a branded beach ball. Items ranged in price from $1 to $40 and carried margins in the 70% range. The most popular item wasn’t a planned inventory item at all. “I just opened a box of leftover balls from the exhibit and sold them for a dollar each.”

Not So Simple Toys

Top photo by Emily Clark

Higdon envisioned beach-goers playfully tossing around a branded BEACH ball, but this simple toy became a controversial item within the museum. “Not everyone wanted an inexpensive, plastic beach ball representing the exhibit,” he says. “I dug in my heels on this.” In keeping with the nature of the exhibit, Higdon specified a translucent, inflatable beach ball with a white logo. “My vendor made me sign a waiver because he was convinced that the white logo wouldn’t stand out on the white ball,” he says. The $6 ball became an iconic symbol of the museum experience for thousands of visitors. Flip-flops played a surprising role in extending the museum experience. Higdon wanted to tie this item into the museum’s overall branding, so he departed from the monochromatic theme of the BEACH and ordered red flip-flops with the exhibition logo printed in white. Many museum visitors wound up wearing a pair home after losing a shoe in the “ocean.” Still,

A glass case displays ball-shaped tumblers and inflatable beach balls among the summer’s most popular item—extra balls from the exhibit that sold for $1 each.

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The store stocked jewelry, including this pendant, which was reminiscent of the BEACH’s balls and created on the museum’s 3-D printer.

it was not part of a devious scheme to sell flip-flops; they did not anticipate visitors losing the vast array of items that disappeared into the depths. “In hindsight,” Higdon says, “I wish I had ordered kids’ flip-flops.” The BEACH was wildly successful with approximately 250,000 visitors packing into the museum over the nine-week run. Each morning, a line of visitors gathered to experience the BEACH. And each morning, Higdon checked his stock, reordering several times a week. Yet as busy as the shop stayed during the exhibit, BEACH-related merchandise represented only about 10% of the summer’s sales. “The BEACH brought people into the museum and introduced them to the shop or reminded them how great a museum store is,” Higdon says. That’s one beach souvenir that will last long after the suntan fades. Kimberly Field is a Colorado writer with a long history of visiting and working in museums.

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member story: Teishia Mathews Teishia Mathews, assistant manager of the San Diego Museum of Art, is part of the next wave of MSA membership and has abundant enthusiasm for this industry.

I don’t necessarily like change, but I am always changing, trying to find a better, more efficient way of doing things.”

’ll start with a little bit of background on my museum career. I have worked at the San Diego Natural History Museum (twice), the Los Angeles County Museum of Art, and as a part-time temp at The San Diego Museum of Art. One morning, while walking to work at the Natural History Museum, I ran into Chacho Herman (not literally), my old boss at the art museum store, and he offered me a job. It wasn’t all that hard to decide. I mean, it was a full-time position at an art museum (I love art) working for Chacho Herman (if you know him, you get it). That was just over 15 years ago.

The San Diego Museum of Art is the oldest art museum in San Diego, located in the heart of beautiful Balboa Park. Our main building is Spanish Colonial style with a midcentury modern wing. The exhibits in our collection include work by Toulouse-Lautrec, Goya, Giorgione, Giotto, and Rubens. Currently, we have three stores: our permanent store, a new boutique-style store called Bibliotique, and a temporary exhibition store. The main store is about 1000 square feet of galley-style space. In 2000, it underwent a complete remodel, and I was hired in the middle of it, which really helped me with learning the merchandise. One of the things I ﬁnd rewarding about my job is that I am now in a position where I get to make decisions about the merchandise and the staff. For example, I found a jewelry designer last year at the MSA Expo—my boss was not as into it as I was, but I fought for it—and I’ve reordered three or four times. It’s those little things that build my self-worth and make working in the store such a privilege. My opinions matter. When it comes to hiring for the store, I ﬁnd it extremely useful to surround myself with younger people that are excited to share ideas, give their opinions, and bring a different perspective to almost every aspect of my job and the function of the store—and the museum for that matter. For example, one of our newest team members has helped us with promoting Bibliotique on social media. We now have a great mix of young go-getters and mature, well-versed employees, which makes being at work enjoyable and educational.

The primary San Diego Museum of Art store is a long galley-style space offering items related to the artists featured in the museum’s collection.

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I seem to always be altering some procedure or way of doing things. It’s kind of funny because I don’t necessarily like change, but I am always changing, trying to find a better, more efficient way of doing things. Right now, I am working on rethinking and reconfiguring our stockroom. The museum will soon have three simultaneous shows with three different catalogues, and we need room where there isn’t any. What I find challenging is the juggling act we all have to do. Most days, things gel,

The main store at the San Diego Museum of Art houses a large selection of books.

and everything feels in sync, but then there are those days when the ball drops. They key is being able to get back in sync without too much lag time, and to take pride in your work even if the results are not what you expected. For example, not too long ago, I created an online store for one of our pop-up shops. We have had an online store for a while, and frankly, we do very little in terms of sales from it. So the museum wanted to explore whether we would boost sales if we updated the look and created more content. I took on the task of creating a new store, in a sense, for our “Gauguin to Warhol” exhibition. I bought a light box and Photoshop and started shooting and editing. I didn’t have the proper lighting or props, but I fumbled through it and got it to a satisfactory state—until I was told not to focus on it any longer. It was disappointing to feel like the time and energy that was put into it just wasn’t worth the return, but I felt like I did a great job although I did not get it to the perfect state My job has afforded me the chance to become a member of MSA and the Western Chapter secretary. I get to meet other people who love working in museums, speciﬁcally in retail. I go to conferences and visit museums that I may not have ever seen, and I attend gift shows and see new products before other people. And last, but not least, I have worked with so many amazing people that have impacted my job and life in wonderful and positive ways. M U S E U M S TO R E

vendor story: nina j. design studios Art has always played a prominent role in Nina J. Creative Director Neena Jhaveri’s life. BY DANA R. BUTLER

My aquatic paintings began to appear on my paper and canvas from the underwater dreams I was having at one point.”

ina J. Design Studios produces pottery and scarves adorned with details gleaned from nature, often motivated by the ﬂora and fauna in her own garden. The work appears on shelves of many MSA member stores, and the company’s fossilized jewelry keeper was awarded an MSA’s Buyer’s Choice award last year in the category of ecofriendly products.

Vice President and Creative Director Neena Jhaveri says she has been producing art all her life. Her mother would take her to visit the cloth markets of India at a very young age. “The colors, textures, and the feel of each fabric intrigued me,” she says. “We could get a yard of this and that, and I got to pick my own.” She moved to the United States in 1984 and undertook learning a new art form every few years, for example, silk painting, paper jewelry, and gardening. The latter led to her style of fossilized pottery, which involves pressing botanicals into the clay. The pottery patterns sometimes then find their way onto cotton or silk scarves. Her work is inspired by nature in a number of ways. “Recently, I have been inspired by the birds at my bird feeder,” she says. “I wake up and watch them doing their waltz, taking turns at the feeder. Each flower, herb, and leaf wants to be glorified—that is how it feels to me.” Dreams are another source of ideas. “My aquatic paintings began to appear on my paper and canvas from the underwater dreams I was having at one point,” she says. “It turned into several paintings and then scarf designs.” About 10 years ago, Neena and her husband decided to take her love of creating art and turn it into a company. “We have added new lines of accessories every year since then,” she says, “and have grown each year. Bringing it to 2015, we have grown 20-fold.” In addition to boutiques and galleries, the nearby Museum of the Shenandoah Valley (Nina J. Studios is based in Virginia) was the first wholesale customer. Word of mouth spread, and institutions such as historic homes Montpelier, Monticello, and Belle Grove Plantation came aboard. Many more followed. Today, they have expanded the line, offering limited-edition scarves, table linens, jewelry, fashion accessories, and the pottery as well as product development services. The custom product arm of the studio has resulted in some of Neena’s favorite designs. When a client brings them a project, Neena says, “We explore the possibilities of creating something together. It stretches my imagination, and something totally unexpected and beautiful emerges. Product development is exciting because

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A before and after look at the process of creating Neena’s distinctive fossilized pottery pieces. Leaves and flowers are pressed into the clay, and the finished pieces are painted.

it takes me out of my periphery into thinking and listening.” They created a custom scarf for the Historic New Orleans Collection using branches of live oak. And they have done custom work for Monticello using ﬂowers and herbs from the Thomas Jefferson Center for Historic Plants. “We take what they send us,” she says, “and immortalize them by creating plates, bowls, tiles, etc., with a special label that tells clients a little story.” Still, ﬁrst and foremost, it’s Neena’s passion that drives the design and the company. “I love that I can wake up each day and create something new, and I end my day with thoughts of what I shall create tomorrow.”

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BUYER’S GUIDE

Custom Products and Souvenirs “The most important thing museum store managers and buyers need to know before embarking on the custom product journey is their customers.”

THE CHALLENGE for every museum store buyer is to stock the shelves with merchandise that will prove popular with visitors, enhancing their memories of the visit and extending their experience through visual, educational, or functional souvenirs. An important element of effective merchandising is finding a balance between products that, on their own, relate to the institution’s mission and items that are branded, logoed, or otherwise customized to fit the museum’s focus. So what is the value for a museum store in creating a custom piece? “Custom gifts present a shop with the unique opportunity to tap into a sense of nostalgia for a specific place or time,” says Julie Rousseau of ScreenCraft Gifts. “They are a chance for customers to purchase a memory.” “Exclusivity is always a draw in and of itself,” says Robin Chaudhuri, licensing and sales director for Museum Replicas. He adds that museums strive to be unique, so stores need to reinforce that effort when it comes to goods the consumer can take home. “Uniqueness also adds to perceived value, making the experience they had and the item they can own that much more meaningful.” Designer Elaine Coyne adds, “It trademarks the museum in a way only, for example, a custom piece of jewelry that is worn by thousands of museum fans can do.” Chaudhuri says the most important thing museum store managers and buyers need to know before embarking on the custom product journey is their customers. “Will the current exhibition draw families, individuals, males, females, what ages, etc. Those aren’t only your viewers, but your customers.” In addition to demographic information, he says, the ability to forecast demand is key, so there is limited disruption in the supply chain. “Suppliers might have great products, but if you can’t get them, it doesn’t matter. Nothing is worse than a hole on the showroom floor.” “This is a wide open category,” says Coyne. “This is among the highest level of journeys that we enjoy doing with museums, and it is wonderfully rewarding.”

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CUSTOM PRODUCTS AND SOUVENIRS

The Boeing Store With a streamlined design of heavyweight zinc alloy and brushed gunmetal ﬁnish, this propellerinspired letter opener makes a beautiful objet d’art for the desktop. Twirl it on its nose cone base for a bit of fun, then use the blades to open the mail. The Boeing logo appears in silver on one side. Measures approximately 7.5”L. Imported. The Boeing Store (206) 662-6918

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Batucada USA Customizable. Sustainable. Socially responsible. Batucada’s exquisite designs are made from our signature ecofriendly materials. Each beautiful piece is a reﬂection of nature’s organic beauty, a geometric illusion, or an expression of cultural fervor. From the silky and weightless material to the intricate patterns, Batucada jewelry is handcrafted to evoke the passion to be yourself. Our products are composed of 100% recyclable materials and are free of nickel, lead, latex, oil, phthalates, and other common pollutants. The manufacturing process is premised upon our respect for the environment, and extensive efforts are applied to avoid waste. Our packaging is made from 100% recycled materials. Necklace, bracelet, or earrings—Batucada USA can create a customized* piece or collection for your museum’s next big moment! *Minimums apply. Batucada USA (973) 668-0981

Egyptian Museum Isis, the major goddess of the Egyptian pantheon, may be the oldest deity in Egypt, and she is certainly the oldest to survive the ages in much the same form. She may also be the most important for, although the other gods were worshipped widely, Isis was worshipped almost universally by all Egyptians. She had many of the same attributes of other mother-goddesses found all over the world. Egyptian Museum (732) 564-0830

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EcoSmart Designs EcoSmart Designs handcrafts artisan souvenir jewelry and gifts in the United States, using ecofriendly materials, creating thousands of unique designs in a variety of categories from the best-selling wildlife collections to timeless creations inspired by ancient traditions, religions, and cultures. Have an upcoming special event or show? We can help create custom designs for your next event. EcoSmart Designs (888) 884-7090

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Folkmanis The Folkmanis® Black Dragon puppet is a creature of mythic proportions featuring unique drawstring animation that expands a spectacular wingspan to give ﬂight to your imagination. Elaborately detailed with hypnotic eyes, serpentine skin, and reptilian accents, this legendary creature comes to life with movement in the mouth, forked tongue and arms. Folkmanis (800) 654-8922

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CUSTOM PRODUCTS AND SOUVENIRS

Elaine Coyne Galleries Elaine Coyne Galleries has done commissions for museums with minimal upfront fees with royalties paid to museums. Museums can purchase outright with minimums of 750 limited editions. We do exclusive exhibition commissions and commissions based on the permanent collections. Our forte is art history sculptural patina brass and sterling silver jewelry. Lower priced items are available in higher quantities. Museum carding available. Elaine Coyne Galleries ecg.com (800) 741-2523 See ad on page 14

Historical Folk Toys Made in the USA! A favorite children’s game and souvenir, the Tic Tac Toe game is also known as Noughts and Crosses and resembles the Roman game Terri Lapilli. Measures 3.5” x 3.5”, and marbles are stored inside. Always fun! Historical Folk Toys (800) 871-1984

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Kinzoku Custom From enamel cufﬂinks to matching pendants, Kinzoku is known for exceptional design and high-quality custom jewelry. Our minimums for custom are low and include multiple color options per design. Shown here are cufﬂinks we designed for the U.S. Capitol Historical Society. We believe the best gifts are the ones with a story behind them. Let us tell your story. Kinzoku Custom (416) 875-4224

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Museum Replicas Meticulous research into one of the most well-known military orders of all time, The Knights Templar, has gone into this beautiful miniature sword letter opener. The stand includes an enameled shield adorned with the coat of arms of the Templars on both sides. All-metal construction on a wooden base. Historic collectibles live here; bring them home today! Museum Replicas (800) 241-3664

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Hadley Table Minnesota-based Hadley Table offers custom placemat manufacturing. We provide hardboard, cork-backed placemats and coasters with your design laminated on top. The product is covered with a UV coating to protect placemats from light and moisture. Choose from in-stock designs or create your own to build your museum brand. These gift-boxed placemats and coasters make wonderful gifts! Hadley Table (612) 564-4848

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CUSTOM PRODUCTS AND SOUVENIRS

Socksmith ScreenCraft Gifts Custom cabochon jewelry designed just for your shop! Our collection features beautiful glass bracelets, pendants, earrings, and cuff links personalized to celebrate your location, exhibition, or special event. Handcrafted in the USA. ScreenCraft Gifts (401) 427-2815

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Socksmith creates statement-making socks designed to capture the imagination, independence, and individuality of its customers. Socksmith’s socks weave together top quality, comfort, and value with designs that offer something for everyone and make thoughtful, personalized gifts that are designed with love by in-house artists. Socksmith’s designers dream up ever-changing original socks that appeal to all lifestyles, occasions. and moods. Socksmith (888) 302-7625

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The Tea Can Company The Tea Can Company offers unique gifts that make perfect souvenirs. Our all-natural silk sachets contain loose tea hand-blended in the USA; each brews two to three cups or one small pot of tea. Choose from over 40 decadent ﬂavors. Our specialty products can be packaged in our many house designs, or let us customize something special for your museum or exhibit. The Tea Can Company theteacancompany.com (888) 211-2317 See ad on page 30

Yarto® Yarto® offers you a complete service, creating, designing, and manufacturing innovative, best-selling custom products for many of the world’s top museums from sketch to ﬁnished product. Our product line includes lip balms, snow globes, key rings, quirky ducks, magnets, and more. Established in Europe in 1978, and we have our own facilities in Hong Kong. “You think it, we make it!”™ Yarto® (212) 658-9953

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Three Bl Th Bluebirds bi d Our Swedish dishcloths are designed and printed in the USA. Use them with water or cleaners for your household chores. They are the perfect green replacement for paper towels and sponges. Each dishcloth is reusable and 100% biodegradable. Choose from our 80 designs, or we can print your own custom artwork. Sold in more than 80 museum shops nationwide. Three Bluebirds (203) 637-6832

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M U S E U M S TO R E

COMMUNITY UPDATES

updates from the MSA community Moving Up

Retiring

Passing

Raymond McKenzie has been named manager of retail operations at the Asian Art Museum in San Francisco, California. McKenzie served as acting manager of retail operations following Peri Danton’s retirement in July of last year.

Benjamin Head, gift shop manager, is retiring from the Davenport House gift shop in Savannah, Georgia, after 19 years.

Lynda Marks, who retired after many years as the director of retail at the National Museum of Women in the Arts in Washington, DC, died November 6, 2015. She was a valuable mentor and good friend to many of our members and will be missed.

In November, Elaine Stonich, the museum shop manager at the Joliet Area Historical Museum in Illinois, retired after 13 years with the museum. After nearly 23 years, Museum Shop Manager Esther Weiner is retiring from the Jewish Museum of Maryland in Baltimore.

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Egyptian Museum .............................15 Elaine Coyne Galleries .......................14 Ellenâ&#x20AC;&#x2122;s Silkscreening ..........................45 Evocateur...........................................19 Folkmanis ..........................................47 Found Image Press ............................41 Fractiles, Inc...................................... 41 Galison/Mudpuppy...............................5 Hadley Table .......................................46 Historical Folk Toys .............................19 Kinzoku ..............................................33 Live Your Dream Designs ...................42 Lucuma Designs ................................46 Museum Replicas ..............................30 Museum Store Association .........15, 27 Nina J. Design Studios.......................44 Ozone Socks ......................................37 Popcorn Custom Products ...................7 ScreenCraft Gifts ...............................43 Socksmith ..........................................20 Solmate Socks ...................................26 TAM Retail .........................................21 Tea Can Company ..............................30 Thames & Hudson .............................13 Three Bluebirds .................................35 Yarto...................................................27

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