Spring / Summer 2013 Store Audit Extracts
ZARA: Store Audit Zara has been specified as a competitor given their equally broad target market, high fashionability and mass appeal.
Figure. 13 Unspecified Zara store, Drapers (Ryan, 2012) Exterior ‘Most shops operate by having windows that work on the principle of attracting shoppers. If, however the store is the only means used to tell a waiting world about an offer, then windows assume an even greater importance than in other shops’ (Ryan, 20:2012) Zara have ‘windows that appear the same, irrespective of location.’ (Ryan, 21:2012) Understated minimalism is recurrent, transforming affordable garments into aspirational products.
Figure. 14 Unspecified Zara store (Ryan, 2012) Repetition grouping and balanced composition, providing easy rhythm and flow.
Figure. 15 Knightsbridge store (Personally taken) Repetition grouped mannequins as focal point. Metal detail creates linear rhythm. Femininely posed mannequins, used throughout.
Figure. 16 (Personally taken) Alternative mannequin breaks repetition with asymmetrical balance. Season has been considered.
Figure. 17 (Personally taken) Symmetrical composition with décor contrasted against mannequins. The garments are un-‐cohesive, not providing obvious focal point. Warm lighting used over Christmas period. Affordable products in luxurious displays similar to high-‐end designers
Interior: Echevarria, communication officer at Inditex considers their stores to be ‘the heart of everything’ and states that ‘every store is an advert.’ (Ryan, 2012)
Figure. 18 Drapers (Ryan, 2012)
Figure. 19 and 20 Drapers (Ryan, 2012) Repetition grouping used, continuing rhythm from windows. Colour categorisation is used, ‘detailed planograms and when you see a particular colour scheme, it is the result of some careful thinking in the head office’ (Ryan, 2012)
Figure. 21 (Personally taken) Categorisation enhances tidiness and encourages multiple sales. Shelving and rails hanging from the ceiling, using all in store space to create display.
Figure. 22 (Personally taken) Maximising sales space on the right while still keeping everything tidy. Lots of space given to shoes on left display, contrasted against slightly cramped fixture to the right.
Figure. 23 (Personally taken) Aspirational imagery and bags on higher shelving, common retail techniques
Circular railings maximising space, displaying more affordable items.
Figure. 24 (Personally taken)
Figure. 25 (Personally taken) ‘Tables are associated with eating, they are thought to be ‘comfort zones’ that make shoppers feel at ease.’ (Portas, 2007:57)
Figure. 26 (Personally taken) Categorisation, upper-‐shelving accessories, tidiness and showcasing entire outfits are evident. Zara demonstrates how ‘clever chain stores can sell cheaper clothes in a way that makes them look aspirational.’ (Portas, 79:2007) The Knightsbridge store as well as most other Zara stores visited follows a simple, structured floor plan.
BIBA: Store Audit ‘Barbara Hulanicki was the original boutique owner who inspired thousands of copycats’ (Portas, 2007:171) with her Biba boutique. Her style was ‘somewhere between Art Deco and Art Nouveau.’ (Menkses, 1998:220) Biba is a stylistically aspirational brand because of its heritage. Corella thrives for an independent façade, something that House of Fraser achieved when buying Biba in 2009. Corella also has a similar target market. (Refer to Figure 27) Exterior: Windows ‘set the stage’ (Portas, 2007:56) Biba didn’t have any window displays to photograph during research period, so the 2009 launch file has been looked at.
Figure. 28 Development Imagery (House of Fraser head office) Large, gold installation of the iconic brand name is focal point of all displays, attracting pre-‐existing loyalty. Dean Healy, head of Visual Merchandising confirmed this.
Figure. 29 (House of Fraser head office) Subtle use of triangulation grouping. The styling of the mannequins considers potential customers who aren’t familiar with Biba’s history.
Figure. 30 (House of Fraser head office) Background, continuous linear pattern creates rhythm. The lighting ‘highlights a garment by picking up the tiniest detail in it’ (Portas, 2007:59), which in this case is textures and colours.
Figure. 31 (House of Fraser head office) Iconic branding is reinforced with graphic imagery either side of the window, also creating symmetry. Shades of orangey golds contrast against opposing side of the colour wheel, drawing attention to contrasting garments. Dan Healey stated that he wanted to keep Biba’s history in mind, combining corporate identities with House of Fraser. The main point was to theatrically project Biba’s glamour.
Interior
Figure. 32 Drapers (Ryan, 2012) Circular railings show items at different eye levels, creating interest. A mainly gold colour scheme is evident.
Figure. 33 Oxford Street (Personally taken) Name prop reinforces brand identity. Great accessibility with display appearing at floor entrance. Abstract shelving adds interest and maximises space. Product adjacency with mannequin wearing a dress that is accessible to purchase from fixture. Segmentation with lit up window boxes, implying expensiveness. Graphics reinforce identity. Figure. 34 (Personally taken)
Seasonal décor, encouraging Christmas related purchases. Feather-‐decorated chandeliers in the background, adds texture and enhances extravagant ambience. Figure. 35 (Personally taken)
Figure 36 (Personally taken) Luxurious changing rooms used in colours with expensive association giving customers an experience even when trying garments on. Cohesive furniture such as sofas and alternatively shaped mirrors creates a story and an aspirational world. Figure. 37 (House of Fraser head office)
Figure 38 (House of Fraser head office) Vintage frames are used as wall fixtures, association with home life. Navigation around the store is easy and follows a free-‐flow approach. Figure 39 (House of Fraser head office)