A Retail Storyteller: Heritage Irish textile brand Avoca conveys its hand-woven history in its Dublin flagship

On this unusually chilly spring evening in Ohio, I sit in my Hans Wegner Shell Chair, wrapped in the warm hug I receive from the woven wool blanket that I brought home from a recent trip to Ireland. As the tag on my now-cherished Avoca blanket kindly states, “Down here in the Valley of Avoca, days tend to be cooler and nights, that extra bit nippy. For centuries, woolens woven at Avoca Mill have been keeping us [and] fans worldwide toasty. Still family-owned and very design-driven, our mission is mainly to have fun with color, textures and each other.”

Established in 1723, this heritage brand embodies the essence of Ireland, both in its historical traditions and its modernity. And its four-story flagship store in Dublin embraces that notion, as well. Unbeknownst to me at the time, Avoca is one of the world’s oldest surviving textile manufacturing companies and is Ireland’s oldest weaving mill, beautifully crafting throws, scarves and capes in natural fibers. And even though this company is rooted in its heritage, they aren’t afraid of progress. From vibrant color palettes to the expansion of the brand, going beyond woolen goods to manufacture Avoca Anthology soaps, ceramics and even signature jams.  

If Liberty of London and Anthropology were to meet in the middle, Avoca would be that space in between. This is truly a lifestyle brand, melding their essence of home and quality of craftsmanship into a holistic brand that will carry them into the future. This is a brand that isn’t purely about selling product, but about creating an experience that is true to Ireland. From a visit to their shop and a tour around the original mill in County Wicklow to a stroll through their location at the Mount Usher Gardens or the whimsical Malahide Castle and Gardens, Avoca has become one of Ireland’s treasures.

This unique brand and its heritage story made me wonder: Is Avoca setting the precedent for other retailers to follow? As businesses struggle to sell another pair of black pants or jeans in their wall-to-wall packed retail spaces, Avoca creates vibrant, engaging atmospheres set in lush gardens and historic castles. They create a retail experience that you get lost in, spending hours dining on their delectable café treats and discovering all that their store has to offer, which goes way beyond just merchandising their famous blankets, creating a world that Avoca has curated.

With wanderlust, I personally was captivated upon entering the store and was eager to get lost in their world. The feeling of being in an Irish garden – similar to the sheep farm I had visited days prior – struck me. The first floor was filled with whimsy, from the fragrance of their soaps and candles, to the warm scent of pastries from the food hall wafting up from the lower level, to the women’s clothing and accessories in the boutique, which was adorned by a flower sculpture and bouquets – all of which had a white and wood chevron backdrop, washed in daylight. It was here, in their curated boutique, that I found a beautiful necklace by a young local designer scribed in Gaelic stating it’s “your life, your journey.” How true that statement is to the Avoca brand, as well.

Following the grand staircase, which wove through a gift section of playful cards, books and trinkets, I found my beloved new blanket on the second floor. This area, which was primarily dedicated to their woolens and woven products, showcased the history of Avoca and the craftsmanship that goes into each piece. In this space, the product becomes the art: Vibrantly colored blankets are artistically displayed along the wall, while a view into the design and creation process projects on a screen, providing guests with a connection to their retail story.

Progressing upward, the customer journey takes you through another curated collection, as you wander toward the signature café on the top floor. Even the men are brought into what would typically be seen as a female-driven brand. As you turn the corner, the energy of the café filters down the stairs and invites you upward. Dining in the Avoca café, the brand comes to life through the congregation of demographics, from baby boomers to millennial moms, everyone seems to be welcomed and invited to dinner at the Avoca table.

From the artistry of arranged vintage wallpapers and wood tables, once again, Avoca communicates its heritage and modernity through their vintage-made-modern aesthetic of fun pattern mixing. As they say on their wall, “All roads lead somewhere. Some roads lead to Avoca. Welcome. Break bread with friends.” And that’s exactly how I felt when I experienced this store – that I had made a new friend with this honorable company.

Source: http://vmsd.com/content/retail-storyteller

TEDxOhioStateUniversity: Reconstructing Reality: Creating Meaningful Memories Through Sensory Experiences

To watch my TEDx video on YouTube, click on the following link: https://youtu.be/O4bGOvkkHcM

For more information on TEDxOhioStateUniversity visit: http://tedx.osu.edu/

Colors and Textures: Rio de Janiero: Tile Love

Redefining Retail Design Part II: Reconstructing Our Retail Reality: Creating memorable experiences to design a brighter future

“Reconstructing reality.” That’s a phrase that’s been bouncing around my mind for many months now.  Last month, I encouraged us all to start thinking about redefining ourselves and our roles in retail design. Now that you’ve had time to think about that, if you were to redefine yourself and give yourself a new title, what would it be? Am I to define myself as a “design professor,” “interior designer” or “retail designer”?

As I’ve been thinking about the notion of “reconstructing reality,” the theme for this year’s TEDxOhioStateUniversity event, where I will be presenting a designer’s perspective on this topic, I was asked to provide my title for publication. So what did I call myself? A design professor, of course, but is that authentic? Does that accurately portray everything that I am and do? If I could redefine myself (because why can’t I?) I would call myself a “design thinker, researcher and maker who tells stories in hopes of creating sensorial memories.”  (To learn more about sensorial memories and other perspectives on reconstructing reality, join me at the TEDx event March 5 in Mershon Auditorium on Ohio State’s campus in Columbus, Ohio.)

I was conversing with some colleagues the other day about the topic of my TEDx talk and the role retail was going to play, which led to a discussion about the role of retail design within design education and its “academic stature.” Through these conversations, I became discouraged by the lack of prestigious regard retail design receives.  It also illuminated the fact that there is a huge misconception about what retail design is and what retail designers do, perceiving it as purely feeding into a mass consumption product. Many still look at past consumer behaviors and define today’s retail landscape as no different. But as you and I know, that’s not true, and it’s certainly not true of the future of retail either.

But later, as I watched the trailer for “Minimalism: A Documentary About The Important Things,” it reaffirmed my belief that the future of retail is optimistic. The documentary captures a snapshot of mass consumerism in America, and though that might still be prevalent, with the influence from millennials and Gen Z, and with “generous brands” paving the way, there is a bright future ahead. But it has to start with redefining and reconstructing our retail reality to be about more than just the purchase, but about people and creating memorable experiences for them.

You might ask, why am I discussing this two months in a row? I think we are at a critical time, not just retail design, but design in general. Design pedagogy and practice is becoming more and more collaborative. It’s putting a focus on research-based design that crosses all disciplines. The approach of designing for people and with people is becoming even more a part of our teaching now: By breaking down the siloes of each design niche and creating a collaborative environment where research insights are the springboard for each forward-thinking design.

The process begins with a thorough analysis of the customer, understanding various personalities, lifestyles and needs for the present and future. In essence, we define and redefine who customers are to construct and reconstruct physical realities, creating experiential stories and hopefully memories.

So with all of that I believe comes the challenge to reconstruct the framework for which we teach and practice retail design. And it’s my belief that the area of retail design was the pioneer of this collaborative and user-centric approach. I’m not saying other areas of interior design don’t consider the user – that’s not accurate at all – but I do believe that the process from which retail is based has been adopted by many other archetypes.

As we look to the future of design, I believe it’s our responsibility as retail designers to continue to pave the way and challenge the conventional norm and to do what we do best: start redefining and reconstructing the future of design.

Source: http://vmsd.com/content/redefining-retail-design-part-ii-reconstructing-our-retail-reality

Sensory Experience: Dialog & Inquiry: Hunter Flagship: London

During a trip to London this summer, I got a chance to visit the Hunter store in person and was blown away with the overall sensory experience! The physical materials and digital materials within the store brought the brands story to life along the entire customer journey. Stepping off the surprisingly sunny London street, the Hunter store transported me to a rainy English countryside and brought back many memories of my own experience with my hunter boots: my annual excursion to the apple orchard and pumpkin patch on a fall Ohio day, misty spring hikes on the mossy Oregon trails, and even winter treks through the snow of the Colorado Foothills. What memories come to mind when you see the hunter store?

o   Based on these images and the physical and digital materials within the space, what do to you imagine your “Sensory Experience” would be? What do you see, smell, hear, and touch/feel?

o   What do you think of the digitally projected stonewall? Does the “digital” stone affect you differently than a real natural stone?

o   What about “storm cloud” ceiling elements and the “green wall” that are digitally generated, do they do an effective job of connecting you to the outdoor environment that they are simulating? 

More about the Hunter store on VMSD Magazine: Where the Rubber Hits the Catwalk: British boot brand Hunter’s London flagship elevates its Wellies from high function to high fashion

I'd love to hear your thoughts on these questions... Lets start a dialog below in the comments section!

Redefining Retail Design: Transforming the definition of what we do from the ground up

This past fall, I took a group of students to Grand Rapids, Mich., to visit the headquarters of two of the industry’s largest furniture manufacturers. While visiting these suppliers’ showrooms, I was quite inspired by their unique definition of what it is that they do – “a research institution that happens to make furniture,” one company says. Their design thinking and research-first, manufacture-second philosophy, made perfect sense upon considering the impact these products have in designing innovative customer experiences.

This got me wondering … if instead of thinking of our practice as a “retail design and brand firm,” what would happen if we thought of ourselves as “design researchers and innovators” who happen to create retail brand environments? How would that change our design process? How would that evolved methodology change our retail design solutions? And, maybe more importantly, how would that transform the retail landscape?

In preparing for an upcoming presentation I’ll be giving at the Design Principles and Practice Conference in Rio de Janeiro, these notions started to form even stronger connections to the perceived future of retail and store design. As I was reflecting back on the Tom’s and Lush stores I wrote about a few months back, I thought about unique elements of the store experience of many “generous brands.” It struck me how both of these brands’ founders spoke about in-store experiences.

Tom’s founder, Blake Mycoski, describes his store as “a real space for the community … a café, a meeting place for people who are inspired by what we are doing, and [in turn, are] doing other great things themselves." This store challenged the retail convention and redefined their store’s purpose, changing their programming needs and resulting in a unique customer experience that was less about selling product and more about forming community.

Lush does a similar thing through their community space, which they describe as “a beauty mart with a green grocers’ soul.” Both of these store experiences are unique and transform the users’ perceptions; they dared to be design thinkers to reimagine the store as not only a retail space, but instead, as a memorable place for people and communities. And isn’t that what a truly “generous brand” does? They go beyond simply giving and take action for social change, ultimately changing people’s lives by doing so.

If stores like these are the future of retail, then what is the future of our practice and process? I often say to my students that anyone can be taught the skills, but it’s the thought process that allows us to be truly innovative and forward thinking. Like the aforementioned furniture manufactures, if we begin to think of ourselves as design researchers and design thinkers who create innovative customer experiences, how would that impact the ways in which we design retail spaces and ultimately the user experiences? If, like Tom’s and Lush, our objective as designers becomes changing peoples lives, how would that transform the definition of what we do? I encourage all of us to start thinking about redefining ourselves and our role in retail design, to rethink your process, and re-imagine the future of our customer’s experiences.

Source: http://vmsd.com/content/redefining-retail-design

Sustainable Storytelling: Creating a human connection through materiality

Since the buzz of sustainability swept onto the scene well over a decade ago, many retailers have jumped on the bandwagon and have started creating “green” stores. But many have stayed behind.

According to a 2013 report published by McGraw Hill Construction, Green Retail and Hospitality Report: Capitalizing on the Growth in Green Building Investments, the number of green retail/restaurant construction projects between 2011 and 2013 have more than doubled and were predicted to continue along the same trajectory through 2015. This would place us today with more than 52 percent of our projects having a sustainable story. 

Are you finding in your own practices that half of your projects are implementing sustainable design strategies? Are your clients asking for environmentally conscious stores?

According to this report, retail owners express that 49 percent want to use more environmentally friendly products. (Enter the overwhelming trend of using reclaimed wood in every restaurant and store you walk into today!)

But is adapting a “green” store environment authentic to their brand story? Are brands putting up a chevron-patterned reclaimed wood wall to be on trend and attract more customers, or is it communicating something greater about who they are as a company and their customers? We also must ask ourselves if consumers can differentiate between those that are authentic and those that are faking it.

With technology and access to information in the palm of our hands, I believe “green washing” and falsifying a brand’s retail story is a thing of the past. I believe that through thoughtful selection of materials that authentically tell brands’ stories, they can create a stronger emotional and psychological connection with the consumer.

Starbucks, for example, has a very clear environmental standpoint, and in their store environment, they utilize reclaimed wood at various touch points to allow their customers to engage with the material in a sensorial and memorable way, which allows for their brand story to subconsciously permeate their consumers’ senses. In a SoHo, New York, location, the existing wood floor of the space is left worn and raw, and a live-edge wood counter is used to intrinsically engage the sense of touch.

In another Starbucks, this one inhabiting a historical building on London’s Regent Street, existing materials are embraced, leaving the wood floor and wall panels and even the original stair intact. Going one step further, the ceiling over the barista is made from reclaimed carved wood panels that were originally housed in an old coffee or tea house. To create the connection between the customer and the historical artifact, a wood rail forming the queue is engraved with the reclamation story.

Another great example is the Urban Farmer, located in the Westin hotel in downtown Cleveland. With a mission of “sustaining the region in which we live and eat,” this restaurant creates an authentic ambiance of craftsmanship rooted in the Midwestern farming traditions. This farm-to-table restaurant prides itself on its sustainable and organic farming, and tells its story through the raw, reclaimed barn wood wall panels, exposed brick and an eclectic mix of modern and vintage furniture and decor that attracts customers of all demographics. They even go as far as embracing their philosophy of using local, authentic ingredients by creating a display wall that not only is decorative in its beautifully colored jars of fruits and vegetables, but it’s functional too; I saw the chef come out and take down the jars he needed while I was dining!

More than 160 million tons of building construction debris accumulates each year in the U.S. alone, according to a 2009 report from the U.S. EPA, much of which comes from interior finish materials.

In reclaiming the historic 1885 Puck Building, with 39,000 square feet of space to be transformed from what was once a magazine publishing factory, REI set out to build their flagship store in New York City. With a conscious goal of reducing their construction waste, the design strategy included reclaiming as much from the original building as possible, salvaging existing wood elements and transforming them into new design features.

Extracting everything from the original wood flooring, wood paneling and even floor joists, TerraMai hulled away the 125-year-old material and remilled it into new product to become texturally engaging statements walls, many featuring REI members in action. Located next to the lower level cash wrap, original lithograph stones create a feature that connects people through this artistic display to the history of the building. Carving a large atrium into the space, which would feature a grand staircase connecting the three floors, large solid wood floor joists were extracted and later became the stair treads for the grand staircase.

The use of reclaimed wood in this key customer journey point emphasizes the strategic use of the reclaimed material tells the story and the mission of the REI and connect the customer with the brand though out the entire retail journey.

Rather than giving stores a complete facelift every five to ten years to stay in fashion, what if the initial design of the store strategically selects emotionally connective materials that become part of the iconic retail story?

If those materials truly forge a connection between the customer, brand and store environment and authentically tell the brand’s story, then I believe the material will become a permanent fixture in the store environment, and retailers could reduce their environmental footprint and create more sustainable stores.

Source: http://vmsd.com/content/sustainable-storytelling

Experiencing Generosity: Tom’s creates a memorable store through community and culture

With “generous brands” on my mind after the closing keynote at the 2015 International Retail Design Conference (IRDC) and retail storytelling in my veins, I set out on the streets of Austin, Texas, in search of the Tom’s store. A block away from the iconic “I love you so much” sign, the Tom’s store is perched on a hill overlooking a corner of Austin’s hip South Congress Street. It’s here that Tom’s second brick-and-mortar store (or in this case, a reclaimed Victorian house) creates a culture of its own.

Many of us know about Tom’s “One for One” campaign – I’ve personally been in love with my Tom’s wedges for years and buy a new pair each season (it’s a way for my guilty obsession with shoes to also “do good”). And some of us may also know that when you buy Tom’s eyewear, you help the company bring glasses and medical eye treatment to more than 325,000 people worldwide.

But were you aware that 2 million children have been given shoes and medication to date to protect them from hookworm? Or that because these children have been given shoes, they can now walk to school giving them hope for a more educated future? Or that as a result of shoe-giving, there has been an increase of 42 percent in healthcare participation by mothers? Yes, Tom’s programs provides shoes, glasses and clean water, but it’s more than just giving; The impact of this gesture is far-reaching, and the influence of a single purchase can make a life-changing impact.

Going beyond giving, this generous brand creates jobs around the world with a social and environmentally sustainable mission. And through their giving trips, they aren’t afraid to put boots on the ground either! (To learn more about Tom’s giving programs and how they invest in people and communities, spend some time reading their story on the Tom’s website.)

From its website to its retail stores, transparent storytelling is ingrained in Tom’s DNA. And although they’re a retailer selling shoes, sunglasses and coffee, it’s more than that: It goes beyond a retail space and becomes a memorable place that creates a cultural experience bringing people together who share a similar philosophy. Can this progressive retail thinking be the catalyst for future social change?

“[The store is a] real space for the community,” said Tom’s founder Blake Mycoski to Culture Map Austin, referring to its Austin, Texas, location. “I don't like to call it a store. It's more of a community meeting place for people who are inspired by what we are doing, and [are] doing other great things themselves."  

And he couldn’t be more right. The entire Austin, Texas, store journey guides the customer, or more aptly, the community activist, through the authentic and inspiring Tom’s experience. This aspirational community store conveys Tom’s brand mission throughout the entire experience.

The moment you approach the painted Victorian home which proudly states “GIVE” on it’s façade and take note of the vintage sign stating “live for today, give for tomorrow,” from the picnic tables and porch swing to the brightly painted lawn furniture, you truly know that this is not just a store, but a facilitator of meaningful human connections.

Every graphic element in the store illustrates the meaning of Tom’s story. In addition to a simple iconographic of a pair of glasses equaling an eye, this bold statement – which you can’t turn the corner without reading – rings true about the brand: “We’re in the business to help improve lives.”

Both old and new artifacts from around the globe fill the reclaimed wood shelves and  pushes the brand’s impact to the forefront of the shopping experience. Along with these relics, books and real plants, such as native succulent and cactus, are integrated into each merchandise display.

Adorning the walls and ceilings as decorative textures, global tribal motifs are used to create a connection between the shoes’ fabric patterns and the people making these textiles. Continuing this notion of creating connections, the community board puts a face to the brand, showcasing volunteers during their trips.

Taking a unique approach to the layout, only half the space is dedicated to product display; the other half centers around the community. In its back café area, which feels more like a sunroom in a mid-century home, with it’s geometric wood-framed glazing and retro-style freestanding cone fireplace, the space features a relaxed ambience where people come to hang out.

On one wall, alongside a tribal tapestry, a world map illustrates the brands outreach, having “changed lives” in 70 different countries. With this concept of outreach, the community store experience blurs the line between indoor and outdoor space.

The smell of coffee emits from the front door, and the outdoor patio spaces allow visitors to casually gather, not only connecting people within these spaces, but also communicating Tom’s message to the larger Austin population.

It’s in these moments within a store’s design that truly matter and make all the difference. It’s where the story becomes real and where meaningful human connections happen. All too often, in today’s digitally immersive world, we forget to design opportunities for human connections to occur.

Like the Tom’s store, how can we unite people with a common goal? How can we design a retail journey around a meaningful story? If we think of our stores not simply as a place to sell products, but rather, as a meaningful place to gather people, how would that change our design process and our consumer behaviors?

Source: http://vmsd.com/content/experiencing-generosity

A Lush Story: Retail storytelling through sensory immersion

A major theme during the 2015 International Retail Design Conference (IRDC) was authentic brand storytelling through transparency and honesty. And a recent trip to Lush’s London flagship reminded me of exactly that. The Oxford Street store pulls back the curtain to reveal the brand’s mission and unveils its story through an immersive sensorial experience.

Lush’s co-founder, Rowena Bird, stands behind the products stating, “[The products are] fresh, handmade, ethical, transparent and honest. That's what we are, that's who we are, that's the only way we know how to be." And the store concept caries out that notion – it’s “a beauty mart with a green grocers’ soul.” This notion truly comes to life in every detail, around every corner of its three-story, 9500-square-foot retail journey. Customers are connected through sight, smell, sound, touch and even taste, to the raw nature of this environmentally and socially responsible brand.

From the moment you step into Lush, off bustling, pedestrian-filled Oxford Street, where toxins emit from cars, double-decker busses, and who knows what else, your senses are immediately engaged in a pleasant and transformative way. Welcomed by the friendly faces of their affectionately referred to as “happy people” (rather than sales associates) behind a large bubbling hand bath, you’re invited over to wash off the soot from the street and refresh yourself before exploring the store. And after traveling through the tube, I have to admit this might have been the best greeting I had received all day!

From behind her cleansing basin, where sea salt, mint, sunshine and ocean waves waft toward me, the friendly consultant not only describes the soothing 100-percent vegetarian ingredients that compose the hand soap I was touching, but went on to tell me how the other product I was smelling wasn’t tested on animals and was part of their “charity pot” program, which donates proceeds to local charities. I was sold on the company and the products immediately, and could proudly consider myself a brand ambassador.

How did that happen so quickly, you might ask? Well, let me tell you. I smelled the freshness of the ingredients from the moment I walked through the door and experienced them hands-on. Through my interactions with the participatory staff and their transparent branding techniques, I understood the mission of the company and how much they care about people and the planet. Rather than being hidden behind layers on their website, it was exposed to me in-store in multiple ways: hand-written on their walls, on product packaging and through personal conversations with their staff.

I not only smelled and touched the end product of the brand’s message, but also saw some of the raw ingredients first-hand: live plants fill the space to illustrate the actual ingredients going into their products; the plants also do double duty, working to purify the smoggy air coming in from the city streets. Correlating with the company’s “all-natural” philosophy, every interior finish that was used to create the store environment – from floor to fixture – was either existing or has been reclaimed or recycled. The store also incorporates its environmentally conscious stance in its gift-wrap selection: Who needs to waste paper wrapping when you could purchase a vintage knot wrap as an eco-friendly option?

In a fun and playful tone, a sign inscribed with “Calm Down” invites customers to descend into the store’s downstairs spa area for a facial or massage, bringing the company’s focus on personal health and wellbeing to their customers. A fresh-sliced mango alongside a trial face mask not only tells you what it’s made of, but you can imagine what it would taste like while you feel the product working. A tailor-made soundtrack for a “good day” plays from the speakers; its sound permeates your ears, making you feel happy. (Conveniently, the store also provides the tracks on limited-edition vinyl, so you can bring the feeling home with you.)

Taking their socially responsible story to the street, Lush marked the opening of their store by inviting three of Britain’s animal welfare groups to join them in their campaign for animal rights and hit the streets dressed in animal masks, wielding banners and demanding voters to act for animal rights.

At IRDC a few weeks ago, Christian Davies of Fitch passionately demonstrated the power and potential of “Generous Brands 2.0” with his closing keynote presentation. To echo him, this is one generous brand that isn’t afraid to go beyond words and clever marketing materials, and step outside their storefront to put their beliefs into action. And this particular action wasn’t just a one-time marketing campaign reserved for opening day: On the top floor of the store, a community space is designed to host speakers “who fight for the things we believe our customers hold dear,” as the company describes, which charitable groups are invited to take advantage of.

Throughout the entire store experience, this flagship brings the brand’s story to life through engaging the customer through all of their senses. The store experience isn’t only about selling product, but it’s about fostering an education and creating connections between the consumer, the environment, the community and the company’s products so that the brand mission is carried on. And in Lush’s case, nothing is hidden: Everything is exposed, raw and honest.

To see the aforementioned Generous Brands 2.0 presentation visit: http://www.slideshare.net/FITCH_design

Source: http://vmsd.com/content/lush-story

Colors and Textures: Austin

Colors and Textures: Austin: Love letters

Colors and Textures: Austin: Stone

Neon Nights: Interpreting inspiration from energizing arcade experiences

After a day of wandering the streets in New York and exploring retail shops in Brooklyn a few weeks ago, some fellow designer friends and I spent the evening at the Brooklyn Museum. An unexpected find, the museum houses possibly one of the most progressive art exhibits in New York.  It’s a largely unknown treasure that many visitors don’t get a change to explore, so you should definitely visit the next time you’re in the city. Fortunately for me, an amazingly sensorial exhibition was taking place.

When Brooklyn-based artist Faile stepped on the scene in 2010 with their exhibit, Deluxx Fluxx Arcade, they brought the atmospheric life of a throwback ’80s arcade and the vibrancy and grit of graffiti culture to the art scene. Having just experienced their recent exhibition, Savage/Sacred Young Minds, I can attest to the effervescence that permeates the exhibition. Evocative of ’80s punk rock, street-art culture and arcades, the Arcade 2015 exhibit is a series of rooms that creates an immersive experience. Their graffiti-style iconographic posters envelop the walls as a wallcovering material would, and the floors are like tiles with a glowing neon pattern and texture. The series of spaces are washed in a luminous combination of neon and black lights, filled with the boisterous sounds of video games, pinball machines and foosball tables. Witnessing the energy exuding from the crowds of people interacting with the exhibit, I wondered: How could we harness this intoxicating energy in a retail environment?

Everywhere you turn, there seems to be a nod to the street-art culture which Faile is evoking in the exhibit. The aesthetic isn’t limited to art museums, either: From the patterns, colors and textures of materials to neon lights (even if they are LEDs made to look like neon tubes), these elements are steadfastly making a comeback and filling our environments – even through the fashion and accessories hitting the streets of New York and London – this vibrant, bold style is emerging.

I also noticed this trend in a recent visit to The London Cocktail Club in both the Soho and Shortditch areas of London. These underground bars were attuned to the same energy that Faile evokes in their Arcade exhibit. Custom wallcoverings wrap the space in a similar fashion, while neon-colored, large graffiti murals create a dynamic expression for each location. The sounds of people playing foosball or pinball permeate the atmosphere, and neon lights create an ambiance within the bar, as black lights make the rooms glow. All this, plus the unique tastes of their custom cocktails, made it a totally sensorial experience.

Both the art exhibit and the fully immersive cocktail bar embrace this trend in the choice of aesthetic elements, but also, and more importantly, by tapping into the total sensory experience – the sights, sounds and touch truly make the experience special. In an interview, Faile points out, “Living in a place like New York, there is a constant barrage of sounds and sights – how do you make meaning from it all?” And that’s exactly what they’re doing through their work.

So this concept begs the questions: How, as retail designers, can we tap into this dynamism in our own designs? How do we embrace this vibrancy in creating a totally sensorial experience for our customers? Where will this energy take us in the future?

Just like Faile makes sense of Brooklyn, I challenge you to think about the sights and sounds of your specific locale, and use the cultural vitality to transport customers in your store environment. Think about how you can engage the shoppers and create moments of physical interaction that tap into their sensory perception, while providing energy that the other customers can feed from. And don’t forget the importance of materials and lighting within your store environment – a single custom wallcovering can capture your brands identity and make a glowing statement!

Source: http://www.vmsd.com/content/neon-nights

Colors and Textures: New York: Willamsburg

Retail on Foot: Going beyond simply seeing to experiencing the sensorial perception of interior materials

A few weeks ago, I was in England to present my recent paper on the use of reclaimed wood in retail environments. After days of exploring the retail culture in London, I made a stop at London’s Design Museum. In the museum, footwear retailer Camper’s “Life on Foot: A Day of Talking and Walking” exhibit declares to guests:

Shoes are so ubiquitous that they can sometimes almost seem invisible. Yet shoes are also extraordinarily revealing. Subconsciously, we judge people by what they wear on their feet. We assume that shoes can tell us about somebody’s personality and their status. And when we wear them, they can change how we feel about ourselves.

How true that statement is! Just as a shoe can tell us about an individual, the way we see a store tells us about a retailer. We make judgments and perceptions based on what we see. And when customers step into a store and experience the environment, they feel differently than they did on the street.

In the movie “The Devil Wears Prada,” stiletto-wearing fashionistas walking across the marble floor of the fashion magazine lobby were affectionately called “the clackers.” The nickname illustrates that it’s not simply what we see, but also what we hear, that makes an impression. The surface material the shoe comes in contact with is a player in the total perception that is created. If that same stiletto were to walk across a time-worn wood floor, the sound would not have that same tenor of a “clack;” it may even be a “thud.” How would that sound change our perception? Subconsciously, the sound of a high-heeled shoe on marble exudes quality and an attitude of high-class, chic style. Choosing marble in luxury brands is purposeful, not purely for aesthetic, but because of what it communicates: a total sensorial experience made for the customer, whether conscious or not.

Bookending the conference, I spent quite a few days wandering the streets of London hunting for unique and inspirational design experiences. (I often tell my students that they enter their interior design education seeing the world as a civilian, but will leave seeing the world through a designer’s lens.) This concept is boldly emblemized inside the London Design Museum’s main entrance: “Design is a way to understand the world.” Design is all around us; we can’t escape it.

What better place to be immersed in design than London? Out of ancient streets rise both cutting-edge architecture and historical buildings that are inhabited by the most modern designs and innovative retailers. So as I meandered through London, from the hip Carnaby Street and Shoreditch area to Regent Street, where luxury brands’ flags proudly fly from their flagship stores, my weary feet began to ache, making me increasingly aware of the shoes I wore on my journey, and the materials I treaded on. (I was definitely doing more “thudding” than “clacking!”) Even more apparent was the transition from the street to the store, the change in material at the threshold between the urban environment and the immersive brand experience.

This denotation – the transitional floor material – is the first touchpoint of a brand. Its significance is paramount: it’s a material we not only see, but we hear and can feel as well. It’s in the complete sensory experience of these materials that a perception of the brand is forged. Many times, the entry is where a lasting first impression can be made.

Beyond how they look, what would they sound and feel like and what does that tell you about the brand? Is there a connection? Are they a luxury brand or are they more accessible? Hone into those details, tap into the associated sensory perceptions, and share your insights with me.

Source: http://vmsd.com/content/retail-foot

Colors and Textures: England: Audley End

Audley End House and Gardens