Visual merchandising

Introduction
Visual merchandising Visual stimulation and communication have
and the creation of long been considered important aspects of
discernible retail retailing by practitioners and academics alike
(McGoldrick, 1990, 2002). This interest in
brands the visual has ± at one level within the retail
context ± coalesced to form the practice of
Shona Kerfoot ``visual merchandising''. This is defined as the
Barry Davies and ``. . . activity which coordinates effective
merchandise selection with effective
Philippa Ward merchandise display'' (Walters and White,
1987, p. 238). Visual merchandising is
therefore concerned with both how the
The authors product and/or brand is visually
Shona Kerfoot is based at Matalan Retail Ltd, communicated to the customer and also
Skelmersdale, UK. whether this message is decoded
Barry Davies is Assistant Dean (Research) and ``appropriately'' ± in this context affecting a
Philippa Ward is Principal Lecturer, both at the positive psychological or behavioural
University of Gloucestershire Business School, outcome, ultimately leading to purchase. The
Cheltenham, UK. importance of attaining such an outcome has
meant that within the retail environment,
Keywords numerous methods have been used to display
merchandise and communicate product and
Merchandising, Vision, Branding, Retailing, Fashion
retailer brand. This diversity in visual
merchandising methods has perhaps also
Abstract stemmed from the vast array of goods and
This research presents the results of an initial services that are sold by retailers.
investigation on ``visual merchandising'' and its effects on The development of merchandising
purchase behaviour and brand recognition. The context is techniques, and the dissemination of these
concessionary branded female fashion offerings within a approaches amongst retailers, has a well-
department store. The research utilises semi-structured established history. For example, L. Frank
interviews with a small sample of female undergraduate Baum acknowledged the importance of
students. The interviews incorporated the use of stimulus window display as early as 1897. He also acted
material ± photographs taken of concessions in a as the founding editor of The Show Window ± a
department store some 150 miles away from the research trade publication in which he offered
location. The results suggest that the themes that linked guidelines to retailers on the creation of
most strongly to purchase intention were: merchandise effective window displays ± where he provided
colours, presentation style, awareness of fixtures, path an early mechanism for the dissemination of
finding, sensory qualities of materials and lighting. Initial visual merchandising ``best practice''. This
findings suggest that liking of display does not totally early publication evolved to examine display
determine purchase, but does make it four times more across the store and continued to offer advice
likely. for some considerable time. This interest in the
importance and potential of display to affect
Electronic access customers has continued within the retail
The Emerald Research Register for this journal is
sector and dedicated trade publications are still
available at
apparent, for instance Visual Merchandise and
http://www.emeraldinsight.com/researchregister
Store Display (VM&SD), started in 1922.
However, the importance of visual
The current issue and full text archive of this journal is merchandising has not received as much
available at attention in the academic literature (Lea-
http://www.emeraldinsight.com/0959-0552.htm Greenwood, 1998). One notable exception
has been within the US fashion-based
International Journal of Retail & Distribution Management
literature, where a number of texts have been
Volume 31 . Number 3 . 2003 . pp. 143-152
# MCB UP Limited . ISSN 0959-0552 devoted to the subject. These though are
DOI 10.1108/09590550310465521 primarily practitioner-based, highlighting
143

Visual merchandising and the creation of discernible retail brands International Journal of Retail & Distribution Management
Shona Kerfoot, Barry Davies and Philippa Ward Volume 31 . Number 3 . 2003 . 143-152

again a deficiency of attention from retail point-of-sale display and architectural display.
academics. This study represents a small step This study focuses on merchandise display:
towards addressing this lack. It investigates the choice of a singular store to provide the
the influence of visual merchandising stimuli stimulus photographs minimises the
within the retail store environment on architectural elements (external and building-
customer perceptions and responses. In doing based); additionally, point-of-sale areas were
this, the research is focused on the potential excluded from the photographs to ensure only
psychological and behaviour outcomes that merchandise display was considered.
result from customer interaction with visual The key facets within merchandise display
merchandising, rather than directly trying to are identified within the literature as: layout,
establish what constitutes best practice per se (e.g. Levy and Weitz, 1996; Berman and
or manipulating visual merchandising Evans, 1995), fixturing (e.g. Levy and Weitz,
techniques themselves. 1996; Donnellan, 1996), merchandise (e.g.
The context chosen for investigation is Davies and Ward, 2002), presentation
female fashion in the UK. This particular retail techniques (e.g. Buchanan et al., 1999),
sector was chosen as it has recently elevated colour (e.g. Koelemeijer and Oppewal, 1999)
visual merchandising to an issue of board level and packaging (e.g. Bruce and Cooper, 1997;
concern (Lea-Greenwood, 1998). Given this Da Costa, 1995). These areas have received
situation the sector affords an ideal context in varying degrees of attention as individual
which to investigate the impact of such cues on elements. However, there is, in fact, little
customers, as the degree of retailer work that brings these facets together as
sophistication in this area is likely to be higher ``merchandise display''. There is also a lack of
than that displayed by organisations in other literature that examines the influence that
sectors. Within the female fashion sector the such display engenders in consumers and ± in
department store was selected as the specific particular ± considers the influence of such
venue for investigation. This is because it offers cues on brand communication and purchase
distinctive merchandising possibilities for a intention. However, some of the elements of
number of brands ± both retail and clothing- merchandise display have been examined
based. Here, the retail brands are derived from from an environmental psychology approach,
those stores that source and display `òwn- as well as from a service environment
brand'' assortments, and the clothing-based perspective. These two related literatures
brands stem from either a manufacturing or provide potential starting points as each
design base. Within the department store these considers the physicality of the in-store
brands are merchandised within their own environment and its influence on customers.
concessions in a way that holds a number of
extraneous variables constant ± for example,
building type or specific shop location. This The physical in-store environment
makes the use of such a research context
advantageous as it minimises the development It has frequently been suggested that ``good''
of customer perceptions and behaviour based interior design within a store can maintain
on such factors and therefore enables the customer interest, encourage customers to
consideration of various aspects of visual lower their psychological defences and make a
merchandising and display and the purchase (e.g. Kotler, 1974; Walters and
`èffectiveness'' of this communication on White, 1987; Bitner, 1992; Omar, 1999;
customers. However, whilst excluding Davies and Ward, 2002). In examining this
extraneous factors is beneficial, to investigate potential, the physical in-store environment
visual merchandising adequately it is also has been examined in relation to various
necessary to understand what actually elements, for example: orienting factors
constitutes this area of retailer activity. (Davies and Ward, 2002); signage (Bitner,
1992); spatial factors (Davies and Ward,
2002; Bitner, 1992); and ambient conditions
Dimensions of visual merchandising and (Bitner, 1992), which Kotler (1974) termed
display `àtmospherics''. These elements are in many
ways redolent of the facets of merchandise
Omar (1999) suggests that there are three display identified above. This high degree of
types of interior display: merchandise display, congruence between merchandise display
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facets and the elements identified when considered ± given the relative importance of
concerning the physicality of the in-store the visual as a medium for communication
environment would appear to add further this lack in the literature is perhaps surprising.
weight to the use of such ``borrowed'' This paper concentrates on the visual
approaches in this research. aspects of this totality of merchandising
The work regarding the physicality of the within the store. In doing this the research
in-store environment focuses on the utilises a foundation drawn from the literature
``communication'' of elements through cues on the retail built environment and focuses on
and stimuli that the customer digests through issues concerning: colour, lighting, shape and
a number of sensory modalities (visual, aural, space. However, consideration is also given to
olfactory, haptic and taste). Within the issues of layout and fixturing as well as
research on in-store environments it has been merchandise and presentation. The treatment
suggested that some people are better at of these visual elements is not at the
``digesting'' environmental stimuli than others individual level and rather than create
(Bitner, 1992) and therefore the onus is on potentially meaningless divisions between
the retailer to make the physical environment them, the approach taken centres on
as digestible or ``legible'' as possible (Davies consumers' responses to the various retail
and Ward, 2002). Given that up to 90 per environments as depicted in the stimulus
cent of the cues provided by an environment material and ``reasons'' for these responses.
are digested through sight (Edwards and This perspective is also consistent with the
Shackley, 1992) it follows that many predominant approach used in the
environmental cues in the retail context are environmental psychology literature. It
visually communicated. The twin threads of centres on the development of ``approach or
visual communication and legibility avoidance'' behaviour as the result of
highlighted in the environmental literature ``pleasure, arousal and dominance'' being
echo the sentiments raised in the definition of generated by the environmental stimuli
visual merchandising above. This then further (Mehrabian and Russell, 1974; Donovan and
strengthens the links between the visual Rossiter, 1982; Donovan et al., 1994). In this
merchandising and considerations of the research context these are operationalised as
physicality of the in-store environment. the development of ``liking'' or ``disliking'' and
Therefore, from either perspective, propensity to browse. The relative
understanding how to communicate product effectiveness of the communication potential
and brand images to customers through of the in-store environment visual elements is
individual visual stimuli is vital. also considered. This is done through the
The term ``visual merchandising'' also examination of respondents' identification of
suggests a degree of holistic communication brand and their assessment of merchandise
and this totality of consideration is also price (the latter measure attempts to consider
reflected in the literature on the built if respondents are at least able to discern the
environment. Here, in addition to the effect relative market position of the brand if not
that individual visual stimuli may have on the identify it outright).
perception of a particular retail space, also Some attention is also paid to haptic
highlighted are the effects that derive from sensing. The use of a single departmental
people's ability to discern ``wholes'' within store would enable sound to be kept constant,
their field of perception. For example, Lynch however the stimulus materials used were
(1960) devised the acronym ``PLEND'' to purely photographic, and whilst it is possible
describe the ability of individuals to find their to discern potential haptic cues from such
way by reference to: paths, landmarks, edges, sources it is obviously impossible to gauge
nodes and districts. Similarly, individuals are auditory ones. Issues of sound were therefore
able to perceive ``routes'' (Levy and Weitz, excluded.
1996) or to discern the level of ``sociability'' of The aims of this study are therefore to
a space. However, as Bawa et al. (1989) gather data from customers to identify those
highlight only certain environmental variables factors or themes that they see as important
have been the focus of research. Within these when considering visual merchandising.
elements the totality of visual merchandising, Beyond this an attempt was also made to
in the wider context of the internal establish whether presentation within the
environment, has not, however, been individual concession was liked or disliked
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and what particular features lead to a The use of stimulus material generated in a
particular concession seeming attractive or distant ``locational'' context was adopted to
unattractive. Respondents were also asked eliminate the possibility of respondents
whether their perception of the price of the having had a direct involvement with the
clothes was expensive or inexpensive, and concession. Had respondents had direct
whether respondents would be likely to experience of the concessions they may have
browse or not within the concession. They been able to identify the brand on the basis of
were also asked to identify the brand in each their actual knowledge. The photographs did
of the seven cases. This research therefore not show any elements of architectural display
adopts a consumer response-centred or point-of-sale display; care was also taken to
approach to visual merchandising stimuli in exclude any obviously identifiable signage,
an attempt to consider this area of retail logos or brand names. This meant that the
concern in an holistic manner. In doing so it photographs focused solely on aspects of
seeks to both explore an area that has received visual merchandising and display.
limited attention in the literature and limit the The ultimate selection of fashion ``brands''
potentially meaningless division of visual included in the research was driven by
stimuli into discrete areas of consideration. interviews conducted with fashion-oriented
young females (not themselves studying
fashion), who were then excluded from
Methodology further participation in data collection. The
brands selected were also ones that featured
This research takes an exploratory approach within department stores around the
and utilises qualitative data collection interview location (Cheltenham). This then
techniques. This type of approach lends itself excluded those brands that potential
to this study as the central topic of visual respondents would otherwise perhaps not
merchandising has seen limited empirical have encountered making it impossible for
investigation and the aims of the research them to recognise the brand from its
focus on developing an understanding of associated visual merchandising. The brands
stimuli that cause particular responses. In used in this study where: Armani Jeans,
doing this, it is necessary to explore FCUK, Max Mara, Miss Sixty, Morgan,
respondents' feelings and views in relation to Nicole Farhi and Polo Jeans.
a particular visual merchandising presentation
and therefore a more open approach is Research procedure
dictated. Interviewees were seen individually in their
homes and shown photographs of a particular
Data collection techniques concession. They were asked a number of
Semi-structured interviews were used as the questions derived from the research aims.
central mechanism for data collection. The The questions concerned the following issues:
use of this data collection technique aligns recognition of clothing brand, liking or
well with an exploratory approach as semi- disliking of the ``display'', identification of
structured interviews enable the ``seeking of what was seen as attractive and unattractive,
insights''. This is achieved through the propensity to browse the concession depicted,
flexibility of using the technique, which rationale behind browsing activity, and
affords the opportunity to explore responses, possible purchase intention. These topics
seek clarification and explanation as well as were explored using open questions; in each
developing discussion and where appropriate context care was taken by the interviewer not
employing probing techniques. This then to introduce specific aspects of visual
provides greater understanding and achieves merchandising to the discussion. This
added depth and richness in the data. enabled respondents to express their opinions
The semi-structured interviews were based and select elements of the visual stimulus to
around the use of visual stimulus material. explore, thereby ensuring that the
Photographs were taken of seven varying respondents and not the interviewer drove the
female fashion concessions within Kendal's, data collected. By adopting such an approach
the large House of Fraser department store in it is possible to circumvent some of the
the centre of Manchester. This store was sited criticism that has been levelled at empirical
some 150 miles from the research location. studies examining other aspects of the in-store
146


environment and customer perception been reached and no further interviews were
(Davies and Ward, 2002). One closed- conducted.
question was used within the interview, this
related to respondents' perception of the cost Data analysis
of the merchandise on display. This question The interviews were transcribed and thematic
used a six-point scaled response format. The analysis conducted. These themes then
uniform response format was used in this assisted in the development of a model that
context to ensure that answers could be easily utilises each separate question response
compared. This question was however (excluding those related to brand recognition
supported by an open inquiry that sought to and clothing pricing) to map the impact of
determine respondents' reasoning for their visual merchandising on liking, browsing and
classification of the cost of the clothes purchase intention.
depicted.
This process was then repeated with the
remaining six photographs. Each time the Findings and discussion
order of the questions remained fixed;
however the open nature of the questions A number of themes emerged from the
used meant that there was scope to explore interviews, these centred on the following
points as they arose and where necessary topics: merchandise colour, manner of
respondents could be probed to provide presentation, awareness of fixtures, path
additional information. The order of the finding, sensory qualities of materials and the
stimulus presentation was however rotated to effects of lighting. Some of these elements
have close associations within issues raised in
ensure that order effects did not colour the
the literature, others however appear to
information gathered and additionally that
highlight new issues that have received little
respondent fatigue was not encountered
attention to date.
consistently in relation to a particular
photograph. A single interviewer
Merchandise colour
administered this process and each session
Merchandise colour had an immediate impact
took between 45 minutes and an hour to
on most respondents and generated
complete.
considerable comment. These tended to
centre on the use of colour as a key
Sample
presentation element and positive
The sample used was convenience-based;
observations were made on the use of colour
however it was guided by the characteristics
coordination across merchandise assortments
provided by House of Fraser in relation to its
± ``. . . blue, white, pinks and denim go
female target market. These characteristics
together''. Colour coordination was also
cover a broad spectrum of women. The focus associated with the development of multiple
in this research is on the younger female purchases in many cases, for example ``. . . I
shopper, termed ``the fashion-lover'' who is would buy the cream top to go with the
between the ages of 18-26 and is of particular jeans''. It was clear that the use of strongly
interest to the House of Fraser group. This contrasting colours or what was deemed to be
focus enabled the narrowing of the an ``uncoordinated'' colour arrangement was
boundaries for respondent selection. The found to be unpleasant. Such conditions were
concessions selected, as mentioned above, associated with ``cramped'' or ``jumbled''
were based on the choices of females falling presentation.
within the selected respondent category, and It was interesting that those respondents
were not pre-selected by House of Fraser or who commented on colour did so in relation
the research team; the concessions did to the merchandise and did not in fact note
however all form part of the ``fashion-lover'' the background colour of the concession
department. Respondents for the interviews itself. This is perhaps surprising given that the
were selected on a convenience basis and were focus of research in relation to colour in the
all undergraduate students at the University in-store environment has been on
of Gloucestershire studying a variety of ``background'' colour. Respondents also
programmes. In total 13 interviews were commented on the meaning that they
conducted. At this point data redundancy had associated with particular colours. These
147


associations are summarised in Table I, which appealing'' displays and had the potential to
also extends these associations to the price of positively impact a respondent's propensity to
the merchandise. browse.
There appears to be a degree of consistency Given these findings it appears that
in respondents' perceptions of merchandise merchandise colour is an important factor
colour. These associations are however not that influences perceptions of price and
consistent with those presented in previous quality, as well as helping to form image
literature. The literature is itself though perceptions of the wider retail offer. The
inconsistent and it would appear that while examination of this area, perhaps alongside
colour does generate associations in issues of colour in relation to the general
customers, these are varied and perhaps background and, potentially, fixturing, would
specific to context, item and even possibly seem valuable.
time. This could therefore present
considerable difficulty in conducting research Manner of presentation
into the use of colour in retail contexts and This issue raised considerable comment in
additionally perhaps provides some relation to four principal methods of
explanation for the variety of associations presentation: hanging, folding, rail-based, and
generated in existing research. the use of mannequins. Hanging was viewed
It is also evident that whilst this may be a as the most attractive presentation method as
difficult area to research there is a need to it made garments ``readily visible'', enabling
understand the importance of colour, respondents to ``see everything without
particularly as it appears to transmit signals rummaging'' and also helped them to
related to merchandise pricing, and by ``visualise outfits'' and also ``mix and match''
implication quality. Respondents associated garments. Folding clothing made ``the display
neutral colours with exclusive merchandise. look neat''. However, respondents noted that
This is consistent with previous research by folding clothing made assessing style difficult
Israel (1994). However, white could be and in some cases was too neat, creating
considered a neutral colour, but respondents anxiety. This meant that a surprising number
suggested that white merchandise would cost of respondents felt that they would not
less than the average. Here, white is perhaps browse in the concession, as they did not want
being associated with ``basic'' and ``simple'' to ``disturb the display''. The use of rails also
both in terms of the product and perhaps in raised negative comment; respondents found
terms of production. ``seeing only a sleeve'' to be `ìrritating''.
Particular colours, as highlighted in the These various display techniques ± both
comments related to coordination, are not used individually and in combination ± also
considered in isolation. The notion of colour generated comment on the `òrderliness'' of
mix appeared to influence respondents. The the displays. Order was generally seen as a
use of black and red in Miss Sixty was termed positive attribute by respondents and is often
``high streety'' and the mix of colours used by perceived as essential in the literature on
FCUK was thought to be ``bright and fun''. In display (Diamond and Pintel, 1997).
general, the use of a wide variety of colours However, the research indicated that there
was deemed to produce `àttractive and was a fine line between an orderly display and

Table I Colour perception and merchandise price
Colour Perception Perception of price
White ``Crap and tacky'' Below average
Neutral/beige ``Boring and dull" Expensive to very expensive
`Èasy on the eye"
``For the older, more mature person''
Pink ``Looks very young'' Average to above average
``Makes the clothes look too old''
Red ``Garish'' Average to below average
``Tacky''
Black ``Makes the whole display look dark'' (No clear association)
``Blocks out all the other colours''

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one that is perceived as being ``complicated'' research, as well as the display mechanism
or indeed ``muddled''. It has been suggested itself influencing perceptions of what is
that hanging garments displayed on racks aesthetically pleasing, there is also a clear link
present an uncluttered and neat arrangement to the material used. For example, when glass
(Berman and Evans, 1995). However, was used in combination with chrome, this
respondents suggested that such displays were made displays ``look funky and fashionable''.
unattractive and disorganised and in fact, as Within the literature, little is made of the
Levy and Weitz (1996) suggest, are confusing associations generated by different materials
and disordered. Therefore, the extent and (Schmitt and Simonson, 1997) and this is
nature of the orderliness perceived appears to perhaps an area that warrants more detailed
differ with various methods of presentation. examination.
This suggests that the call for order in displays When fixturing type is considered, the use
in the literature, whilst appropriate, needs to of shelves and rails was seen as unattractive ±
be developed to accommodate the differences engendering the perception that the
between (and interaction with other) display concession was ``bog standard'' or made the
types. This may then provide a degree of products seem `òut of a warehouse''. The
consistency within the advice given in relation Nicole Farhi concession, which
to the use of display techniques within various predominantly uses shelves and rails, was
retail contexts. likened to `à Next sale''. The use of red as a
Mannequins generated a positive response fixturing colour also generated negative
in the main. Respondents expressed approval comments. It was seen as being ``tacky'',
at being able to ``see designs'', `èntire outfits'' ``garish'' and `ìn your face''. This colour
and ``see what the clothes will look like on''. choice also lowered respondents' perceptions
Such comments would seem to support the of merchandise quality, leading to the
suggestion that mannequins influence assessment that the clothes were of an
multiple purchases (Kotler, 1974; Levy and average, below average or even cheap price.
Weitz, 1996; Morganstein and Strongin,
1992). Mannequins were also termed ``very
visual'' and respondents actually made A holistic view of display
adverse comments in relation to displays that
did not feature their use. Such positive views Respondents commented on, and were
can perhaps explain why mannequin use has potentially influenced by, a wide range of
been deemed to stimulate browsing (Lea- display-related factors. These, whilst often
Greenwood, 1998). The only mannequins receiving individual attention, were not
that generated an adverse reaction were those viewed in isolation, and rather respondents'
used in the Miss Sixty concession ± these were perceptions often involved various factors in
however non-traditional clear torso combination. This ``holistic'' interpretation of
mannequins. display is somewhat at odds with the
approaches conveyed in the literature. Whilst
Awareness of fixtures considering various aspects individually is
A wide variety of response was generated in clearly logical, it has perhaps meant that the
relation to fixturing ± both in relation to literature fails to consider the effect of, for
materials used and type. There was a good example, folded garments displayed on
deal of consistency however regarding the use chrome and glass cubes and how changing
of glass as a presentation material. It was materials or fixtures might in turn change
viewed positively by most respondents and perception. Such interactions begin to suggest
when used as ``glass cubes'' was termed that the research conducted on display has
`ùnusual'' and considered to make not as yet gone beyond the surface and
presentation ``neat and tidy''. Respondents increasing sophistication is needed to provide
suggested that glass tables conveyed a ``smart useful guidelines for retailers.
appearance'' and merchandise laid out on
such surfaces portrayed an `ùp-market Path finding
image''. This would seem to parallel The provision of a clear route noticeably
Donnellan's assertion that the use of tables affected some respondents' propensity to
and cubes to display folded garments is browse. It was suggested that a clear route
aesthetically pleasing. However, within this provided `à natural way to go around and
149


look at things''. When respondents ``feel as context was viewed particularly negatively.
though there is no route'' it was deemed The suggestion was that its use made displays
``difficult to know where to start''. Where ``look like a supermarket'' and was even by
there were obstructions when a route had some respondents deemed `òff putting'' and
been delineated the displays where also `òffensive''.
termed ``hard to walk around''.
Neat and sparse displays (both in terms of
merchandise density and display density) A potential link ± visual merchandising
were unsurprisingly associated with more and consumer behaviour
expensive brands, one respondent
commenting: ``space says designer'' and then The various themes identified led
suggesting ``. . . one pair of trousers laid out on respondents to develop a perception of their
their own shows they can afford the space and likely behaviour in each concession. This
people will pay the price because of the label''. information, stimulated by the seven pictures
Here, the notion of low spatial density of of the concessions across the 13 respondents
display clearly generated the perception of provided 91 ``paths'' of action, enabled the
``quality and not quantity''. However, development of a model that details the likely
although the provision of space to browse was behaviour of respondents. These initial 91
found to be pleasing, respondents also responses were ``translated'' into arrows
suggested that in such contexts ``the shop depicting the number of responses signalling a
assistants would be looking at you'' and that particular path in relation to respondents'
respondents would feel that they ``shouldn't emotions and behaviour. The model
be there''. developed is depicted in Figure 1.
From this representation of respondents'
Sensory qualities of materials concession perceptions and intended actions
Respondents deemed the use of ``wood'' for a number of potential links between visual
flooring and hangers as giving a ``more merchandising and consumption intention
exclusive'' ambience. Wooden fixtures were can be established.
also thought of as `òften show[ing] quality''. Most of the literature fails to directly
They also associated the material identify the potential of visual merchandising
unsurprisingly with being natural and as to influence affective and behavioural
creating ``light and airy'' displays. response in a detailed manner. This research
The use of plastic see-through mannequins demonstrates that the development of
(in the Miss Sixty concession) was viewed by approach or avoidance behaviour is strongly
some respondents as being ``cheap and related to consumers' like or dislike of visual
nasty''. However, others suggested that the merchandising. As illustrated in Figure 1 and
materials used in this concession were Table II a favourable response that leads to
``futuristic''. They suggested that ``see- liking, in the majority of cases, engenders
through mannequins, glass and modern-art browsing and once enticed to browse the link
steel tables, make the display feel funky''. to purchase becomes evident. This pattern is
supported in previous research studies.
Effects of lighting However, this research highlights that liking,
Respondents viewed lighting in a variety of whilst a good predictor and precursor to
ways. The most positive statements were browsing, does not always result in this
generated by the Max Mara concession. Here, behaviour. In a perhaps surprising number of
respondents suggested that the lighting instances, liking still leads to avoidance
conveyed a positive feeling, the display ``looks behaviour.
inviting'' and ``gives a feeling of seclusion and This pattern is also echoed by those
I'm special''. Where lighting was merely responses where disliking is evident. Here, 36
``satisfactory'' it attracted terms that included per cent of ``dislike'' responses still lead to
``nice and light''. Negative associations were browsing and even more strikingly, in 19 per
attributed to lighting that was perceived as cent of instances, to purchase. Dislike does not
being ``dull'' or ``basic''. In these situations the therefore necessarily lead to avoidance
lighting was seen to make the displays ``feel behaviour. These findings suggest that to fully
cold'', in a sterile and uninviting sense. The understand the creation of approach and
use of fluorescent strip lighting in a fashion avoidance behaviour there is a need to go
150


Figure 1 Behavioural process from display to consumption

Table II Visual merchandising ± affective responses and anticipated action
Affective response Action Response percentage
Like (40 responses) Leave immediately 10
Browse: 88
± purchase 80
Dislike (36 responses) Leave immediately 64
Browse: 36
± purchase 19
Indifferent (15 responses) Leave immediately 46
Browse: 53
± purchase 47
Notes: Response percentages do not equal 100 as browse and purchase are not mutually exclusive categories and
other potential actions have been omitted from the table

beyond considering the development of a both consistent and distinctive. As such this
general state of liking or disliking and consider fashion brand is a prime example of the ability
what propels consumers to act in a manner of visual merchandising to act as an
that is at odds with their affective responses. identifying factor. In addition, four
respondents also appropriately recognised
FCUK, and three respondents identified Polo
Brand identification through visual ± here the red fixtures were said to aid this
merchandising process.
The respondents did not recognise both the
Whilst it is clear that respondents expressed Max Mara and Nicole Farhi fashion brands.
both affective and behavioural responses to However, these two concessions were
visual merchandising, they were less able to consistently associated with a more expensive
use this cue as a means of recognising a and upmarket offer. The basis for these
particular fashion brand. Of the 13 perceptions corresponds with ideas detailed in
respondents, nine correctly identified Morgan the literature: for example, muted colour
on the basis of the stimulus photograph associations and the use of low spatial
provided. One respondent stated that merchandise density (Schmitt and Simonson,
``Morgan looks the same everywhere'' 1997; Walters and White, 1987). The Armani
suggesting that the company's visual style is Jeans concession also went unrecognised;
151


comments such as ``could be any jeans make'' Bitner, M.J. (1992), ``Servicescapes: the impact of physical
and ``thought it was men's'' demonstrate the surroundings on customers and employees'', Journal
lack of any strong visual communication of of Marketing, Vol. 56 No. 2, pp. 57-71.
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