Essay Title: The communication of window display
Subject: Massimo Dutti
Word account: 1300 words

Name: Yuwei Chen
Student ID: CHE12369259

London College of Fashion

Year 1(2013)

Degree: BAFM
Unit Tutor: Sally Bain
Unit name: ISHE

The communication of window display

It is beyond doubt that the competition in the fashion retail industry is extremely stiff. Visual merchandisers are seeking a best way to attract customers by significantly improving display design to create competitive advantage. As Davis(2013) observe, there is a new trend in fashion marketing that companies are looking to the past to make an emotional connection to their customers and translate to sales. Venturing also on such approach is inditex brand Massimo Dutti. This retailer has been refurbishing its window displays with flapper-style mannequins and gorgeous props duly to recreate a 1920s vibe (Figure 1), which appeals to customers. In a consumer driven market, what does Massimo Dutti hope to achieve from nostalgic window displays? Does “nostalgic window dressing” make sense? This essay will focus on the relationship between shoppers and retail visual offerings. In particular, it explains the effect of styling, color and props used on the window display.
Figure 1
Figure 1

In text ways of seeing, John Berger refers to a painting named The Key of dreams (Berger, 1972:8) (Figure 2). The concept behind the painting is that description of using words can create a mental image based upon their own understanding for audiences. This is called as a slow-burner, as it takes time to get the whole message across, and even then it will rarely live up to the reality. However this well-established principle has not been adopted in visual displays. Retails don’t have this time. The shopper needs a direct message delivered to them whilst in a state of movement to convince them that they need something from the store. The display has to be a very fast-burner.

Figure 3
Figure 3
Figure 2
Figure 2
Massimo Dutti has perfected this visionary art to the point of excellence. Its window display is stunned by The Great Gatsby. It catches the elegance and glitz that is captured with the glamorous film and era. Lavishly decorated each mannequin has so much detail, with finger wavy hair, dark red lipstick, delicate headpieces as well as super smoke makeup. They are all set off by golden wallpaper with brass sculpture that acts as the background, creating a party ambience. Although they are in groups, there is still enough space between each mannequin, revealing the lifestyle of the target consumers who are in socio-economic class that they are independent but interested in spending time in pink tea. (Figure 3)All in all, the styling of the mannequins brings the viewer back to an era where a new woman-flapper was born who is remembered as one of the most colorful characters and her style is imitated all the time. (Herald, 1999) It triggers nostalgia of shopper to enter the store as Massimo Dutti’s mainly appealing to woman of 25-45 who prefer to reminisce about past time. They are prone to go back in order to escape their mundane lives. In another word, Massimo Dutti has trined to create surreal window displays to attract the passing gazer to look again and again.

The saying every picture tells a story is well-known. Well, every Massimo Dutti window presents us a pantomime, but behind it what is the message? Once passerby have stopped and looked, what do they see behind it? Massimo Dutti wishes shoppers to see what they indicate, their identity. It displays their identity to the viewers through colors and hopes they will then identify with them and feel the want to enter the store. Color is the biggest motivation for shopping. (Pegler, 2012) It gives the window display personality and depth. It varies depending on culture and circumstances. (Mary, 1999) For Massimo Dutti’s window display, almost dull colors are used throughout such as black, grey and brown with a pop of burgundy which acts as a sign to say” yes, it’s us.’ These colors cleverly target the young married women and men who are professionals in their job scope. They are not status conscious and feel that free time is more important than money or white-collar workers who earn more than £2400/month. (Massimo Dutti Website, 2013) Burgundy is the color of wealth, success and prosperity that it is often called 'rich' color. (Carlisle, 2013) It is indicative of people’s potential power. Black is used in all aspects of the window display which is the key color usually associated with independent, full of opinions as well as the color of possessing inner strength. (Phillips, 2004) The gray symbolized individualism. Brown denotes domestic bliss, physical comfort and a materialistic character. (Old-earth.com)The mix of these colors emphasizes on main consumers’ dominance and stays compatible and coherent with the nostalgic theme and focus on the merchandise to promote it.

Figure 4
Figure 4
Figure 3
Figure 3
Alannah Weston, Creative director at Selfridges, has said, creating fabulous window displays is necessary, but the key is the product. (Morgan, 2008:52) Both the table with top made of marble and crystal chandeliers serve as foils to catch shopper’s eye that let them focus on the merchandise to excite the customers about why they can’t live without it. (Figure 4)On the basis of the principle of visual merchandising also outlined by Pegler(2006) that a well-designed display should be balanced. The chandeliers are not of uniform size and lifted up in different horizontal line that match the height of the mannequins on the other side. On the background, three copperplate etchings are hung against floor-style curtain evenly as well. (Figure 5)All of them create an elegant and sophisticated age when women wore freer clothes to take part in various social events, spending dancing and boozing with men. Imagine if retailer could tap into the emotional experiences their customers associate with their wishful American dreams. What might making that connection mean to the brand? “Making an emotional connection with your audience isn’t easy, but it’s incredibly effective”. (Davis, 2013) Massimo Dutti’s window uses ‘nostalgic props to lend their charm and acceptability to unknown and untested merchandise’. (Pegler, 2006) All of them only serve the purpose of creating an image behind the products drawing the attention to them. Thus to be a successful window display, it has to basically propel the merchandise.

The point is reinforced by the following primary research. The results of consumer conversion indicated that 26% passerby stopped and looked at the windows. (Pie chart 1). Moreover, the results of questionnaire revealed that three most high ranked reasons for driving shoppers inside Massimo Dutti are” window display setting, merchandise on display and brand name”, of which the first one is relatively less significant. (table 3) It also explains that potential consumers of Massimo Dutti are loyal to its label and share its pride in its values. The further study revealed that the most significant feature of Massimo Dutti’s window display is “the 1920s ambience”.(table 3) One female Massimo Dutti shopper responded with” It’s very great Gatstby. I love retro blazer the mannequin’s wearing so I go in.”(Walker,2013) While one male Massimo Dutti shopper said” I don’t know what those windows are supposed to mean, but I feel excellent going in the shop.”(Walker, 2013)

In general, this essay has shown the importance of window displays and explains why Massimo Dutti sees them as a valuable asset. There is no denying that what retailers show the consumer links with its brands identity. The mannequins, details and colors of its window displays are characteristics that allow the brand to create different environments while maintaining its fashion heritage throughout each corner. The Massimo Dutti window displays successfully carry the core values of the brand; sensibility, effortless, timeless and ease sophistication. The 1920s era windows and the vintage emphasis behind the props are necessary and entertaining, but they only play a part to communicate to shopper, that there is a product for sale. Massimo Dutti will no doubt retain her powerful market positioning by continuing the excellent window display she is doing.

Reference:
Color Meanings: New Age Metaphysical Meanings of Colors [Internet]. Available from:<http://www.old-earth.com/color-meanings.html>[Accessed 08 November, 2013]
Davis, K. (2013) Nostalgia Marketing. It Works. [Internet].Available from :< http://www.bdnaerospace.com/nostalgia-marketing-it-works> [Accessed 04 November, 2013]
Herald, J. (1999) Fashion of a decade: the 1920s, London: B.T.Bastsford Ltd.
Luxe Mag(2009). Massimo Dutti - Chic of Spain [Internet]. Available from:<Http:/ http://www.luxemag.org/fashion-designers/massimo-dutti.html> [Accessed 08 November, 2013]
Medes, V. (1999) Fashion since 1900, UK: Thames & Hudson Ltd.
Morgan, T. (2008) Visual merchandising: Window and In-store Displays for Retail. London: Laurence Kind Publishing Ltd and University of the Arts: London College of Fashion.
Pegler, M. (2012) visual merchandising and display, 6th ed. New York: Fairchild, 2012
Phillips, C . (2004). Color for life, UK: Ryland Peters & Small Kirkmsn House
Mary, P.(1999). Windows: the art of retail display, London: Thames & Hudson

Bibliography:
Bell, J. (2012) Silent Selling: Best practices and effective strategies in visual merchandising. New York: Fairchild.
Boym, S. (2001) The Future of Nostalgia. New York: Basic Books.
Entwistle, J. (2000) The Fashion Body: Fashion, Dress and Modern Social Theory. Cambridge: Polity.
Gillian, R. (2012) Visual Methodologies: an introduction to researching with visual materials. Los Angeles: Sage.
Jackson, T. & Shaw, D. (2006) The Fashion Handbook. New York: Routledge.
Morgan, T. (2008) Visual Merchandising: Window and in-store displays for retail. London: Laurence King.
Peglar, M. M. (2012) Visual Merchandising and Display. New York: Fairchild.
Solomon, R. M. (2011) Consumer Behaviour; buying, having, and being. London: Pearson.
Underhill, P. (2009) Why We Buy; The Science of Shopping. New York: Simon & Schuster Paperbacks.
Wernick, A. (1997) Resort to Nostalgia: Mountains, memories and myths of time in: Nava, M. Buy This Book: Stu vv b bbdies in advertising and consumption. London: Routledge.

Appendix I:
Table 1. Customer conversion( 30 minutes) Number of people | descriptions | 58 | Did not stop or look at the windows | 22 | stoppedlooked at the windowswent into the shop | 36 | stoppedwithout looking at the windowswent into the shop | 28 | Went in the shop out with no purchase | 12 | Went in the shop out with purchase |

Pie chart 1. Pie Chart 2.

Pie chart 3.

Appendix II:
Table2. Questionnaire-shoppers perspectives on Massimo Dutti’s window display. Questionnaire | Time | 29 October 2013 | Location | Massimo Dutti Store, Regent Street | Number of people | 10 shoppers |
Author: Hello, my name is Yuwei Chen, I am a student at London College of Fashion, in the course fashion management. As part of the course requirements, I am doing a survey on shoppers’ perspective on Massimo Dutti’s window display. It is estimated to take you 2 minutes to complete the survey. Your identity and responses are confidential. I appreciate your participation. Thank you. 1. What is the most influencing feature driving you inside Massimo Dutti? a. Window display setting b. Out glimpse of store c. Kind of merchandise on display d. Brand name and logo 2. What is the most noticed feature on the window display? a. Mannequin styling b. Creative product display c. The 1920s ambience 3. You choose to enter in Massimo dutti because of attractive window display? a. Strongly agree b. Agree c. Neutral d. Strong disagree 4. Do you have any other opinion about Massimo dutti’s window display?
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APPENDIX III
Table 3. research questions for questionnaire | Research questions for questionnaire | | 1 | 2 | 3 | 1 | D | B | B | 2 | A | C | C | 3 | C | B | C | 4 | D | C | B | 5 | C | B | C | 6 | A | C | B | 7 | B | A | D | 8 | A | C | C | 9 | C | B | D | 10 | C | C | B |
Question 4:
Responder1: It’s gorgeous.
Responder2: The styling of mannequin is my main point of interest when I looking at Massimo Dutti window display.
Responder3: it reminds me of the great Gatsby. I love the retro blazer the mannequin’s wearing so I go in.
Responder4: Not bad.
Responder5: Sorry, I didn’t notice that.
Responder6: I‘ve got no idea what those windows are supposed to mean, but I feel fantastic going in the shop.
Responder7: it’s very great Gatsby.
Responder8: Quite great.
Responder9: The mannequins look mighty I love them.
Responder10: I have no idea of which the era it is but it is retro.