Store layout, window display and tactful graphic design are all important factors in encouraging consumer consumption within retail. To ensure there is a high rate of sales and a low rate of deviance within retail, consumers are continually confronted with the measures in place from the moment one enters the store. These measures are present within ‘a range of organizations involving new modes of regularizing activities in time-space (Giddens, 1987 p183) From the offset, consumers are drawn into the shop via the store’s prudent windows displaying the commodity lifestyle. On entering the store they are then faced with a constant reminder of the surveillance in place within the store and the disciplinary measures in place with in society; CCTV cameras, the presence of a security guard, security tags on products, prosecution warnings and a well thought out store design. It is, however, predominantly this layout which many stores takes on to ensure visibility of it’s customers, which essentially leads to one self-regulating as not to steal goods but instead purchase items; thus proving that panoptic measures are ‘appropriate for any context in which supervision was required’ (Lyons, 1994 p57-80). This demonstrates ‘the penetration of regulation into even the smallest details of everyday life’ (Foucault, 1977 p62) through this ‘omniscient power.’ (Foucault, 1977 p62) (Fig.1)
Bentham’s Panopticon is an architectural model of this arrangement present within retail spaces which brings about ‘the utopia of the perfectly governed city.’ (Foucault, 1977 p62) The panoptic model is an annular building designed with a central tower; this tower has windows which open to allow the inner side of the ring to become visible. The outer periphery of the building is divided into cells which spread the width of the building. Each cell has two windows; one on the inside which corresponds to the tower’s window and one on the outside, enabling light to flood the cell. A supervisor is placed in the central tower. Through the use of the backlighting created by the outer window, when in the cell, one can be clearly viewed by the tower’s spectator but cannot see the disciplinarians themselves. (Foucault, 1977) The Panopticon works on the basis that ‘visibility is a trap.’ (Foucault, 1977 p64) by ‘dissociating the see/being seen dyad’ (Foucault, 1977 p65) it is ‘exploiting uncertainty as a means of controlling subordinates’ (Lyon, 1994) (Fig.2)
The one in the cell is ‘seen, but he does not see; he is the object of information, never a subject in communication.’ (Foucault, 1977 p65) This model ensures that ‘discipline brings into play its power.’ (Foucault, 1977 p62) It is arranged in a way which deprives the inmate the knowledge of whether they are actually being watched by the disciplinarians in the central tower, however, they are aware of the punishment if they are caught doing wrong therefore resist temptation and do right; ‘obedience was the prisoner's only rational option.’ (Lyon, 1994) This ‘invisibility is a guarantee of order.’ ‘Hence the major effect of the Panopticon: to induce the inmate a state of conscious and permanent visibility that assures the automatic functioning of power.’ The panopticon produces separate individuals, rather than a collective group, to which one is ‘caught up in a power situation of which they are themselves the bearers.’ (Foucault, 1977 p65) This operational discipline allows one to self internailise their behaviour, thus producing docile bodies; ‘subjected and practiced bodies.’ Discipline, or the fear of discipline, ‘dissociates power from the body’ and ‘turns it into a relation of strict subjection’ A ‘disciplinary coercion establishes in the body’ (Foucault, 1977 p138) and produces an ‘infinitesimal power over the active body’ (Foucault, 1977 p137) The panopticon is a model of how society organises its knowledge, its power, its surveillance of bodies and its ‘training’ of bodies. This new mode of power is known as Panopticism.
Bentham claimed that the ideals of the panoptic could be applied to any situation where control is required:
‘. . . punishing the incorrigible, guarding the insane, reforming the vicious, confining the suspected, employing the idle, maintaining the helpless, curing the sick, instructing the willing in any branch of industry, or training the rising race in the path of education’ (Quinn, A 1977 p94)
Applied to retail, the panoptic store layout design exercises panopticism to ensure ‘no disorders, no theft, no coalitions.’ (Foucault, 1977 p65) It is the rules and regulations of the store that regulate power. Power is not a thing or a capacity people have; it is a relation between different individuals which only exists when it is being exercised. The exercise of power relies on there being the capacity for power to be resisted. ‘Where there is power there is resistance’ (Foucault, 1977 p65) In the case of a store, customers could steal merchandise if they wish to, however, they are aware of the legal consequences that will come if they do commit an illegal act and as a result, usually, choose not to. Instead one will adopt the socially accepted behaviour traits within society and become a docile body.
The use of security measures visibly in place within a store ensure that power relation is ‘visible and unverifiable.’ (Foucault, 1977 p65) Surveillance aids such as CCTV cameras, security guards, security tags, shop assistants are all constant reminders to the customer that they are under the watchful eye of the store. The customer is aware that there are security measures in place within the store, however, they can never be sure as to when they are the subject themselves. ‘A real subjection is born mechanically from a fictitious relation.’ (Foucault, 1977 p66) The customer will ‘become the principle of his own subjection,’ (Foucault, 1977 p66) as they begin to mentally control their actions.
(Fig.3) Store layout can also be used to encourage expenditure. This is particularly relevant to IKEA stores; their shop floors are tactically laid out in a way which they promote spending. In creating a graphical trail, using vinyl stickers on the floor, they are able to direct the customer through all the areas of the store before proceeding to the checkout. Despite offering ‘shortcuts’ on the map of the store, many will not take these routes but instead continue on the devised path. This design encourages customers to pick up additional products whilst exploring the store. In effect, IKEA will ‘impose upon them the methods he thinks best’ (Foucault, 1977 p67) so that customers ‘will not only find what they came for, but also be inspired by unexpected ideas and low-priced products as well.’ Each one of the 325 stores is riveted with ‘hundreds of inspirational displays’ The product combinations on display provide customers with novel ideas and know-how on contemporary interior design. Some IKEA stores offer up to 10,000 different products in an attempt to allow customers to ‘find solutions that best suit their needs.’ It is essential that IKEA stores are large in size to allow the company to offer a deep range of products that can be taken away and enjoyed on that very day. This large space is also used to ‘inspire people in realistic room settings and real-life homes.’ In making the ‘range come to life’ visitors are encouraged to shop at their own leisure and get comfortable within these real-life settings. ‘To sit, lie down, open and close drawers. To compare styles. Compare prices. And imagine the possibilities’ inevitably deciding to purchase more products from the store. Having structured their stores to ensure customers play an active role in their shopping experience, IKEA relies on their customers to ‘choose, collect, transport and assemble IKEA products themselves.’ It is for this exact reason that ‘the IKEA trademark represents the leading home furnishings brand in the world with more than 300 stores in more than 35 countries and more than 130,000 co-workers’ IKEA have seen an increased 734 million customers pass visit their stores in 2011 and 208 million copies of their catalogue distributed, thus resulting in a turn over of 26 billion for the year 2011. (www.ikea.com)
(Fig.4) Another panoptic measure used to lure customers into a store is the window design. Harvey Nichols are a great example of this, their flamboyant window displays create a sense of grandeur to which customers want to associate themselves with in a strive to enhance ones self image in order to fulfill ones ideal self. ‘The window-displays flaunt the commodity; offering it to the casual passer-by in a tantalizingly incomplete manner. It forms ‘an enclosed area, at the same time totally exposed to the gaze and inaccessible to the hands’. (Shields, p29) This ‘display of commodities’ is ‘a mechanism for facilitating the social comparisons upon which ‘wanting’ is based.’ (Shields, p28) Self-concept is a person’s ideas or feelings about themselves; people will buy products to contribute to their self-concept. (Blythe, 1997 p47) ‘An image of the self is projected into the world and renders some aspects of it attractive; ‘all possess in themselves the original of that beauty which they look for externally’ (Pascal, 1850, 2 : 133).’ (Shields, p28) This self-projected role is confirmed or denied by the people that surround them. (Blythe, 1997 p47) With a desire to complete the self-concept, people will pursue ‘in consuming such objects, to incorporate an idealized self, to make the self more real, and to end the inner despair of not having a self.’ (Shields, p28) People are indirectly creating a ‘work of art’ which they hope to impress others by. (Blythe, 1997 p47) Based on the feedback one receives, one will modify their behaviour; this is known as self-monitoring. (Blythe, 1997 p50) ‘Self motoring has three forms of expression: concern for the appropriateness of behaviour, attention to social comparison as cues for appropriate self-expression, and the ability to modify self-presentation and expression across situations.’ (Nantel, 1986) The existence of this behaviour has essentially led to the invention of whole industries to cater for this need; the window display is one way of ‘pulling’ the passing shopper in in order to sell these commodities. (Blythe, 1997 p50) Via this showcase of products the shop has to offer and the proposed lifestyle that will accompany it, people feel inclined to enter the store and, possibly, purchase goods to enhance ones self concept. (Mesher, 2010 p142) The role of the display is ‘to create a memorable vision and to portray the brand values in one punchy statement.’ (Mesher, 2010 p148) (Fig.5)
Using a large pane of glass facing the audience in the street, these windows can be ‘treated like a stage’ in order to ‘capture the publics attention from just one angle: the street’ (Morgan, 2008 p44) Harvey Nichols use bold graphics, mannequins and props to create an impact; in it’s bespoke ‘outlandish style‘ all available space has been utilized to create this innovative window scheme, (Morgan, 2008 p55) ultimately providing their customers ‘a visual treat; an exciting and rewarding experience; even a bit of escapism and theatre.’ (www.barberdesign.co.uk) The essence of the brand is portrayed through the shop facade, this is primarily achieved via the graphic communication; ‘fascia signage, a projecting sign, window details and lifestyle graphics as part of the windows display.’ (Mesher, 2010 p142) These brand principles will then be interpreted into an interior scheme to ‘project a stronger message to the customer’. (Morgan, 2008 p55) As indicated by Dalziel and Pow: ‘A brand’s message should be strong, clear and consistent across all communications; the design of every touch-point throughout the customer’s journey needs to be considered.’ (www.daziel-pow.com)
(Fig.6) In the same way that IKEA shows the customer inspirational displays of real-life home settings in an attempt to encourage spending, retail stores such as Harvey Nichols tactically position images of the ‘ideal woman/man’ throughout the store’s interior. These visible reminders are, consequently, viewed by the consumers as idealistic; thus consumers feel inclined to purchase the goods on display in a strive to live the ideal lifestyle and be a certain type of person. ‘There lay in every want the aching need for self-expression.’ (Shields, p27) In purchasing goods, the consumer is then given a shopping bag with the store’s brand identity tactfully positioned upon it. (Fig.7) This is a small yet effective panoptic measure which can serve an extensive role to the store; the consumer will want to be associated with the brand by others in order to add to their self-concept. Consequently, people will see the purposefully designed shopping bags on the consumer thus providing the brand with free advertising.
All in all, the above assessment illustrates the panoptic measures a retail store will take on to advocate the sales of goods. It is notably a combination of the store design, window display and retail graphics which reduces the customer to ‘recognize that it is in their interest to act according to the norms,’ and take on the ‘power of self-policing’ (Simon, 2005 p7) which aids a store’s ability to ‘attract new customers, keep your current ones, and boost your profits.’ (www.barberdesign.co.uk) Acquiring an understanding into consumer behaviour is then an additional factor which a store can use to increase sales figures. Ultimately, all consumption is ‘conceivable as the desire, for, as well as the desire of, the self.’ (Shields, p27) The panoptic store layout allows many stores to use a ‘regularized observation of activities..’ ‘..in order to seek to control them.’ (Giddens. 1987 p186) As Bentham suggested, ‘the more constantly the inmates are inspected, the better the institutions will be.’ (Quinn, 1977 p94-95) It is, therefore, evident that ‘the efficient operation of the Panopticon was obviously in the interest of society as a whole.’ (Quinn, 1977 p96) and still is in todays society; ‘a world where vision is increasingly attenuated, dispersed and mediated.’ (Simon, 2005 p4)
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