SOMA Magazine December 2011 : Page 46
He continued, expounding how working with artists is both rewarding and surprising. “It’s part of the process,” he said. “I try to have enough projects going at one time. There’s going to be some fall out somewhere, where somebody isn’t able to complete their vision the way they wanted it, or something they wanted to change. It’s all just part of it. I have a deep appreciation for the process. To get something truly wonderful, a good friend told me, he works on something until it stops annoying him. I don’t want to interrupt that. To say you put a time frame on something, you might get less than what you wanted. Then there are some people who do better with a timeframe.” Johnson also pointed out that each of the 160 Anthropologie stores is able to customize the location’s visual presentations. There’s no formal set guide to ensure brand consistency for all products. And there’s no cooperate-style localization initiative, such as with Macy’s. Instead, the consistency is through a daz-zling variety of eclectic styles. Individual stores are empowered to shape direction based on the local clientele. So while the mood or products might be the same in Dallas or Chicago, the actual experience can vary dramatically. “It’s as personal of an experience as you can possibly have,” claimed Johnson. And, in fact, the company is able to create an intimate feeling, almost like a small boutique. The ethnic person-ality and global sensibility of the goods create an experience of discovery. Even the floor fixtures are available for purchase, and furniture offerings are often vintage finds or small runs crafted in an updated, yet historical style. Hoey said the goals are for “When the customer walks through, it’s an eclectic hunt, a find; it’s an adventure, an escape from reality.” Part of that escapism goes back to the exclusive product offerings. Marcia and Bill Finks, a husband and wife team work-ing under the Primitive Twig banner, had been making metal sculptures since 1990, mainly from salvaged metal, antique parts, 46 and found items. “We always negotiate exclusivity before price,” Hoey proudly claimed. For Anthropologie, the duo created exclusive candle tapers, handmade from antique pieces of porcelain, tin, and glass. The piece will be featured in an upcoming December catalog. It’s a perfect example of the competitive advantage Johnson described when he said, “I do think that we are not really thinking about making huge quantities of things. We may only find a few hun-dred customers for certain items. But those are the items that get us really excited.” Johnson explained the niche appeal when he said, “We’re not casting such as wide net. We’re very customer-specific. The people that do find us are sort of meant for us.” Urban Outfitters, Anthropologie’s parent company, actually spans several brands: Urban Outfitters, Anthropologie, Free People, Terrain, and BHLDN, a recently launched retailer for all things bridal. The company has been criticized for being a large corporation while presenting its brands as independent-minded. And while it is true the company claims billion-dollar profits, the alternative of offering an impersonal, uncaring facade is far less appealing. Compared to any other significant retailer, the women who shop at Anthropolgie are extremely devoted and loyal to the brand. And while there’s a range of factors that foster this obsession, the root cause is that Anthropologie does not merely look to artists with the intent of extrapolating an artistic identity. But the people of Anthropologie listen to artists and dialogue with them. Hoey summarized, “There’s a secret behind the prod-ucts: the vast majority have stories behind them. It comes from authentic relationships with our internal design team, as well as artists and designers, in the world. The products we end up with end up becoming something no one has seen before. We spend a lot of time inventing things creatively.” anthropologie.com
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