Strategies for using merchandising to turn museum shops into extensions of the exhibit space and transmitters of knowledge, art, and culture.
Unique and exclusive customisation
Merchandising products specifically designed for the museum increase the perceived value for consumers, leading to a greater willingness to pay a higher price compared to non-customised products. Just as visitors pay an admission fee to see something unique in the museum, they expect the shop, as an extension of the exhibit space, to offer exclusive items. This way, visitors see the shop and the museum as an integrated whole, with the shop visit completing the museum experience. This means moving away from typical souvenirs that can be found in any other store, even if they may seem more affordable and profitable from a financial standpoint.
Wooden mirrors exclusively designed for ”The Occult” temporary exhibition of Thyssen-Bornemisza Museum, Madrid, 2023. Inspired by Paul Delvaux’s painting ”Woman in the Mirror”, 1936
Interpreted products
A design is applied that takes one of the pieces in the museum’s collection as a reference but is not identical to the original. In these designs, the designer interprets the elements, colours, and arrangements of the artwork to create an original and clearly distinctive design.
This group of products is likely the most attractive to visitors and also best represents the pursuit of customisation that all museum merchandising should strive for. However, it is also one of the most resource-intensive options, and therefore, not all museums may be able to offer many lines of such products.
Nevertheless, before dismissing this option due to budget constraints, the museum should consider that this exclusive graphic design adds extra value to the product and significantly increases the perceived value by the public. This ultimately translates into the ability to set a higher selling price. Therefore, even though adding a graphic interpretation of an artwork to the product configuration increases the product’s costs, these costs can be recovered later by being able to set a higher selling price.
Bison on the roof of the pit, Cave of Altamira
Exclusively illustrated merchandising for the museum shop of Museum of Altamira
High quality materials
For product customisation to be successful, it must be paired with good quality. Therefore, the next strategy involves seeking quality products that are not only attractive or serve as souvenirs but also perform their function well and last over time. If the pen bought at a museum stops writing well after three days, it will end up in the trash and will not serve to promote the museum’s mission. Therefore, if a functional product is chosen for merchandising, it is vital to ensure its good quality.
Vintage pen made of brass, BENJA collection
Clean design aligned with the museum’s corporate identity
To turn your museum’s merchandising products into powerful advertising tools, there are a few essential keys. First, it is crucial that the museum’s name and distinctive elements are prominently featured in the product design. This ensures that anyone can immediately identify where the item comes from.
Additionally, to reinforce this identification, all products should follow a consistent style and adhere to the same principles. This not only creates a unified appearance but also strengthens the museum’s corporate identity, making each item part of a recognisable and harmonious set.
By maintaining this consistency and visibility, you not only enhance the museum’s brand but also create a stronger connection with visitors, who will carry with them an identifiable and meaningful memento.
Oreo eraser personalised with museum’s logo. Conceptual play with Yayoi Kusama’s characteristic dots, to promote the temporary exhibition Yayoi Kusama: 1945 to Now, Museu de Arte Contemporânea de Serralves, Porto, 2024
References
TOEPLER, S. y KIRCHBERT, V. (2002). Museums, merchandising, and nonprofit commercialization. National Center for Nonprofit Enterprise Working Paper. <https://www.researchgate.net/publication/319968491_MUSEUMS_MERCHANDISING_AND_NONPROFIT_COMMERCIALIZATION>
PÉREZ RUIZ, F. J. (2013). Las tiendas de los museos. <https://issuu.com/ franpe/docs/tiendasmuseos>.
KIM, S. y LITTRELL, M. A. (1999). Predicting Souvenir Purchase Intentions. USA: Journal of Travel Research, 38, pp. 153-162.
AMPUERO-CANELLAS O., GONZALEZ DEL RIO J., JORDA-ALBIÑANA B., TARAZONA-BELENGUER N. (2017). Merchandising en museos: ¿educación, cultura o simple negocio?, https://doi.org/10.4995/eme.2018.9033
https://www.serralves.pt/en/ciclo-serralves/yayoi-kusama/
Image by: https://unsplash.com/photos/wavy-ceiling-with-shelves-under-cPnfcUpaCAM
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