In Conversation with: Dilsha Bhudia, Head of Visual Merchandising at Puig UK

In the ever-evolving landscape of retail, where competition is fierce and consumer expectations are constantly changing, visual merchandising has always been a powerful tool used to captivate shoppers’ attention, and create unforgettable brand experiences. At the forefront of this fascinating realm stands Dilsha Bhudia, Head of Visual Merchandising at Puig UK, a global leader in the beauty and fashion industry.

Puig, a name synonymous with luxury and innovation, has been crafting memorable fragrances, skincare products, and fashion brands for over a century. With a presence in more than 150 countries, the company has become an influential player in the global retail arena. 

As the Head of Visual Merchandising, Bhudia is responsible for curating the perfect balance between artistry and commerce. She orchestrates captivating displays that entice customers, heighten brand awareness, and ultimately drive sales. Her role extends beyond merely arranging products on shelves; it encompasses crafting narratives, harnessing emotions, and delivering brand messages through visual storytelling.

How would you describe your role?

I am the Head of Visual Merchandising for Puig UK, a subsidiary of the global company Puig. Our focus is on catering to the local market, specifically the UK and Ireland. Our global teams for visual merchandising develop concepts and ensure a consistent brand image, which we then adapt to the UK guidelines. The UK shopper presents a unique set of preferences and behaviours.

My team is responsible for both “permanent merchandising” and “temporary merchandising.” Permanent merchandising involves managing products, planograms (diagrams illustrating the placement of specific retail products on shelves), and the construction of boutiques. These could be in our own stores or pop-up concessions within larger retailers. On the other hand, temporary merchandising comes into play during new product launches. We update window schemes in our stores and ensure that fragrance bays feature the appropriate visuals. For instance, if there is a new launch in Selfridges, we collaborate on in-store campaigns tailored to that specific product.

Most stores are designed with the customer in mind and are consumer-centric. For example, if there has been a multimillion-pound media campaign advertised in magazines by the marketing team, it is crucial to maintain a cohesive image when customers enter the store. Even aspects like hygiene play a role in visual merchandising. It’s important to note that visual merchandising involves more than just product display; it encompasses various operational and functional considerations. While I may push my team hard, it is essential to recognise the practicality and functionality of our work.

Could you talk us through some of the logistical elements of putting a boutique together?

Yes, so imagine this scenario: a new boutique opportunity comes up, maybe negotiated by the commercial team. They approach us and say, “Hey, we’ve got this space available.” Then the global brand team, local brand teams, and marketing teams get together to decide if it’s the right store for us. So that approval process needs to happen first. Once approved, my team collaborates with everyone involved – store managers, commercial directors, marketing directors, marketing teams – to ensure the space is fit for purpose and represents our brand identity in the boutique.

We start by creating a brief. We consider customer flow, shopping behaviour, storage needs, hygiene requirements, and even the number of shelves we’ll need. We also check if the retailer has specific guidelines we should follow. There are so many parties involved, it can get tricky to manage all their requirements and preferences. But we gather all that information and send the concept brief to the global team. They’ve already created the overall concept and guidelines for the brand. We don’t start designing from scratch in this market; we build upon the global concept, thanks to those guidelines.

The global team then presents a proposal, and we provide feedback, internally and to the retailer. This back-and-forth process involves making amendments and addressing various considerations. Once we have the final concept, we work with manufacturers or suppliers to project manage and construct the boutique. We survey the space, ensuring that every element – lighting, flooring, and more – is carefully considered and built according to the right specifications.

Sometimes we face tight deadlines, and it’s a juggling act. We also take sustainability seriously now, so we think about where we source our materials. Are we using recycled materials, or do we need to import raw materials from China? It’s important to consider these factors, and they’re becoming increasingly significant. So yeah, designing boutiques involves a multitude of elements to think about. It’s not as simple as saying, “Hey, we’ve got a space, let’s design something.”

How did you develop those kinds of skills?

It was quite a learning experience for me in the beginning, like a baptism of fire. I started my career in fashion merchandise management, which focused more on the numerical side of merchandising rather than visual presentation. Being organised and enjoying project-oriented work, I found myself drawn to this field. Working with various brands, I quickly realised the importance of multitasking.

Fortunately, I was able to combine my organisational skills with creativity when I found a job that involved designing and conceptualising. I love taking a concept and adapting it to the UK market, exploring new ways to engage with consumers. Every time we launch a new product, I still feel a sense of excitement. It’s about finding fresh approaches and creating a memorable experience. After all, when someone encounters one of our brands for the first time, what impression do they walk away with? It’s about surprising and delighting them, leaving a lasting impact.

Could you talk us through a project you completed recently?

One project that stands out is the launch of six fragrances for Paco Rabanne, exclusively at Selfridges. We wanted to create a unique experience for customers in that space. So we came up with a creative way to combine the Puto technology with music. Customers would wear headphones playing different tracks or melodies associated with each fragrance or fragrance range. They would then proceed to smell each fragrance using the Puto technology.

The technology we employed is called Airparfum®, although I can’t delve into intricate details about it. Essentially, it allows you to immediately experience the true scent without any delay. This was essential because we were introducing six new fragrances, and we wanted customers to explore the entire collection without losing interest after trying a few.

To enhance the experience, we set up six distinct podiums, each showcasing one fragrance, in the fragrance section of Selfridges. Customers could sample the fragrances using the Airparfum® technology. Additionally, at the end of the experience, customers had the opportunity to get a personalised T-shirt using a customised device. It wasn’t exactly a laser gun, but it provided personalised designs. Customers could take the T-shirt with them when they purchased a fragrance. This added a special touch to their purchase and made it even more memorable.

For some of our other brands, we’ve developed interactive games on their websites. Customers can play these games and have the chance to win gifts, either before making a purchase or as part of their purchase journey. We refer to this as “retail-tainment” because customers thoroughly enjoy it. Personalisation is also a key aspect we focus on. We believe that everything should be about making the fragrance uniquely theirs. It could be as simple as having their name written on the fragrance bottle. And you won’t believe how impactful such personalisation can be. People cherish these customised items, and they often become gifts that people share with others. It’s all about putting the consumer first and offering them something truly special and meaningful to them.

So do you think of different ways to attract customers?

Sometimes, I find myself constantly excited about my work, sharing new discoveries with the team and being open to ideas from various sources. Inspiration can come from different places, whether it’s from the global brand team, local markets, or even observing competitors and other stores. I believe that inspiration can be found anywhere, and technology often serves as a great source of inspiration.

One recent example that comes to mind is an artist I came across on the internet who specialises in personalising fragrances using henna. She has gained considerable success, particularly with fragrances that appeal to the Middle Eastern customer base. It’s fascinating how she has brought together the beauty of henna and fragrances. She collaborates with various brands and has created a unique niche for herself. Discovering individuals like her in the market who are doing innovative things is truly inspiring.

So, to answer your question, I believe in finding inspiration from diverse sources and being open to new ideas that can enhance our work. It’s about recognising the creative potential in unexpected places and exploring how we can incorporate those ideas into our projects.

How do you find the mix of referencing culture and product?

For me, authenticity is the key word. It’s something I prioritise both personally and within my role. I never want to associate myself with anything that feels fake or inauthentic.

I’m pleased to see positive changes happening, such as makeup companies offering a wider range of foundation shades. In the past, it was challenging for me to find a foundation that matches my skin tone. Now, with the availability of about 30 shades, it brings me great joy. When it comes to representing diversity, it’s important to go beyond just featuring one East Asian model, one white model, and one black model in a campaign. It doesn’t feel authentic. Brands should work towards a more comprehensive representation that truly reflects the diversity of their customer base.

From my perspective, there is still significant work to be done by beauty brands in this regard. Personally, I believe in being clear and assertive when addressing these issues. If a brand lacks a wide range of products that cater to the diverse UK customer base, we push back and emphasise the importance of inclusivity.

I’ve noticed some positive steps being taken. For instance, I remember Mac launching an Indian goddess campaign for Diwali, which was a great initiative. There are so many opportunities to integrate products in unique ways, especially within the context of events like Indian or Asian weddings. Bright colours are often associated with darker skin tones, and it’s crucial to highlight and celebrate these connections. Creating focused content, for example, on a website, for events like Diwali, can bring greater visibility and allow people to explore and utilise products that cater specifically to those occasions.

Ultimately, it’s about recognizing the importance of authenticity, embracing diversity, and continuously striving for greater inclusivity in the beauty industry.

One of Puig’s brands is Paco Rabane, now rebranding as Rabane. What does that mean for the store fronts and visual merchandising?

When we talk about youth culture, it presents unique challenges for us, particularly with this makeup range, which caters to a specific generation. This range differs significantly from other makeup lines we offer. The younger generation wants a different shopping experience. They prefer to pick up the product, try it on themselves, and see how it looks. They want to experiment and share their looks with friends. They don’t always seek traditional consultations or extensive assistance. Of course, there will be customers who still desire that level of service, but we must consider how this generation prefers to shop.

So, how do we incorporate these elements? When designing our boutiques and spaces, we need to consider not only the products but also the overall experience. Are there opportunities for customers to charge their phones? What other activities or features can we provide? It may seem like a lot to think about, but it’s essential to create a space that aligns with their preferences and desires. Additionally, when launching new products, we ask ourselves the purpose behind the launch. Are we simply announcing a new product, or do we have a specific message we want to convey? Is there a hero product we want to showcase? These are the questions my team consistently discusses with the marketing team.

Moreover, maintaining a cohesive image is crucial. For example, Paco Rabanne is available in various retailers like Boots, Selfridges, and John Lewis. We work closely with these retailers to ensure that all visuals, logos, and concepts are updated and aligned with the new direction. It’s a collaborative effort between us and the retailers to create a consistent brand experience across all locations.

How do you go about measuring whether a boutique or store front you have created is a success? 

When we undertake big projects, gathering feedback is an essential part of the process. For instance, after opening a new boutique, we typically reach out to customers after a few months to address any initial concerns or challenges. It’s important to understand how customers navigate the space and identify any teething issues that may arise.

We actively seek feedback, not only for my department but for the entire company. Understanding the customer’s perspective helps us improve and refine our strategies. We want to ensure that our efforts are effective and positively received. For example, we may inquire about the level of footfall and whether there were any factors that deterred customers. This feedback is valuable in shaping our decisions and making necessary adjustments.

We also consider feedback on promotional offerings, such as free gifts. Are they enticing to customers? Is there a desire for personalisation? These insights help us gauge the effectiveness of our initiatives and identify areas for improvement. We even pay attention to details like the comfort of chairs within our spaces, as even minor elements can contribute to the overall customer experience.

Overall, gathering feedback allows us to continually learn, adapt, and deliver experiences that resonate with our customers. It’s an ongoing process that helps us enhance our strategies and ensure customer satisfaction.