American Lifestyle Magazine - Issue 84

and notebooks and home pieces. We
don’t only work on the artsy, fun, organic
installations. There are a lot of displays that
hold product, and they have to be functional
as well.
There must have been a
steep learning curve—going
from graphic design to
physically building and using
tools like that. Do you think
Anthropologie looks for people
with building skills as well as
design skills?
I knew I had the craftsmanship and the
attention to detail from working as a
graphic designer—I was meticulous in
that way. Understanding geometry, specs,
and measurements is key as well. In my
experience, I’ve heard all different stories
from previous display coordinators. Some
of them have been illustrators with no
building experience from the beginning,
and some have been strong builders, so it’s
a wide variety. When I was getting more
information about the position, I was told
that graphic designers are desirable because
of their craftsmanship.
How often do you have to
change the displays at the store,
and what does the process for
setting up the new displays look
like? Do you work with a team?
Spring and fall are our largest seasons,
and summer and the holidays are when
we usually take the existing displays and
transform them slightly to fit the season.
The visual team chips in occasionally, but I
own the projects and do most of the work.
I’m usually the one with a crazy bun and
paint splatters on my jeans. I’m scurrying
around, not always as composed as the
associates. I work from six in the morning to
three in the afternoon to take advantage of
an empty store in the early hours.
Do you feel like all of your team
members have different traits to
help balance out your work?
Totally. I’m detailed and focused on the little
details, and they often see the bigger picture
and can discern what’s more important.
Then we all throw our funky ideas into the
pot, too, so it’s fun.
Who would you say is the
biggest influence on your work
right now?
Sheila Hicks. She does these amazing woven
pieces of art. I love when art is a simple
material but the material really speaks
to the final product—like you look at your
rope, and then you’re weaving it, and then it
makes a meaningful statement.
What is your favorite display that
you’ve ever worked on? Why
does that particular piece stand
out to you?
One fall, we made some beautiful flowers,
which is kind of cliché. But they were desert
flowers—red clover, thistle, and dandelions—
and they were made from twist ties, straws,
cupcake liners, and little tags. Everything
was dyed or transformed slightly and then
bundled together in large masses and totally
transformed. From far away, they looked like
these great flowers in muted purples and
dusty pinks, greens, and tans—really pretty
desert colors. But when you moved closer,
you realized, “Oh, it’s made out of twist ties
that have all been dyed or coffee filters that
have been torn.” So that was a lot of fun. I
was really satisfied with how it turned out,
and it was right at the front of the store,
so when you walked in, there were forty
different big blossoms—four feet high in
some cases.
BUT WHEN YOU MOVED CLOSER, YOU REALIZED, “OH, IT’S
MADE OUT OF TWIST TIES THAT HAVE ALL BEEN DYED OR
COFFEE FILTERS THAT HAVE BEEN TORN.”
Is it difficult for you to see a
project that you’ve put so much
time and creative energy into
get taken down at the end of
the season?
It can be cathartic to dismantle them
because they often go to new homes for
others to enjoy. A lot of times we donate the
displays to nonprofits, like schools, to put
up in their library or auditorium or art room.
Sometimes it is sad, though, and I think of all
the hard work I put into it, but I’m ready to
move on to the next challenge.
How do you overcome
creative blocks?
When I put all that time and effort in, I want
it to look really good, and that perfectionist
tendency can slow me down. I’ve learned to
pick my battles; I know when to dig in my
heels and figure it out, and when I need to
figure out a different solution. With creative
blocks, it can help to relax and be open to
a different approach. I’ve got a great team
that I can bounce ideas off of, and they come
up with awesome ideas, so it’s really a lot
of fun.
© Bonnie Raudabaugh
If you weren’t following this
passion or weren’t working as a
display coordinator, what do you
think you would be doing with
your time?
I do miss being a graphic designer, especially
because I had reached a certain level of
competency. It’s empowering to feel like
an expert at something—like you’re really
flexing your muscles. I dream about trying
my hand at CAD design. It’s the opposite of
what I’m doing. It’s getting on the computer
and making 3-D objects come to life. There’s
something about the technical challenge that
makes me wonder, “Could I be good at that?”
For more info, visit audreyraudabaugh.com
8 | AMERICAN LIFESTYLE MAGAZINE americanlifestylemag.com | 9