An orange graphic with black and white text reads, “What is SEG and other FAQ. All about silicone edge graphics.” A hand pulls fabric with a silicone edge from a frame, showing how seg tension fabric displays work; a dog’s face is in the background.

SEG Fabric Displays – FAQ

by InformativeSEG

What is SEG and other FAQ

Silicone Edge Graphics (SEG) shows up in almost every retail, trade show, and event environment we work in. Most clients haven’t been told how the format actually works until they’re mid-project. These are the questions worth answering before that point

SEG lightbox peeled back SEG lightbox with taught fabric

Frequently asked questions

What does SEG stand for in SEG fabric displays?

SEG stands for Silicone Edge Graphics. The display is a printed fabric panel with a thin silicone strip sewn along its edges. The strip presses into a matching groove in an aluminum frame, holding the fabric taut and edge to edge with no visible hardware.

What are the advantages of SEG over rigid signage or vinyl banners?

Three things separate SEG from rigid signage and vinyl banners: the finish, the workflow, and the lifecycle. The silicone edge gives a flush, frameless look with no visible seams or hardware. Aluminum frames are lightweight enough for one-person assembly and dismantle. Graphics can be swapped without replacing the frame, which makes SEG more cost-effective across multiple campaigns or store rollouts.

Are SEG fabric displays reusable?

Yes. The aluminum frame is the long-lived component, designed for repeated assembly cycles. The fabric graphic is washable and replaceable, so when the campaign changes the frame stays and only the graphic gets reprinted. This is the main reason SEG works well for retailers running seasonal or rotating displays.

Can SEG fabric displays be customized in size and shape?

Yes. SEG can be built wall-mounted, freestanding, suspended, curved, angled, or backlit, in custom sizes. The fabric flexes around shaped frames, which makes SEG one of the more adaptable display formats for non-rectangular or oversized environments.

How are SEG fabric displays installed?

The aluminum frame has a continuous channel running along its inside edge. To install, press the silicone strip on the fabric into that channel, working around the perimeter. The fabric pulls taut as it seats. No tools, no fasteners, no exposed hardware. Removing it is the same process in reverse.

Are SEG fabric displays suitable for outdoor use?

Standard SEG is designed for indoor use. Outdoor-rated SEG exists and uses different fabric, ink, and frame materials engineered for UV, moisture, and wind exposure. If the install is outdoor, this needs to be specified at the design phase, not adapted afterward.

What kind of printing technology is used for SEG fabric displays?

Dye-sublimation. The ink is heat-transferred into the fabric fibres rather than sitting on top of the surface, which is why SEG graphics resist fading and do not crack or peel with handling. The trade-off is that colour matching is slightly different from standard offset or inkjet printing, so brand colours should be approved on a fabric proof rather than a paper proof.

How portable are SEG fabric displays?

Very. Aluminum frame components are lightweight, and SEG fabric folds without permanently creasing, so a frame and its graphic typically ship in a soft case or compact crate. Most SEG displays are set up by one or two people without specialized tools.

Can SEG fabric displays be illuminated?

Yes. Backlit SEG uses an LED-edge or LED-array lightbox frame in place of a standard SEG frame. Light passes evenly through the fabric, creating a glowing display with no visible bulbs or hot spots. This is the format used in retail, transit, and trade show environments where the display needs to read at distance or in low light.

Do LED lights in SEG fabric displays consume a lot of electricity?

No. LEDs draw substantially less power than fluorescent or incandescent lighting at equivalent brightness output. Exact wattage depends on the size of the box and the LED array configuration, but for retailers running illuminated displays many hours per day, a backlit SEG lightbox is generally one of the lower-power options available among illuminated display formats.

When should I choose SEG over rigid signage?

When the message changes more than once a year, when the install needs to ship and reinstall multiple times, or when the environment calls for a frameless, oversized, or backlit look. Rigid signage still wins on permanent installations where the graphic never changes and weight is not a concern.

How long do SEG fabric displays last?

The aluminum frame is built for years of repeated use. The fabric graphic itself depends on handling, washing frequency, and lighting conditions, but a properly stored SEG graphic typically lasts through multiple campaign cycles before colour or surface degradation becomes visible.

Are SEG fabric displays suitable for different industries or events?

Yes. SEG is used across retail stores, pop-ups, and mall installations, trade shows and exhibitions, corporate environments, museums, conferences, and event spaces. The format works in any environment where a clean, frameless graphic surface is needed and the install conditions are predictable. The fabric weight, frame depth, and lighting configuration may change between use cases, but the underlying SEG system is the same.

Do you still have questions? We’d be happy to answer them. Email us at info@shomi.ca for more information.

Tradeshow Design(1)

Acquiring and Using Sustainable Materials in Trade Show Design

by SustainabilityTrade Show

Most trade show builds aren’t built to last. Single-use materials, oversized crates, energy-hungry setups, and a dumpster waiting in the parking lot when it’s all done. It’s the industry default, and it’s getting harder to defend with a straight face.

The good news: sustainable trade show design has caught up. The materials look as good as the conventional ones, install as cleanly, and ship lighter. Here’s how to source and use them without compromising on what the booth actually needs to do.

What “sustainable material” actually means

Sustainable materials are renewable, recyclable, biodegradable, or made from recycled content. When you’re evaluating options for a trade show build, the useful questions are:

  • Recyclability and reusability. Can this material live another life after the event, or is it heading straight to landfill?
  • Biodegradability. If it does end up in waste, does it decompose, or is it still around when your grandkids are explaining what trade shows were?
  • Sustainable sourcing. Where did it come from, and can the supplier prove it?
  • Energy efficiency. What’s the embodied energy in production, and what’s the energy load during the booth’s run?

Sourcing the right materials

Sourcing sustainably isn’t about slapping an “eco” sticker on whatever you were going to use anyway and calling it a day. Three things to look for.

1. Work with vendors who can back up the claim

Some vendors are genuinely sustainable. Others have a marketing department and a green colour palette. The difference shows up in their certifications. Look for:

  • FSC (Forest Stewardship Council) for wood and paper products from responsibly managed forests.
  • Cradle to Cradle for materials designed to be reclaimed and reused at end-of-life.
  • GREENGUARD for low chemical emissions, especially relevant for indoor environments.

2. Recycled and upcycled materials

Recycled aluminum, reclaimed wood, and upcycled fabrics deliver the same finish as new materials with a fraction of the environmental cost. For booth fixtures and structural elements, recycled aluminum extrusions are the workhorse: strong, light, and infinitely recyclable, which is more than you can say for most things on a trade show floor.

3. Modular and lightweight systems

Modular displays built from aluminum frame systems and tensioned fabric (SEG) pack down efficiently, ship light, and reconfigure for different shows. Lower shipping emissions, lower freight bills, less waste at end-of-program. FABRiK Frames are a useful example: the aluminum frames are reusable across years, and the fabric graphics swap out cleanly when the messaging changes.

Designing for longevity, not just one show

A booth designed for a single use is the most expensive booth you can build, environmentally and financially. The smarter approach is to design for reconfiguration from the start.

1. Build for multiple activations

Modular systems that scale up and down, swap out graphics, and reconfigure for different footprints earn back their investment across two or three shows. Aluminum extrusion plus tensioned fabric is the most flexible system for this, and it’s why the same backwall can quietly do five years of duty under three different campaign skins.

2. Use energy-efficient lighting

LED lighting has become the default for backlit displays and accent lighting, and for good reason: dramatically lower energy use than fluorescents or halogens, longer lifespan, less heat. Most iMPAKT lightboxes use LED strips that draw a fraction of the power of older lit displays. The booth doesn’t double as a space heater, which event planners and HVAC systems both appreciate.

3. Reduce waste with smart logistics

  • Stackable, compact designs. Fewer trucks, less fuel, less freight cost.
  • Return and reuse programs. Components that get a second life instead of a dumpster.
  • Local sourcing where possible. Shorter supply chains, lower shipping emissions, easier reorders.

4. Talk about it

If you’ve made sustainable choices, tell the visitors who care. A small panel on the booth, a QR code linking to a sourcing breakdown, or a line in the booth signage costs almost nothing and adds real credibility for the audience that’s looking for it. Just resist the urge to put “eco-friendly” on a vinyl banner.

The business case, briefly

Sustainable trade show design isn’t just good for the planet. It’s good for the build budget over time, it shortens freight bills, it future-proofs the program against tightening regulations, and it gives the brand something honest to talk about on the booth floor.

At shōmi!, we’d rather build a display once and use it for three years than build it three times in a row. If you’re planning a trade show program and want to think through what a longer-life, lower-waste build could look like, we’re happy to take a look.

Blog header titled "The Evolution of Retail Displays"

A Brief History of Retail Displays

by InformativeRetail Displays

The Evolution of Retail Displays: ​

From Hand-Painted Boards to Digital Visual Displays​

Retail signage didn’t start with digital screens. It started with painted symbols on Roman walls, ivy bushes nailed above tavern doors, and elaborate hand-painted boards that doubled as small works of art. The technology has changed dramatically over the last two thousand years. The job hasn’t: get people to stop, look, and walk in.

Here’s how retail displays got from there to here, and where they’re heading next.

Pre-19th century: hand-painted boards and the original visual language

The earliest retail signage goes back to ancient civilisations. Egyptians, Greeks, and Romans used painted symbols and terracotta plaques to advertise shops and services, and the Romans in particular were prolific about it. Taverns hung ivy bushes above their doors to signal wine. Bakeries used loaves. The whole vocabulary of “we sell the thing this picture shows” was already in place.

By the Middle Ages, hand-painted signs had become the standard in European trade districts. Most people couldn’t read, so the signs relied on imagery, and innkeepers in particular got creative: signs were elaborate, often humorous, and frequently the first impression a traveller had of a business. The craft of sign-painting required real skill, and good signs were considered a serious commercial asset.

Worth noting: the basic logic hasn’t changed. “Symbol that communicates what we sell, visible from the street, designed to interrupt the passing eye” is the same brief today. The materials are just different.

19th century: the printing press and the rise of consistency

Printing technology transformed retail signage by making it reproducible. The first known printed advertising poster came earlier than most people guess: William Caxton printed an advertisement for the Ordinale ad Usum Sarum, a priest’s handbook, in 1477. But mass adoption took another few centuries, and the real shift came in the 19th century when lithography arrived and made colour printing practical at scale.

For the first time, businesses could produce signs that looked identical across multiple locations. Brand consistency, which today is treated as a baseline expectation, was a new and powerful idea. Small businesses could now afford professional-looking signs that competed visually with bigger players, and storefronts started to look more designed and less improvised.

1920s to 1960s: the neon era

If the printing press standardised signage, neon made it impossible to ignore. The first neon sign in the United States was installed in 1923 in Los Angeles, advertising a Packard dealership. It cost $24,000, the equivalent of several hundred thousand dollars today, which is a remarkable amount of money to spend on a sign and also entirely explains why the technology spread the way it did.

Through the middle decades of the 20th century, neon defined the visual identity of urban retail. Bent glass tubes filled with different gases produced colours and shapes that nothing else could match, and entire districts (Times Square, the Las Vegas Strip, downtown Tokyo) became globally recognisable largely because of their neon. The signs weren’t just advertising. They became the architecture.

2000s to present: digital displays and interactive signage

The digital revolution changed two things about retail signage at the same time: what the sign could show, and how often it could change. LED displays, digital billboards, and interactive kiosks meant a single piece of hardware could run an unlimited number of campaigns, update in real time, and respond to the person standing in front of it.

That flexibility opened up possibilities that earlier formats couldn’t approach: dynamic pricing displays, time-of-day-specific promotions, interactive product browsers, personalised content driven by customer data. The trade-off is that digital signage requires ongoing management in a way a painted sign never did. A neon sign from 1955 still works if you replace the gas tubes. A digital display from 2015 may already be running on hardware nobody supports.

 

2010s to present: the pop-up era

Around the early 2010s, pop-up shops became a serious retail strategy rather than a novelty. Brands realised that temporary retail spaces could create exactly the kind of urgency, exclusivity, and experiential design that permanent stores struggle to maintain. The first pop-up retail concepts go back further (the agency Vacant set up temporary spaces in 1999, and the general idea is older still), but the 2010s is when the format went mainstream.

A well-designed pop-up does several things at once: launches a product, generates social media content, gives existing customers a reason to show up, and reaches new audiences in foot-traffic locations the brand wouldn’t normally operate in. Done badly, it’s a folding table with a vinyl banner. Done well, it’s the kind of installation that ends up on design blogs for months.

Where retail displays are heading

The next decade of retail signage looks like it’s being shaped by three forces.

AR, VR, and AI. Augmented and virtual reality let customers visualise products in their own homes before buying, and AI personalises both digital content and physical experiences based on customer behaviour. The use cases that have actually stuck (virtual try-on for cosmetics and eyewear, AR product visualisation for furniture) suggest the technology works best when it solves a specific problem, not when it’s a marketing layer.

Sustainability. Retail signage is moving toward materials that have a future after the campaign ends: biodegradable substrates, recycled aluminum, FSC-certified wood, energy-efficient LED lighting that uses up to 75% less power than older alternatives. Both for environmental reasons and because brands are increasingly being asked to account for what they throw away.

Physical and digital working together. The most interesting current builds aren’t choosing between physical and digital signage. They’re using each for what it does best: physical for atmosphere, scale, and brand expression you can stand inside; digital for responsiveness, personalisation, and content that changes with the audience.

The through-line

Two thousand years of retail signage history boil down to a fairly simple observation: the technology changes, but the question doesn’t. How do you make a passerby stop, look, and decide to come in? Roman shopkeepers, medieval innkeepers, lithographers, neon benders, and digital designers have all been answering the same question with the tools of their century. The next era will look different from this one, the way every era has looked different from the one before it. The question will be the same.

photo of mom holding up child to see colourful displays

What is Retailtainment?

by ImmersiveInformativeRetail Trends

“Retailtainment” is one of those marketing words that sounds invented because it is. But the concept it describes is real and getting more important. It’s what happens when a retail space stops being just a place to buy things and starts being a place worth visiting for its own sake.

The brands doing this well aren’t selling harder. They’re inviting customers into something that’s interesting on its own terms, and letting the buying happen as part of the experience rather than the point of it.

What retailtainment actually is

The short definition: retailtainment is retail designed to be experienced, not just transacted. In-store events, interactive installations, immersive environments, workshops, performances, themed spaces, anything that gives a customer a reason to enter the store that isn’t strictly “I need to buy something today.”

The longer answer is that retailtainment is a response to a problem: ecommerce is faster, cheaper, and more convenient than physical retail for most transactions. Physical stores can’t win on convenience, so they have to win on something else. Experience is the most reliable answer the industry has found.

Four brands doing it well

Arcadia Earth: art, technology, and a point of view

Arcadia Earth is an immersive exhibit that blends art and technology to show the planet’s beauty and the impact of human action on it. Visitors don’t just walk through. They participate, and the experience is designed to leave them thinking about sustainability long after they’ve left the building.

What makes it work as retailtainment isn’t just the spectacle. It’s that the experience has a point of view, and the point of view is connected to the brand. Visitors leave with a feeling, not just photos.

shōmi! helped bring the exhibit to life, and the project remains one of the clearest examples we’ve worked on of what immersive retail can do when it’s designed with intent.

LEGO House: turning the product into the destination

LEGO House in Billund, Denmark is a 12,000-square-metre building dedicated to letting people play with LEGO. Themed zones, interactive installations, opportunities to build at scale, and a level of design ambition that treats the product as a creative medium rather than a toy aisle.

The lesson: when the product is genuinely good, the retailtainment can be an honest celebration of it. LEGO House doesn’t try to convince you LEGO is fun. It gives you several hours to discover that for yourself.

Glossier: the store as the brand

Glossier’s flagship stores are designed to be photographed. Pink-saturated interiors, interactive installations, themed rooms that change between locations. The retail experience is a piece of the brand identity, not a service layer underneath it.

This is also where retailtainment shades into social media strategy. A Glossier store is a place customers want to post from, which means every visit produces content the brand didn’t have to make. The marketing budget effectively rebates itself.

REI: the brand lifestyle, not just the brand product

REI’s outdoor experiences include guided hikes, outdoor skills classes, and workshops. The retailtainment isn’t inside the store. It’s the broader idea that REI is the entry point to an outdoor lifestyle, not just a place that sells outdoor gear.

The lesson: retailtainment doesn’t always have to happen inside four walls. Sometimes the experience is what surrounds the product, and the store is one stop in a larger ecosystem the brand offers.

What these examples have in common

Four very different brands, four different formats, but a few principles repeat:

  • The experience has a point of view. It’s not entertainment for its own sake. It’s entertainment connected to what the brand actually believes or stands for.
  • The customer is a participant, not an audience. Passive viewing doesn’t stick. Interaction does.
  • The experience generates content. Customers post about it, talk about it, send friends to it. The brand gets reach it didn’t pay for.
  • The experience earns the visit. A customer doesn’t have to buy anything to leave satisfied, which makes them more likely to come back, and more likely to buy when they do.

Getting started

Retailtainment doesn’t require a $20 million immersive exhibit. A small pop-up, a thoughtfully designed in-store event, a workshop series, an interactive display that does something more than show product photos: all of these are entry points. The question is less “how much can we spend?” and more “what would actually be worth visiting?”

At shōmi!, we work with brands and agencies on immersive retail builds of every scale, from large permanent installations like Arcadia Earth down to single-event pop-ups. If you’re thinking about how to turn a retail space into a place worth visiting, we’re happy to talk through what that could look like.

A large printed fabric wall display featuring the words The Power of SEG Fabric Walls in bold text stands out in a modern exhibition space, where people interact and explore the impressive fabric walls nearby.

Transforming Spaces: The Power of SEG Fabric Walls

by InformativeSEG

SEG fabric walls have quietly become one of the most-used display systems in retail, trade shows, and corporate environments, and most of the people standing in front of them have no idea what they’re looking at. They just notice the graphic is huge, the edges are perfectly clean, and there’s no visible frame.

Here’s what the system actually is, why it’s become the default for large-format display work, and where it earns its place.

What SEG actually is

SEG stands for Silicone Edge Graphics. The system is straightforward once you’ve seen it once: a printed fabric graphic has a thin silicone bead sewn into its perimeter, and that bead pushes into a channel that runs around the inside of an aluminum frame. When the fabric tensions into the channel, it pulls completely flat and disappears the edge. No visible frame edge, no wrinkles, no exposed hardware. Just a clean, taut, frameless-looking graphic.

The aluminum frame stays. The fabric graphic swaps out. That single fact is most of why the system has taken over the industry.

Why it’s become the default for large-format display

Graphics swap, frame stays

A traditional rigid printed panel is a one-time-use object. When the campaign changes, the panel gets replaced and the old one heads to a dumpster. With SEG, the frame stays in place across years and campaigns. You ship a folded piece of fabric instead of a 4-by-8-foot rigid panel. The freight savings alone justify the system on most repeat-campaign builds, and the environmental case is a real one.

The visual quality is hard to beat

The dye-sublimated print on a properly tensioned fabric reads as a single continuous surface. In most cases, large-format fabric can be printed in one piece at sizes that would require seaming multiple rigid panels together, which means no visible joins breaking up the graphic. Compared to a rigid panel with visible edges and seams, or a vinyl banner with corner grommets, an SEG wall reads as more deliberate, more designed, and more premium. It’s the closest a large-format display gets to looking like it was always part of the architecture.

It scales

SEG works at almost any size: a 2-foot accent panel, a 30-foot trade show backwall, a curved feature wall in a retail space, a suspended fabric structure over a corporate lobby. The aluminum frame system is modular, which means a single graphic library can be assembled in different configurations as a space or campaign demands.

Installation is faster than the system has any right to be

This is the part most people don’t believe until they’ve watched it happen. A correctly designed SEG wall goes up in a fraction of the time a rigid panel installation takes. The frame snaps together, the fabric pushes in around the perimeter, and the wall is finished. When we helped Canadian Tire transform a hotel conference room into a fully branded space for their 100th anniversary, the entire build happened overnight. Try that with rigid panels.

Where SEG earns its place

The systems are versatile, but they shine brightest in a few specific applications:

  • Trade show backwalls and exhibits. Light to ship, fast to install, dramatic at scale, and the graphic refreshes each show without rebuilding the frame.
  • Immersive retail environments. Curved walls, themed spaces, and full-room takeovers that require the graphic to read seamlessly across large surfaces. Arcadia Earth is one example we worked on: large-scale fabric installations were a core part of the immersive build.
  • Backlit displays. SEG fabric over an internal LED array produces a frameless lightbox with even illumination across the full surface. Useful anywhere ambient light is low, or where the display needs to compete visually with brighter surroundings like windows, screens, or other backlit signage.
  • Corporate lobbies and office environments. Branded fabric panels create a permanent-looking architectural feature that can still be updated when the brand evolves.
  • Pop-ups and short-run activations. A pop-up that needs to look brand-new in a different city next month is exactly the case SEG was designed for.

A few honest caveats

SEG isn’t always the right call. The frame system has a real upfront cost, which doesn’t pay back on a one-time build that’s never being reused. Very small graphics (under a couple of feet) often look better in rigid materials. Outdoor installations need specific fabric and frame specs, since standard indoor SEG isn’t built for wind and weather.

Fabric choice also matters more than most people realize. Backlit, dye-sublimated stretch and non-stretch, black-back fabric for blocking light bleed-through, UV-printed non-stretch: each has a use case, and using the wrong one for the application is a common source of disappointing results. Stretch fabric on a tight curve, non-stretch on a flat panel, backlit on anything that needs to be lit from behind: the match-ups aren’t interchangeable.

The general rule: SEG is the right call when the graphic is going to change, when the install needs to be clean and fast, when scale matters, or when the space has design ambitions beyond a printed sign. It’s not the right call when none of those are true.

How shōmi! works with SEG

SEG is the underlying technology behind several of our product lines. FABRiK Frames are the unlit version: wall-mounted, suspended, free-standing, and custom configurations for retail, trade shows, corporate, and experiential builds. iMPAKT Lightboxes are the backlit version, using the same SEG fabric system over an internal LED light array for displays that need to read in low light or compete with bright surrounding environments. iMPAKT in-motion takes the lightbox further with programmable LED sequencing, so the graphic itself can animate and shift while the fabric stays static.

We work across the full fabric range (dye-sublimated stretch and non-stretch, backlit, non-lit black-back, UV-printed non-stretch), so the fabric gets matched to what the build actually needs, rather than what’s easiest to source.

If you’re considering SEG for an upcoming project and want a second opinion on whether the system fits, or how to spec it for what you’re trying to do, we’re happy to take a look.