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A shopper picks up a foundation tester, turns her hand under the light, and decides in roughly four seconds. If the shade reads grey or muddy, she puts it down — and the formula never had a chance. In beauty fit-outs that underperform, the usual culprit is not the product but the case: a green-tinted glass front, a 3000K lamp, or a shelf that drops the tester into the customer's own shadow. The practical conclusion: a cosmetic display case is a lighting instrument inside a storage box. Fix the glass and the light first, then design the drawers, the plinth and the brand panel around them. Reverse that order and you end up re-merchandising a beautiful cabinet that makes every lipstick look slightly brown. What follows is how those decisions work on a real project — the specifications that change the result, the case types different store formats need, and the details that only surface as problems after installation. What a Cosmetic Display Case Actually Has to Do Beauty cases are judged on three things, in this order: colour truth, product protection and brand presence. Colour truth comes first because cosmetics are bought on shade match. Unlike a jewellery showcase, where a customer looks through glass at a finished piece, a cosmetic case invites handling: caps come off, testers are swatched, product goes back on the shelf. The case has to make the product accessible without putting it in shadow. Product protection is where cosmetics diverge sharply from other retail categories. Creams separate, lipsticks sweat, pencils dry out, and a display sitting under a hot puck light for eight hours a day will show it within a month. Stock rotation matters too: testers can sit in light for weeks, while sealed reserve stock belongs in a closed drawer away from the lamps. Brand presence is the last job but the one most often over-weighted. A display case is usually the only piece of furniture the customer physically touches, so finish quality — an even edge band, a smooth lacquer, a door that closes quietly — reads as product quality whether or not the shopper makes that connection consciously. Glass, Lighting and Heat: The Specs That Change the Result Glass: what "clear" actually means Standard float glass carries a faint green edge, and against a white or pale-pink fixture that tint is visible: white becomes ivory, blush becomes beige. Low-iron (extra-clear) glass costs more and solves it. On a colour-critical counter, specify low-iron for the front and top panels at minimum; side panels can usually stay standard. Safety follows the span. Tempered glass is the default for shelves and sliding doors; laminated glass is the better choice for large window fronts where a break must stay in the frame. A 6 mm shelf suits a 300–400 mm cosmetic span carrying normal stock, but a 500 mm shelf loaded with tester bottles should go to 8 mm or gain a centre support. Edge polish matters as much as thickness — a raw cut edge chips, and a chipped edge on white lacquer is impossible to hide. Lighting: CRI, colour temperature and glare Three numbers do most of the work. Colour rendering index should be 90 or above, with R9 above 50 when the range includes reds and berries, because a low R9 flattens exactly the shades that sell lipstick. A colour temperature of 3500–4000K keeps whites neutral without the blue cast of 5000K or the yellow of 3000K. Accent level should sit at roughly three times ambient so the product separates from the background without firing glare into a customer's eyes. Typical accent-lighting targets in beauty retail (lux) Ambient aisle300 Wall bay display750–1000 Counter testers1000–1500 Window feature1500–2000 Indicative ranges drawn from common retail lighting practice, where display illumination is set at roughly three times the ambient level. Final values should follow the brand's own lighting manual. Beam angle and placement decide whether the specification survives contact with the shelf. Narrow 15–24 degree beams create the pool of light that makes a bottle glow; wide floods wash out texture and flatten cap details. Keep the lamp behind a diffuser and out of the sight line, and never aim a downlight so it lands on a customer's face when she leans in to test. Heat: the quiet failure LED is now standard, but the driver still generates heat. Mount drivers outside the product compartment and ventilate the top rail. Where fragrance or cream testers sit under continuous light, run a 24-hour temperature check under summer conditions; sustained interior temperatures above about 30°C soften bullet lipsticks and shorten shelf life. CM-H102 Tall Glass Cosmetic Display CabinetTall toughened-glass cosmetic cabinet with metal frame and built-in LED for high-capacity vertical display; review driver ventilation where heat-sensitive testers sit under continuous light.View Product → Matching the Case Type to the Store Format Most beauty fit-outs combine three or four case types, and each one carries a different job. The table below is the short version we use in project kick-offs, ordered by function rather than by size. Case types compared by function; footprints are indicative and must be confirmed against the store drawing and the mall's service access. Case type Best for Typical footprint Lighting note Watch out for Counter-top tester unit Foundation, lipstick and eye testers at the service point 600–900 mm wide Low-voltage strip under the top rail Drawers too shallow to hold tester bottles upright Wall bay with back panel Brand wall, full shade range display 1200–2400 mm run Adjustable shelf lights, 15–24° beams Back-panel joints showing under grazing light Freestanding island Aisle interruption and new-launch focus 800–1200 mm square Four-sided illumination, low glare Cable route through the floor finish Window or feature case Seasonal campaigns and hero products 900–1500 mm wide Highest output, heat actively managed Using it as stock storage Shop-in-shop / cash wrap Closing the sale, gift sets, loyalty display 1500 mm and above Even, low-glare ambient Drawer locks and key control The most common layout error is treating the window case as a storage unit. Window cases carry the highest light load and the worst heat build-up; they should hold display-only product with reserve stock stored behind, never inside. CM-S102 Cosmetic Sales Display ShowcaseCommercial sales showcase for malls, boutiques and cosmetic counters, designed to draw attention and support brand presentation, with customizable materials, shapes, colors and sizes.View Product → Materials, Cleaning and the Hygiene Test Beauty is a hygiene category, and cleaning regimes destroy finishes that look fine on a sample board. Alcohol-based sanitisers, acetone spills and daily glass cleaner attack lacquer and low-grade laminates within months, while powder-coated steel and solid-surface tops survive them. Specify sealed joints rather than butt joints wherever testers are handled, and moisture-resistant board with PVC or ABS edge banding anywhere a cloth will be wrung out. For freestanding islands in high-traffic malls, a stainless plinth protects the bottom 100 mm from trolleys and vacuum heads. Anatomy of a cosmetic display case LED strip, CRI 90+, diffused, 4000K 8 mm low-iron glass shelf Adjustable feet and scribed plinth Structure shown without the front glazing so the internal layout stays readable. Material emissions matter more than buyers expect, because enclosed cases with warm lamps concentrate whatever the board gives off. Low-emission boards and water-based adhesives are worth specifying by name, particularly for fragrance bars where the case is effectively a sealed box. CM-S101 Stainless Steel Cosmetic Sales CabinetStainless-steel sales cabinet with a smooth, easy-clean surface and durable construction, suited to hygienic cosmetic display and customizable for project requirements.View Product → Custom or Standard: Cost, Lead Time and Risk Standard cases ship in days; custom cases ship in weeks, and the gap sits mostly in drawings and approvals rather than fabrication. A custom cosmetic display case runs through design, material sourcing, fabrication, finishing, assembly and packing, with the buyer's approval cycle stacked on top of all of it. Indicative working days for a custom cosmetic display case 7 Design 10 Sourcing 15 Fabrication 7 Finishing 5 Assembly 3 Packing Indicative only. Approval cycles, glass lead times and finishing choice dominate the real schedule far more than fabrication hours. Two risks are worth planning for. First, tolerance: on a custom case a 2 mm reveal is a design decision, not an accident, and it has to be drawn rather than improvised on site. Glass-to-frame gaps, door swing and drawer pull clearance should all be confirmed before cutting starts. Second, site conditions: mall floors are rarely level, so adjustable feet or a scribed plinth are not optional extras. Lighting cables need a route to a socket that does not sit behind a fixed back panel. More detail on how bespoke drawings are handled sits in our custom display cabinet process. A Pre-Purchase Checklist Before approving a quote, work through this list. Every item is cheap to change on paper and expensive to change on site. Glass type stated per panel, with low-iron on colour-critical faces. CRI, R9, colour temperature and beam angle written into the lighting spec. Driver location and ventilation path confirmed on the drawing. Lockable stock storage sized to actual SKU counts, not to the sketch. Testers reachable without opening a locked door. Adjustable feet and a scribed plinth allowed for in the price. Cable route and socket position agreed with the electrical contractor. The cleaning chemicals the client actually uses tested on a finish sample. Freight dimensions checked against the mall's service lift and door widths. Where Suntop Fits Zhejiang Suntop Commercial Display Products Co., Ltd. was founded in 2009. Currently, the company's factory covers an area of 25 acres, with a building area of 25,000 square metres, and annual production capacity reaches 300 projects. Main customer types include jewellery, cosmetics, watches and museums. The company adheres to a highly specialised spirit and strives for excellence in the creation of every display space cabinet, aiming to reflect each client's brand concept and value through high-quality display spaces. After 16 years of deep cultivation in the display props industry, Suntop has won provincial high-tech enterprise and credit enterprise awards and holds a number of relevant industry technology patents, providing a guarantee for product quality. On a cosmetics project that means the chain stays in one place: layout drawings, case fabrication in glass, stainless steel, solid wood and lacquer, and the lighting specification agreed before a panel is cut. Recent beauty and counter work is collected in our cosmetics display case projects. Frequently Asked Questions Q1. How is a cosmetic display case different from a jewellery showcase? Cosmetics are opened, swatched and put back. That single fact drives open tester access, sealed stock drawers, easy-clean surfaces and lighting with a higher R9 so reds and berries stay accurate. Q2. Which glass shows foundation shades most accurately? Low-iron extra-clear glass on the front and top panels. Standard float glass has a green edge tint that pushes pale shades toward ivory or beige. Q3. What CRI and colour temperature should I specify? CRI 90 or above with R9 over 50, at 3500–4000K, with accent light around three times the ambient level and beams of 15–24 degrees. Q4. How long does a custom cosmetic display case take? Typically four to six weeks from approved drawings, plus shipping. Approval rounds and glass lead times usually move the date more than fabrication does. Q5. Can one case hold testers and sellable stock together? Yes, if the stock sits in a lockable drawer below the display level and out of the light. Reserve stock should never live in a lit window case. Q6. How do I stop lipsticks and creams from softening in the case? Use LED only, keep drivers outside the product compartment, ventilate the top rail and check that interior temperatures stay under about 30°C in summer. .article-section{background:#ffffff;border:1px solid #e6ecf2;border-radius:10px;padding:20px 22px;margin:0 0 16px;box-sizing:border-box;} .article-section table{display: table!important;} .article-section thead{display: table-header-group!important;} .article-section tbody{display: table-row-group!important;} .article-section tr{display: table-row!important;} .article-section th{display: table-cell!important;} .article-section td{display: table-cell!important;} .article-section table{border-collapse:collapse;width:100%;} .article-section caption{caption-side:bottom;font-size:16px;margin-bottom:12px;font-style:italic;color:#808080;} .article-section th{font-weight:bold;border:1px solid #cccccc;padding:8px;} .article-section td{border:1px solid #cccccc;padding:8px;} .article-section ol{margin-bottom:12px;list-style-type:decimal;list-style-position:inside;padding-left:0;} .article-section ul{margin-bottom:12px;list-style-type:disc;list-style-position:inside;} .article-section li{list-style:inherit;font-size:16px;margin-bottom:6px;} .article-section h2{font-size:22px;font-weight:bold;text-align:left;margin-bottom:12px!important;} .article-section h3{font-size:16px;font-weight:bold;text-align:left;margin-bottom:12px;} .article-section p{font-size:16px!important;margin-bottom:12px;} .sec-intro{border-left:5px solid #2f6fb5;} .sec-role{border-left:5px solid #7fa8cf;} .sec-spec{background:#f8fbfd;border-left:5px solid #1f4e79;} .sec-types{border-left:5px solid #4a8f7b;} .sec-material{background:#fbf9f6;border-left:5px solid #b08a4f;} .sec-custom{border-left:5px solid #5a6f8c;} .sec-check{background:#f5faf6;border-left:5px solid #4c9a63;} .sec-brand{background:#f4f7fb;border-left:5px solid #14375e;} .sec-faq{border-left:5px solid #c2607f;} .table-wrap{overflow-x:auto;margin-bottom:14px;} .chart-block{width:440px;margin:18px auto;padding:14px 12px;background:#ffffff;border:1px solid #dfe6ee;border-radius:8px;box-sizing:border-box;} .chart-title{font-size:13px;font-weight:bold;color:#1f3a5f;text-align:center;margin-bottom:14px;} .chart-note{font-size:11px;color:#8a94a0;line-height:1.5;margin-top:12px;} .bar-row{display:flex;align-items:center;margin-bottom:9px;} .bar-name{flex:0 0 108px;font-size:11px;color:#4a5568;} .bar-track{flex:1;height:16px;background:#eef2f6;border-radius:3px;} .bar-fill{display:block;height:16px;border-radius:3px;background:#2f6fb5;} .bar-val{flex:0 0 62px;text-align:right;font-size:11px;color:#1f3a5f;} .b1{width:15%;} .b2{width:44%;} .b3{width:63%;} .b4{width:88%;} .col-chart{display:flex;align-items:flex-end;height:170px;padding:0 4px;} .col-item{flex:1;display:flex;flex-direction:column;justify-content:flex-end;align-items:center;} .col-bar{width:70%;background:#2f6fb5;border-radius:3px 3px 0 0;} .h24{height:24px;} .h40{height:40px;} .h56{height:56px;} .h80{height:80px;} .h120{height:120px;} .col-num{font-size:11px;color:#1f3a5f;margin-top:4px;} .col-lab{font-size:9px;color:#6b7a8b;text-align:center;line-height:1.3;} .iso-svg{display:block;width:100%;height:auto;} .iso-top{fill:#e8f0f8;stroke:#9db4cc;stroke-width:1;} .iso-left{fill:#dbe7f2;stroke:#9db4cc;stroke-width:1;} .iso-right{fill:#cfdeec;stroke:#9db4cc;stroke-width:1;} .iso-shelf{fill:none;stroke:#7f9ab5;stroke-width:1.4;} .iso-plinth{fill:none;stroke:#4a6b8a;stroke-width:1.6;} .iso-edge{stroke:#9db4cc;stroke-width:1;} .iso-lead{stroke:#8fa3b8;stroke-width:1;stroke-dasharray:3 2;} .iso-dot{fill:#2f6fb5;} .iso-label{font-size:9px;fill:#33475b;} .faq-grid{display:flex;flex-wrap:wrap;gap:12px;} .faq-item{flex:1 1 calc(50% - 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Two weeks before handover, an 80 m² jewellery unit in a shopping mall looks finished. Then the first base cabinet is set down on the marble plinth, and the plinth turns out to be 9 mm higher than the drawing assumed. The socket outlets sit 120 mm behind the drawer box, and the track spots are aimed at the place where the tall cabinets were meant to stand. Nothing is broken, but three trades have to come back and the opening slips. Shop fitting problems are rarely about taste. They are about interfaces — the points where the shopfront, ceiling, floor, power and display joinery meet. Get those right and a store opens on schedule; get them wrong and every trade blames the next one. What Shop Fitting Actually Covers Shop fitting, often called retail fit-out, is the package of work that turns an empty shell into a trading space. It normally includes partitions and ceilings, floor finishes, power and data distribution, lighting, the shopfront and signage, and the display cabinetry and counters that customers actually touch. It normally excludes stock, POS terminals, loose furniture, window props and the landlord's own base build. That boundary matters more than the list itself. A display cabinet is a precision product built to tight tolerances, and it is installed into a space built by trades working to construction tolerances. Someone has to own the join between the two — and that decision has to be made before the cabinets are released to production, not after they arrive on site. Table 1: Typical shop fitting workstreams, who owns the interface and when it has to be locked. Indicative guidance only — confirm responsibilities in your own contract. Workstream Usually owned by Must be locked before Common failure Survey and setting out Fit-out or main contractor Cabinet drawings are issued for approval Levels taken from superseded drawings Power, data and lighting points Electrical and lighting trades Cabinet shop drawings are approved Sockets fall behind drawer boxes or glass Floor and plinth Flooring trade Cabinets are released to production Finished floor height changes after release Display cabinetry Shop fitting supplier Glass and special profiles are ordered Glass colour varies between batches Ceiling and lighting aim Fit-out and lighting designer Cabinets are installed Beam angle aimed at empty space, not product Shopfront and signage Specialist contractor Landlord approval is granted Signage clashes with the shutter box Sequence Beats Speed Most shop fitting delays are not caused by slow work. They are caused by work starting before the information was ready. A cabinet that takes four weeks to build can sit in the factory for another four because the glass was ordered late or the finished floor level was never confirmed. The dependable sequence is short: survey and set out, freeze the general arrangement, get shop drawings approved, release the long-lead items — toughened glass, special profiles, lighting — complete first-fix electrical and data, close the ceiling and lay the floor, install the cabinetry, then snag. Indicative weeks before opening Survey and setting out Design and approvals Long-lead orders First-fix MEP Ceiling and flooring Cabinet production Snagging and handover 14 12 10 8 6 4 1 Figure 1: An indicative shop fitting programme for a single retail unit. Week numbers show when each stage should be locked in relative to opening; adjust to your own contract dates. The week numbers in Figure 1 are indicative and every job differs, but the order is not negotiable. Anything that will be buried behind a finished surface has to be decided while it is still visible. Where Display Cabinetry Meets the Build A shop fitting lives or dies at four interfaces. They are dull, which is exactly why they get skipped. Floor: set plinths and bases from a surveyed datum, not from a nominal drawing level. A few millimetres of fall across a six-metre run is normal in a mall unit, and levelling feet can only take up so much. Back: leave an accessible service void behind the carcass for cables, LED drivers and future changes. Cabinets sitting flush against a wall look tidy and are painful to service. Glass: toughened panels are cut to final size, so the opening must be fixed before the order is placed. A 10 mm change means a new pane. Light: colour temperature, beam angle and position belong to the cabinet design, not to a lighting subcontractor working from an empty plan. Where an existing model will not fit the space, made-to-drawing joinery is almost always cheaper than rebuilding the room around a stock cabinet — provided the drawing arrives before the glass order. To ceiling void Integrated LED strip Service voidfor cables and drivers Toughened glass front Screed datum Figure 2: The four interfaces around a display cabinet — screed datum, rear service void, toughened glass front and integrated LED lighting. CM-104 Customised Combination Display CabinetsCustomisable combination display cabinetry presented for retail projects, where made-to-fit joinery and material selection matter before glass and fittings are ordered.View Product → Materials That Survive Daily Retail Traffic Retail space is an abrasive environment. A cabinet door in a busy mall unit can close a hundred times a day, cleaning chemicals come out weekly and sunlight hits the same glass every afternoon. Material choice should follow those conditions and the merchandise, not a mood board. Table 2: Display cabinet materials compared for retail conditions. Descriptions reflect typical behaviour — always confirm against your own specification and site conditions. Material Where it works What it gives you What to watch Toughened glass, 8–12 mm Full-height fronts and tall showcases Maximum sightline, easy cleaning Weight; openings must be exact; edge polish quality varies Brushed stainless steel 304 Frames, edge trims, plinths Impact resistance, low maintenance Fingerprints; grade 316 for humid or coastal sites Solid wood and veneer Drawer fronts, trays, warm finishes Premium feel, repairable Movement with humidity; needs stable cores Lacquered MDF Back panels, counters, colour-matched surfaces Any colour, sharp edges Edge chipping; batch-to-batch colour drift Powder-coated aluminium Light frames, slat walls, shelving Light weight, clean lines Can read as lower value in luxury settings Stone or sintered compact Countertops and plinth tops Scratch resistance, useful weight Brittle at unsupported edges A workable rule is glass for sightlines, metal for structure and edges, wood and lacquer for brand colour, and lighting for everything else. Mixing lacquer batches within one project is the most common cause of visible colour drift, so panels for the same store should be finished together. Combination units such as this jewellery cabinet show how glass, steel and lacquer are usually mixed inside a single carcass. JR-C101 Jewellery Combination Display CabinetJewellery combination showcase with drawers, compartments and display areas, presented where glass, steel and lacquer are mixed inside one carcass for retail display priorities.View Product → How the Fit-Out Changes by Retail Category The carcass logic stays the same across retail, but the priorities move. Jewellery and watches: low-glare, high colour rendering lighting; locks and laminated glass; shallow drawers with inserts so pieces sit near eye level. Cosmetics: bright, even light with no hot spots; dense adjustable shelving; tester positions that are quick to clean and restock. Apparel and luggage: large uninterrupted glass and open hanging space; steel frames that stay square after years of use. Museums and exhibitions: sealed cases, humidity and UV control, security glazing, and access designed for handling objects rather than stock. Getting this wrong is expensive in a quiet way: the joinery performs, the shop simply does not sell as well as it should. A high glass unit such as this clothing display cabinet illustrates the apparel approach. CC-S101 High Glass Clothing Display CabinetTall transparent glass clothing and bag display cabinet shown as an apparel retail fixture, positioned where shop fitting quotes and bundled display elements need comparison.View Product → What Actually Moves the Cost Shop fitting quotes are hard to compare because they bundle different things under the same heading. The lines that genuinely move the price are usually these: Glass area and thickness — the largest single item in most cabinet budgets. Material grade — 304 versus 316 stainless steel, veneer versus laminate, solid surface versus stone. Lighting — strip quality, drivers, dimming and control gear. Repetition — standard carcasses with varied fronts cost far less than one-off units. Shape — curved, angled and irregular cabinets carry extra forming and glass work. Site conditions — lift access, after-hours installation and protection of finished work. Documentation — fire performance, low-emission board certificates and shop drawings. Ask for a breakdown by workstream and a unit rate per cabinet type. A single lump sum hides exactly the information you need to make a decision. Choosing a Shop Fitting Partner The practical test of a supplier is whether it can hold both ends of the job: the drawing and the installation. Zhejiang Suntop Commercial Display Products Co., Ltd. was founded in 2009. Currently, the company's factory covers an area of 25 acres, with a building area of 25000 square meters and an annual production capacity reaches 300 projects. Our main customer types include jewelry, cosmetics, watches, museums, etc. The company adheres to a highly specialized spirit and strives for excellence in the creation of every display space cabinet, aiming to perfectly reflect the customer's brand concept and value through high-quality display spaces. After 16 years of deep cultivation in the display props industry, Suntop has won the provincial high-tech enterprise and credit enterprise awards. At the same time, it has obtained a number of relevant industry technology patents, providing a guarantee for product quality. Because design, manufacturing and site installation sit inside one organisation, the team that draws the cabinet also answers for whether it fits the plinth. You can review the production base and capacity on the factory page, and see completed jewellery store projects in the case library. Frequently Asked Questions About Shop Fitting Q1. How long does a shop fitting project take? For a single unit of roughly 60 to 100 m², allow about 10 to 14 weeks from survey to handover. Display cabinetry usually takes four to six weeks of that, and toughened glass is often the longest single item. Q2. What is normally excluded from a shop fitting quotation? Stock, POS hardware, loose furniture, window props, landlord fees and often floor preparation and builders' cleaning. Check the exclusions list before comparing prices, because it changes the totals. Q3. Can cabinets be made to our own drawings and brand standard? Yes. Most suppliers work from client drawings, a brand manual or a site survey. The practical requirement is a confirmed drawing before glass and special profiles are ordered. Q4. Do jewellery, cosmetics and apparel units really differ? The carcass is similar. The differences are lighting, security and how much display is open rather than enclosed — low-glare high-CRI light for jewellery, even bright light for cosmetics, large glass for apparel. Q5. How much does shop fitting cost per square metre? It varies too widely to quote responsibly, because the same floor area can carry very different cabinet runs, lighting and finishes. Ask for a cost breakdown by workstream and a unit rate per cabinet type instead. Q6. What should be checked before signing off the installation? Levels and gaps under raking light, door and drawer alignment, lock function, lighting aim and colour consistency, glass edge quality, and a dated snag list. 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A jewellery retailer approves a glass cabinet display case from a photograph, receives forty units three weeks later, and finds three problems nobody priced in: the glass turns green when viewed from the side, the doors rub at the top corner, and the LED strip leaves a dotted shadow across the tray. Here is the short version before the detail. On a glass cabinet display case, the glass itself is the least variable component. The frame, the lighting, the locking hardware and the sealing decide whether the case still looks premium in year five. Specify those four things before you negotiate price, and most of the expensive surprises disappear. This guide works through them in the order that actually affects cost and performance: glazing type and thickness, frame material and assembly tolerance, lighting specification and heat, format-specific requirements, then maintenance and supplier verification. Glass Choice: Low-Iron, Tempered or Laminated Glass is graded by what you cannot see. Standard clear float glass carries a green edge tint from iron oxide in the batch, and that tint shows up wherever two panes overlap or a panel is viewed at an angle. Low-iron, often sold as ultra-clear, reduces the tint and lifts visible light transmission from roughly 89 percent to about 91 percent, according to architectural glazing data. On a jewellery counter lit at 3,000 K, that difference decides whether a diamond reads icy or slightly yellow. Safety and protection are separate questions from clarity, and they pull specifications in different directions: Tempered (toughened) glass is heat-treated so it breaks into small granular pieces rather than long shards. All cutting and edge polishing must happen before tempering, so dimensions have to be frozen at drawing stage. Laminated glass bonds two panes to an interlayer. It stays in the frame after impact, and UV-filtering interlayers block roughly 99 percent of radiation below 380 nm, which is why museum cases use them. Acrylic is lighter and cheaper to ship, but it scratches far more easily than glass and attracts dust through static. Glass selection matrix for retail and museum display cases; thickness ranges reflect common practice for cases with up to about 1.2 m of unsupported span. Glazing option Typical thickness Behaviour if broken UV performance Best fit Clear float glass 5 to 8 mm Long shards, not classed as safety glazing Blocks about 30 percent Low-traffic wall units Low-iron tempered glass 5 to 8 mm Granular fragments, safer in public areas Blocks about 25 to 30 percent Jewellery counters, watch towers Low-iron laminated glass 8 to 12 mm Held by the interlayer, stays in the frame Blocks about 99 percent Museums, cosmetics, fragile stock Acrylic sheet 5 to 10 mm Cracks and scratches readily UV grades block up to 98 percent Travelling displays, light fixtures Thickness follows span, not status. Counters and towers commonly use 5 to 8 mm tempered glass; a panel longer than about 1.2 m without a mid-frame support usually moves to 10 or 12 mm. A 6 mm panel across a 1.5 m unsupported span flexes visibly when a customer leans on it, no matter how good the frame is. Share of UV radiation blocked, by glazing type Laminated, UV interlayer 99% Acrylic, UV filtered 98% Clear float glass 30% Low-iron clear glass 25% Typical values cited in architectural glazing literature; confirm with the glazing supplier's product data. Frame and Structure: Where Cabinets Age First Two cases can use identical glass and look five years apart, because the difference sits in the frame. Grade 304 stainless steel resists corrosion well enough for humid retail environments. Grade 201 costs less but discolours faster in coastal cities and near perfume or cosmetics counters. Where steel is specified, ask for the grade in writing and inspect the weld seams, because grinding marks left unpolished become rust points. Lacquer finishes live or die on surface preparation. A piano-white finish that has not been sanded between coats and properly sealed shows permanent fingerprints within months. Wood veneer framing needs edge banding on every visible edge, not only the front face. Anatomy of a glass display case Tempered glass panels Integrated LED strip Stainless steel frame Lockable storage base Mechanical details cost less than doors and glass, yet they drive long-term cost: Hinges and sliding rails rated for the actual door weight, since an under-rated hinge drops within a year and chips the glass edge. Gaskets or brush seals on museum and cosmetics cases, which slow dust ingress and cut cleaning labour. Adjustable levelling feet, so doors can be realigned on an uneven mall floor instead of being shimmed with cardboard. Assembly tolerances stated on the drawing, typically within plus or minus 1 mm on glass-to-frame gaps. Without a stated tolerance there is nothing to reject a shipment against. Lighting Inside the Case Lighting is usually the first item buyers cut and the first thing customers notice. Three numbers control the result: colour temperature, colour rendering index (CRI) and illuminance. Retail cases for diamonds and gold generally run between 3,000 K and 4,000 K at a CRI of 90 or above. Below CRI 90, reds and skin tones look flat and gemstones lose fire. Heat is the hidden cost. Older halogen systems pushed heat into the glass and the merchandise, while modern LED strips run cool enough to sit inside a frame channel. What still goes wrong is placement: a bare strip aimed straight down creates hotspots and visible dots on a velvet tray, whereas a diffused channel or recessed profile spreads light evenly. Museums work to a different rule set. Conservation lighting guidance commonly caps exposure at about 50 lux for highly light-sensitive objects such as textiles and watercolours, allows roughly 150 lux for moderately sensitive paintings and wood, and up to about 300 lux for robust stone, metal and ceramics. Recommended illuminance by object sensitivity 50 lux 150 lux 300 lux Highly sensitive Moderately sensitive Robust objects Levels follow commonly published museum conservation lighting guidance; final values depend on the loan agreement or curator's brief. Matching the Cabinet to the Format Jewellery and watch counters Counter height typically sits between 900 mm and 950 mm, with tall towers between 1,800 mm and 2,200 mm. Trays, removable inserts and mirrored or suede back panels change the perceived value of the same piece. Because these cases are opened dozens of times a day, soft-close hinges and a lock that can be operated one-handed matter more than the finish. Cosmetics and beauty retail Open-selling formats need tiered glass shelves, backlit brand panels and surfaces that survive daily alcohol wiping. Glass-to-glass joints should be sealed so powder and liquid cannot migrate into the frame cavity. CM-H102 Cosmetic Glass CabinetThe Cosmetic Glass Tall Cabinet uses high-transparency toughened glass and a solid metal frame to create a towering display space capable of displaying large quantitie...View Product → Museums and exhibition spaces Here the case is a conservation device rather than a sales fixture. Look for a sealed cavity with a gasket, a silica-gel compartment to buffer humidity, laminated UV-filtering glass, and a lock that does not require a visible keyhole. A freestanding pedestal case is the standard choice for single objects viewed from all sides. MS-101 Freestanding Museum Pedestal Display CaseA museum display cabinet is a special piece of equipment designed for displaying cultural relics, artworks, and other precious collections. It not only plays a role in...View Product → Irregular floor plans, curved shopfronts and multi-brand walls rarely accept a standard module, which is why non-standard geometry is usually handled through custom display case projects with drawings signed off before production begins. Cleaning and Long-Term Maintenance Most complaints about glass cases trace back to handling rather than manufacturing. A short routine protects both clarity and finish: Dust with a dry microfibre cloth before wiping, since dry dust scratches more than any cleaner. Wipe with a mild pH-neutral detergent diluted in water, then buff with a separate dry cloth. Avoid abrasive pads and ammonia-based sprays on acrylic or on glass carrying applied films. Clean velvet and suede trays with a soft brush rather than washing them. Check LED output every six months, because a failing driver usually dims one section first. Keep a spare key register, and replace worn gaskets before dust reaches the drawer cavity. Choosing a Supplier and Verifying the Specification Zhejiang Suntop Commercial Display Products Co., Ltd. was founded in 2009. Its factory covers 25 acres with 25,000 square metres of building area and an annual production capacity of 300 projects. Main customer types include jewellery, cosmetics, watches and museums. The company works to a highly specialised standard and treats every display space cabinet as a brand statement, aiming to express the client's concept and value through the finished space. After 16 years in the display props industry, Suntop has earned provincial high-tech enterprise and credit enterprise awards and holds relevant industry technology patents that underwrite product quality. Verify four documents before paying a deposit: the glass specification sheet covering type, thickness and tempering standard; the frame material grade; the lighting data including CRI, colour temperature and wattage; and the drawing tolerances. A supplier who cannot produce them at quotation stage will not be able to prove anything at delivery either. This pre-purchase checklist for display cabinets covers the questions worth asking in the first meeting. Frequently Asked Questions About Glass Cabinet Display Cases Q1. What glass thickness should a display case use? Counters and towers normally use 5 to 8 mm tempered glass. Panels longer than about 1.2 m without mid-frame support usually move to 10 or 12 mm to control flex. Q2. Is tempered glass the same as safety glass? Tempered glass qualifies because it breaks into small granular pieces. Laminated glass also qualifies, and it stays in the frame after impact, which is why museums prefer it. Q3. Can a glass display case be locked? Yes. Cam locks, central locking bars and glass-door locks are all common. Ask how keys are managed across a multi-store rollout, since lock replacement is disruptive later. Q4. Does display case glass block UV light? Standard float glass blocks only about 30 percent. Laminated glass with a UV-filtering interlayer blocks roughly 99 percent below 380 nm, which protects textiles, paper and dyed materials. Q5. How do I clean glass without streaks? Dust first with a dry microfibre cloth, wipe with mild pH-neutral detergent in water, then buff dry with a second cloth. Skip abrasives and ammonia on acrylic or filmed glass. Q6. What should I check when the cases arrive? 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