Putting the Win in Windows

Delving back into my archives, I came across this really interesting magazine that I purchased a few years ago. 'How to put the Win in Windows' published by Dennison in the U.S. in 1939 explains how to 'move merchandise' and how display stimulates the buying impulse at a time when it can be instantly satisfying. Articles in this publication also give hints in handling crepe, how to install a background with pleats and pleated effects, the colour wheel and letting color speak for itself. An awful lot of these techniques have been virtually lost over time as they fell out of favour, therefore these publications have become such gems of information. The reverse of the publication promotes another of its publications that we should have, 'Gay decorations for Parties, Dances and Banquets' - how terminology and meanings have changed.

Light Installation

Just along Southwark Bridge Road there are two incredible light installations situated under the railway bridge. I came across these installations by chance after walking around Borough market, and then additionally by chance just a 100m or so further along seeing the Uber cool Chocolate Factory galleries.

In some way these types of installations can become the 'sticky' plaster on the wound of bad design although it certainly is a beacon in an area which is both deprived while simultaneously and ironically being expensive - perhaps being on a White background rather than Black doesn't really help it. Maybe thats intentional?

I enjoy the serendipitous nature of finding these things while on a journey and tend to look a them with the intention of a commercial application although as ever with these light installations, its night time when they really come alive.

Mulberry, London

Mulberry have installed an interesting concept into their Bond Street store, although I found myself wondering what the idea is here as it wasn't immediately apparent, to me at least.

On further investigation, of course it is based on the new book by Chris Craymer, Romance: A Beautiful Look Book on Love.

What they have done here is to take one of the images within the book (the bit where it says Love You, made up of scrabble pieces) and created these larger than life scrabble pieces as props. After seeing a lot of the images from the book, I felt perhaps that more could have been teased out from the images to create a much fuller window as it doesnt quite capture the sense of romance that the book does so well through its beautiful images?

Life Magazine 1941 - Model and Manikin article on Greneker

Four years prior to this article being printed in 'Life', the magazine had written about the use of heads becoming a feature on mannequins, only just being accepted as the norm in smart store windows. This of course, therefore greatly shortened their life. In this article, model Helen Johnson posed for the sculptor, known only as Peter, in the presence of Lillian Greneker where the process of casting the body in plaster on oiled paper (to protect the skin), from which papier mache molds were then created.

The various parts were pieced together with a 'stock' head size 21.5 inches onto which the cast of the Helen's face was then placed. On the image below the cast reveal a small scar on the model's right cheek and eyelashes left in the cast despite the use of grease to protect them.

Fall of the Silent Seller

Designer brands notoriously control their brand images protecting what is seen and by whom with absolute conviction and determination. Afterall, this 'control' is what keeps them successful. These type of brand store windows are no doubt decided and produced where presentation of their product is shown with military precision.

I came across this window in London recently - the 'silent seller' had fallen in a heap on the floor. These things do happen from time to time and usually of course when no one is around to prop the figure back up. It has happened to me too and with a rush of adrenaline, the display team would rush into the windows in the hope that no one has noticed - particularly senior management.

Naturally, I haven't included these images in my blog to have a dig at designer brands - this is simply what does happen from time to time.

Early 20th Century Store Windows (USA)

Over several years I have managed to collect a sizable collection of early 20th Century American Store windows. What I find so interesting about these is images is not necessarily the content or merchandise subject but how display 'dynamics' have not changed at all in over 100 years. The images here are from the 1940's, however some in my collection date back the early 1900's. In the Kodak window we have an example of the 'pyramid' structure with repetition of product and is (almost) symmetrical. The 'Sano' cigarette image below illustrates the 'pyramid' structure with the use of a graphic (early graphics were referred to as show cards)

Gucci - Punctuation, Reflection, Distortion

This month Gucci's windows contain rectangular mirrored metal sheet backdrops punctuated with holes and convex mirrored surfaces. I am always particularly intrigued with the use of mirrors in store windows as a way of retailers enabling ourselves to be seen and to see a reflection of who we would perhaps like to be or perceive ourselves as being or perhaps aspiring to be. Mirrors behind product does enable the shopper to see the product itself far more holistically and this is a very creative way of ensuring this. Although, when stood in front of these mirrored surfaces, do we focus on our distorted self's or on the product? Or is this a way of engaging us in to the brand?

Diesel Windows

Another great concept from Diesel along Bond Street. I particularly enjoy that retailers are once again coming 'outside' the windows which is extremely exciting, and this is no exception. Diesel have been producing some really interesting concepts for a while now, and although this is undoubtedly high maintenance, it really is however, so refreshing to see.

Windows pasted with music sheets and sprayed Black mannequins placed in front of microphones, creating a clear focal point to the product. My only negative thought here (I recognise it is easy to criticise when you don't have to come up with a solution) is that it is difficult to see the product itself - I'm thinking as a 24 hour shopper here and often I do look at stores in the middle of the night. However, this may be deliberate as it does ensure that you focus in between the music sheets themselves and almost 'seek out' the product itself.

Pierre Imans figures discovered

I recently came across the most incredible archives of figures. These rare Wax figures with glass eyes, human hair and many with porcelain teeth by the French Master, Pierre Imans (the same company produced a layer of wax over the hands and face of St. Bernedette of Lourdes to preserve her body) are some of the best I have found to date. Admittedly, some of the figures looked quite gruesome, almost cadaver-like and not everyone would be excited to find themselves alone in a dark basement surrounded with these eerily life-like figures. However, I have been hunting for a find like this for my research for several years.

In a recent e-mail conversation with Chicago's Sara K. Schneider author of Vital Mummies, I asked her advice about where I would be able to find these types of rare figures. Her advice - probably at the back or a garage, attic or basement. How right she was. Three floors under a building in a room beyond a room these precious pieces, just two of a much larger collection, had been hidden for many years. I was fortunate to be able to record most of them for my research but the hunt goes on for additional 'lost' pieces.

In search of the Eden Musee

I first came across the Eden Musee while reading Andrea Stullman Dennett's, Wierd and Wonderful, The Dime Museums of America published by New York University Press.

The Eden Musee opened in New York around 1883 and at the time was the equivalent of Madame Tussauds Wax Museum in London. After a very long search I managed to purchase several of the old catalogues (the oldest is late 1800's). The catalogue above is from September 1905.

The intention of the Musee was to create a Temple of Art. It was filled with tableaux of icy solitudes, the burning sun of Africa as well as figures of distinguished persons, rulers, artists and scientists of the time. The Musee stood on 23rd Street between fifth and sixth avenues for nearly thirty years before closing its doors for the last time in 1915 - a sign of changing times. The collection from the Musee was then moved to Coney Island before it was completely destroyed in a fire in February 1932.
Almost 100 years later, on a recent visit to New York I managed to track down where the old Eden Musee had stood. It was quite a task to find the old site as numbers on buildings and the buildings themselves had changed over time, but below is where I believe it had been.

Our kitchen - window installation

Just along Lower Marsh (behind Waterloo station), South London I came across this window installation produced by adults with learning disabilities
The Inspiration for 'Our kitchen' was produced from the students unique drawing abilities of using line, form, and perspective. Working with artist Prodeepta Okill, she asked the students to reflect these qualities in 3D form. The theme was chosen as each student was able to offer their knowledge and experience of a kitchen. First she introduced the students to the work of Patrick Caulfield and then took her students to the Imperial War Museum's 1940's house to find inspiration before asking them to design a kitchen of their own. The students then worked with Madeleine Ross to create the objects in Plaster and Paint.

Learning from Dubai.......up and down the Sheik Rashid Bin Waleed Al Mahktoum Road

One of my favourite books is Robert Venturi and Denise Scott Brown's Learning From Las Vegas. Venturi and Brown took their Architecture students to Las Vegas in the late 1960's as part of a much larger research project. What is so interesting about the book is how they began to deconstruct the whole city and record what they call the Iconography of Urban sprawl into its component parts. For example, directional space, scale, speed, symbol, billboards, illuminated signage and my favourite, the decorated shed i.e. hot dog stands in the shape of a hot dog. On a recent visit to Dubai, I have tried to identify the equivalent of what Venturi calls the 'strip'. Of course in a place such as Dubai there is not such thing yet, but what I did is to identify a main route - in this, case the Sheik Rashid Bin Waleed Al Mahktoum Road which runs from the original city to the megastructures around Jemeirah. Naturally Dubai is not as established in the same way as Vegas but these are examples of what Venturi refers to as the Architecture of Persuasion.

Final Student Project Event

Year 2 students of the Foundation Degree Display Design course at the London College of Communication held their final project launch in their Display studios yesterday evening. Students had worked with companies such as W.G.S.N., Planarama, Selfridges, Harvey Nichols and Harrods on their recent work placements, many of whom came to show support for the students as they launch their careers into the Design industry. The students projects range from developing concept pop up stores for Innocence Drinks and Rayban colourize to launching events for fashion designer Danielle Scutts and installations for All Saints and shoe designer 'Magpie'

Below Gary Porter from Elemental Design talks to James 'Biddie' Biddlecombe of Beautiful People fame.