Diesel, London

As regular readers will know this is one of my favourite stores and brands for visual communication. The new concept at Diesel (Bond St. site) here in London has implemented an interesting scheme albeit rather odd. I say odd as I am not quite sure what this is saying to me. What I do find so interesting is the difference between this site and one of Diesel's sister sites in London (I will publish the details and visuals in my next entry) What Diesel seem to be doing is creating almost sub-brands within the brand. Each store is creating its own personality according to the type of clientele who may shop in a particular area. This takes an enormous amount of work and is something that I welcome with open arms as long as there is consistency in the high level of presentation across the various sites. And there really is. I am not familiar with the structure of the visual team for Diesel, however there clearly are some very creative people working incredibly hard in forging a new and exciting way of working that I haven't seen in any other high street brand or indeed in any of the Designer brands.

Topshop, London

Following on from the London Fashion week theme that has been present in a number of London stores, Topshop and Topman in Oxford Circus here in London (which always claimed to be the worlds largest Fashion store from my days spent working there although I am not quite sure if it was or still is?) Anyway, the rear space windows have these great drawings in vinyl on the glass, behind which are cardboard cut out figures and lastly vinyl images attached to the back wall. This gives this very narrow, but very high space a huge amount of depth. The front windows advertise the arrival of Christopher Kane with female figures in a silver finish suspended from their heads, behind which are angled mirrored plates creating a backdrop or context. The men's window at Topman shows a group of male figures in a Black shiny finish placed in a landscape scenario. I recognise these silver spheres from the DZD showroom, however it is teetering on some kind of middle England Art installation which I do feel is an interesting direction in as much as providing the flaneur with something possibly informed to get our teeth stuck into. This store really is doing some amazing work so I am so glad to see such diverse schemes.

Zara, London

During London's Fashion week several stores implemented fashion week promotional windows. The windows at Zara along London's Oxford street I felt were particularly interesting amongst these schemes. Although part of the scheme was produced in the usual Zara style, the main window contains a catwalk / photo shoot narrative which is exquisitely presented. I particularly like the figures used (probably from Rootstein) and how they ooze their own individual personality. Additionally props such as chihuahuas, photographic equipment and a runner rail with a hand written message support this concept.

Selfridges, London

I couldn't end the week without showing these gems from the amazing Selfridges. What is so interesting for me here is the use of these structures. At the beginning of the courses on which I lecture, I often take students on a series of visits which include Kew Gardens, the Natural History Museum, The Imperial War Museum and of course the Science Museum here in London to begin to identify the links between Design and natural and mathematical forms. The forms here are used also applying repetition and radiation. I love the use of these geometric forms placed against a kind of, what I always think of as Vikktor and Rolf shade of Blue - of course Cerulean. It is not entirely clear if the whole scheme is based on Pandemonium (the theory by Oliver Selfridge - I am not aware of any familial relationship here) Or just one corner window and the World Wildlife Fund. Anyway, the scheme is entertaining and fun and perhaps I am just trying to find some intellectual connection.

Student work, City lawyer eating experience

My colleagues and I were approached by a commercial company to request if our students were interested in working with them to develop a new 'eating experience'. Always aspiring to great things we agreed to the project and negotiated with the company that we would set it based 100 years into the future. The submissions ranged from meals in tablet format and sustenance absorbed through the skin to liquid information and electrical impulse eating experiences. I think the company were a little bemused by the submissions and perhaps most were unworkable in their current format. However, sometimes perhaps we just need to get these ideas from in 'here' to 'out there', 'else where' or at least some where, and hope that the technology will catch up? As students enter the world of work with live clients buying their services, the environment that we provide is perhaps somewhere where they are able to exorcise these ideas and get it out of their system. Anyway, this is just one submission from one student in the group which also contains a short walk through video of her space.

Student work Pret-A-Manger New concept development

The final part of this particular blog contains the student presentation pieces. This is just a selection of the submission as students also had to present scale plans, sections, elevations, sample boards, mood boards etc. however these give an indication of the level that students achieved after only 14 months. The students also had to identify a need for their particular concept, for example who is going to shop here? where do they live? what kind of income do they have? etc. and to establish a need for their concept. Of course this particular brand have their own clearly identified target market already, although this is an important consideration when developing new concepts as ultimately product needs to be sold and money made so students need to identify who these consumers are. (consumer rather than customer is used here with regard to the type of product being sold) The whole process from initial briefing to final presentation was approximately 10 weeks where students unravelled the project brief, began initial primary research, sketch drawings, concept development, leading towards these final pieces.

Student work New Pret-a-Manger concept development

Commercial Interior environments change over time (as they should), but also the space in which their products are placed (the spaces within the space). The students began designing by developing and subsequently applying a lateral approach to design ideas and solutions for their given space. The selected site was spread over two floors with an existing staircase. Students had to survey the site (this happened to be a bar along the Kings Road, London) and record their measurements. The starting point of students research was the book Cool Rules, Anatomy of an Attitude by Pountain & Robins, 2000, Reaction books. I selected particular text from the publication which was given to the group during their initial briefing which they then had to analyse, unravel and interpret into a three-dimensional solution. Using Pret-a-Manger brand equipment (kit of parts) students had to design their space to create an innovative conceptual solution for the site. Here represents just one students initial ideas visualised through sketching before they computerised their solution. I feel that it is crucial for students to develop their drawing skills before using a computer program as computers present so many inherent limitations (if one is not able to use it effectively) as well as fantastic opportunities through presentation and ultimately enabling us to sell the scheme.

Student Work, New Pret-A-Manger concept development sketches

One of the experiences that I feel is so important for my students is the opportunity to take part in live projects with an actual client. Pret-a-Manger contacted us to discuss an opportunity to work with our students and develop a new concept for their flag ship site. During the course, students study a unit called Commercial Design Practice which draws together the main themes which they have been developing throughout their course of study, and which enables them to investigate and research an area of Interior Design in depth which was also relevant to their expected eventual career pathway. Students began with Design Research and conceptual development and investigated into the development of design history from a cultural perspective in conjunction with Market research and consumer trends. Here represent some concept development sketches from one student in the group. Over the next few days you will be able to track this progress - a kind of synopsis of the process which in reality of course took several weeks.

Pringle, London

David Shrigleys Faux Naive drawings form the current concept at Pringle here in London. Articulated wooden hands drop from the upper plane and on the lower plane they are holding the cut out letters of the name of the Scottish-born illustrator. Known for his popular publications Err and Merry Excema, apparently we are about to see his work everywhere. The background here in a familiar 'Selfridges' trade mark colour with black vinyl lettering and images applied to the glass. The merchandise here is suspended on hangers. This is something that I would never normally recommend doing but in this case I think it works incredibly well. An animation of Shrigley's work is played on a loop in one of the windows some of which is shown below.

100% Design, London

As the annual 100% Design show here in London closes it was a time to reflect and allow the vast amount of visual stimulation to sink in. I resisted collecting all of the brochures and catalogues from the show as I have realised that I have stacks of the stuff in my office which barely sees the light of day and so instead I have decided that after viewing the latest products, in the 'flesh' I would use electronic means to chase any future leads or information. These images here are just some of the ones that I took at the show, and which represent just some of my favourite pieces.

Tiffany, London

Stimulation of the buying urge comes no better than from Tiffany. Whichever one you visit either London, New York etc. the visual excitement created by this company in such a tiny space is remarkable. These windows banish boredom and create the point of difference that underlines its character. I am always amazed by these windows in London as the creative team really do create little miniature worlds within these spaces that always work so well. I find myself hunting for the piece of jewellery within their schemes which very much part of the fun. I found myself recently inside this store but sadly the design of the Interior Space is quite unremarkable. Odd really considering the wonderful image that these windows project. Anyway, with such a tiny space the team have yet again achieved such a sense of depth. I have tried to break up the scheme into the three layers employed here, the foreground, containing the branches and leaves, the mid ground has a pyramidal stack of rock which elevates the piece of jewellery and the background is a printed image of a landscape. The viewer is also able to hear the water trickling around the rocks which brings together this stunning scheme.

Adlers, London

I always feel that perfect symmetry is a little too unimaginative and some 'break' in the symmetry gives a presentation a bit more life and interest. Symmetry has its place in product presentation just as it does in Architecture, Furniture and Cars etc. but this perfect balance is too obvious and too nailed down for me. Whether we like it, admire it or are irritated by it it does have a strength. However, by adding in an element that is not quite symmetrical does draw our attention and creates some interest. As this is a jewellery store the product is placed below eye level, in fact actually here it is at least waist level so that we are almost forced to look down on the product. What has been added in here are some show cards telling us where the product has been worn and by whom. They have also added in some small pieces of Art work which also add interest to this presentation, although I feel that perhaps if this window had been broken down either into small spaces where we would zoom in visually on the pieces of very expensive jewellery or the product was elevate a little rather than on the same plane in a symmetrical curve, it would certainly have added more impact.

Versace, London

Following on from Burberrys windows yesterday, Versace, also here in London have used another example of the suspended vertical plane. The simply coloured panels in a matt finish work incredibly well against this merchandise and additionally allows us to see into the store. Unfortunately as I was taking these images at night time the security grill was in place which I feel distracts from this whole visual effect. (The only thing I can think of comparing this to is someone producing a beautiful work of Art and selling it in a garage - this a very masculine statement.) There must be better ways of securing the merchandise to enable and support the stunning visual effect that has been created. In fact is it really needed at all? In the second window the Versace team have used two figures, again with the suspended vertical planes but with the addition of flashing lights. I made a quick video of this as I think in order to understand the effect it needs to be seen in action. I like the idea of these lights as they do scream...over here...over here..! but I am not quite sure that this works particularly well? or perhaps the first window also needed the same treatment?