Alexander McQueen, London

Have you seen the new scheme at McQueen yet?  Well, here's a couple of snapshots for you to whet your appetite.  As always, the guys here always manage to produce such wonderfully simple yet effective schemes and still manage to communicate the luxuriousness of this brand.  We've always wondered how difficult it was to work with the illuminated glass floor in this store, but it seems these guys just seem to manage it all so effortlessly.  Of course,  to make these things look simple takes ever more skill and the surrounding dappled effect works so incredibly well with the stunning merchandise that this brand always produce.  For this entry we decided to capture the surrounding Architecture in the reflection of the fenestration as part of the scheme which helps to contextualise the location of this global brand.

Moschino, London

Hey guys at Moschino London.  Your're shoes have come unstuck.  You need Velcro on here not double sided sticky tape as it never holds in hot windows.

Urban Outfitters, London

We really quite like the latest scheme from Urban Outfitters in the old C&A store site.  Although it is a little chaotic looking at it when one analyses static images however it does actually work really rather well on the high street and certainly grabbed us long enough to stop and record these for you.  Oddly the actual Urban Outfitters illuminated signage looks a little dated next to the painted signage on the fenestration, don't you think?  On a side note, and just a little snippet of information which you may be of interest.  Just underneath these windows, running directly right across the road to Ms. Selfridge opposite is a huge underground tunnel.  Quite why its there we're not sure, although possibly it was linked to the underground bomb shelter that used to be in the basement of Topshop and it no doubt has been covered up by each of the stores. Although we do remember, during pre-Internet and digital camera days enormous locked iron doors with a tiny spy hole in them where we could shout to the staff in the stockroom at the then C&A store to break up the long hours working in a huge retail store.

Bershka, London

We really, really want to love what Bershka are doing at the moment, although the Spanglish is so hilarious that we just cant take it seriously.  Of course, this is not a new phenomenon and so often someone somewhere in an office far away....possibly in procurement, HR or marketing has had their say and 'chucked in' their pennies worth and while attempting to read the English design element has forgotten to the check the emphasis and grammatical accuracy.  Unfortunately this reminds us of early Japanese video games such as "Lets fighting Love". "Super karate Monkey Death Car" and "Good Times with Weapons". 

A further case for localising creativity V. mass schemes developed in places that many will never visit.  Ah well.  The Graphics look great at least.  'Where is Fashion?', you need us to tell you?

Max Mara, London

We've come to expect really good quality, although very simple schemes here at Max Mara, and this is no exception.  Placed in a repetition format the bust forms carrying their new AW11 collection which may seem a little odd given the current heat wave here in London, but then a number of department stores are already selling Christmas stuff (yeah...we know..!) to tap into the pre-Ramadan market so there is always method in what seems to be madness. Apparently, although some cultures don't celebrate Christmas, they do like to decorate their homes. Anyway, as ever this luxury brand are producing some really beautiful merchandise, sensitively handled and presented within a millimetre of its life.

Liberty, London

Roll up, Roll up..........its all the fun of the fair here at Liberty.  Cosmetic Ferris wheels and Ghost trains brimming with product fill this scheme.  The interesting angle of the schemes at this store is their sensitivity to what is happening around them.  Whether these are references to current exhibitions, for example the links with the V&A and the Barbican that we've seen here over the last while or perhaps as in this case (and we're not entirely sure) but David Essex is performing 'All the fun of the fair' currently and so we are making the connections ourselves here.  Unfortunately, there are no bearded women, Siamese or tattooed mannequins, strong men, unicorns and all the other freaky stuff we all love to tut-tut at but secretly enjoy tut-tutting at.  No hairy Mary from Borneo that it transpires is actually a monkey, no fat boy from Peckham, the Lion faced lady, Lilliputians (historical references) or other side show novelties that we are so sensitive about, and rightly so.  Ultimately, of course, its not all about the show itself, but very much about the tale you tell.  Anyway, as usual, the team have added in their own angle on the narrative and naturally the execution of the schemes is the usual perfection we all expect from this brand.

Penhaligon, London

We're always intrigued by these huge bottles in the windows of Penhaligon.  Historically, of course this is the kind of scene one would have been viewed in many high street chemists' windows right up until the 1980's.  There is also quite a lot of discussion about the reason for this.  The use and purpose of what were called Dispensing Bottles were both decorative and an indication of pharmaceuticals being sold.  Traditionally these out sized vessels were known as carboys and used to prepare tinctures, and placed in the pharmacy store window as an indication of authority of the purveyor concerned, although ultimately these vessels were purely decorative.  While we don't seem to view these kinds of schemes that often, this is a wonderful nod to the past.  At Penhaligon, the brand have also used background images in a repetition format which supports the content of the in-store product range.  Great work..! 

Selfridges, London

We adore what the guys are Selfridges produce through their windows, particularly when there is a clear message being promoted. The influence of what they produce is of course quite immeasurable, although what we do know is that if they didn't do what they do visually, sales of merchandise would drop accordingly.  With their almost Fine Art-like approach to their schemes, which entertain us, interest us, draw us in and so on, its hardly any wonder that these guys are at the top of their game.  But, could it be higher still?

Fine Art, as a discipline which is perhaps produced with the intention of stimulating thoughts and emotions, has historically been often quite difficult to comprehend and of course was often the preserve of the wealthy or at least the very well informed.  Through its various forms, media and styles, as with store windows, it communicates,  can promote some kind of social inquiry, possibly some form of propaganda but ultimately, and certainly in this context, promotes commercialism.  While the activity of association with Fine Art generally, remains almost wholly with that of the wealthy or well informed (unless you visited a gallery recently?), the understanding, or at least appreciation can be experienced by all.  After all, looking is free.  Communication of these commercial concepts, such as presented here, remains at least for us, the key element which bridges the crevasse between the wealthy (although we are not suggesting wealth brings automatic understanding) or the well informed and the rest of us.  So why does no-one do it?   These kinds of schemes here, as perhaps with performance Art or perhaps conceptual Art where the idea itself can't be bought or sold, understanding what we see is ever more important.  We can wax lyrical about what we think we see, although  perhaps what we see can only be really viewed as fluff 'n' stuff if it doesn't actually mean anything at all, right?  So few brands / stores (if any at all) actually seem to record their own schemes and publish them on their websites with some form of explanation.  Why is this?  Do they know themselves?  Does it mean anything anyway or are we're simply attempting to intellectualise something which actually isn't there?

VM & Display Awards, 2011

Image Copyright Melvyn Vincent.

With the kind permission of Retail Focus Magazine we are able to include a recent mail shot which we thought would be of interest to you.  As the deadline for the awards has been extended until 19th August 2011, why not submit your scheme from this year for the awards?  The Awards take place on 7th October, 2011.

With the 7th annual VM and Display Awards fast approaching, Retail Focus catches up with event organiser Andrew Colclough in this promotional e-mail to find out how the judging process works and what retailers can expect on the big night.

RF: How is the event shaping up for 2011?

AC: Unbelievably well. All sponsorships have been taken and the event is going from strength to strength. We look set to match last years attendance of 480, which in fact is a total sell out.

RF: How does the sponsorship work?

AC: I'm glad you ask as I would like to take this opportunity to explain the involvement that the sponsors have. In fact, it was mentioned to us only the other day that it seemed the Awards were supplier led. This could not in fact be further from the truth. A sponsor has no influence whatsoever in the outcome of who is short listed and who indeed wins. Sponsors are not on the judging panel and judges are never informed as to who is sponsoring which Award and indeed who entered the project. The involvement of sponsors enables us to put on the best possible Awards for the industry. As you know, we have kept the sponsorship price and table price the same for about the last five years and it is due to the continued support of the sponsors that we have not increased the prices. A sponsor obviously does gain by having their name in front of the industry before, during and after the event. Sponsors can be associated with winners of the Awards but this would always only be achieved on merit and merit alone. The results are formed by an independent judging panel, giving everyone an equal chance and I would like to reiterate that the sponsors have no influence on the outcome of the Award winners.

RF: How is the judging panel made up?

AC: What we try to do is get an unbiased perspective from well respected people across the industry, covering design, consultancy, retail and the media. However, if any judge is involved in any submitted project they are unable to mark these projects and, in fact, lose possible marks by being part of the judging panel. This ensures that their involvement has no influence over the final outcome. We, in fact, keep the judging panel secret from entrants so as there can be no outside influence. This year's judging panel will be published on the night of the Awards. So, as you can see we try and keep this as fair as possible. We would like to thank all past and present judges that give up their free time and expertise to the industry Awards.

RF: Last years Awards took a different format...?

AC: Yes, in fact we opened the voting to the industry to try and see if this was a viable way of judging. We, as organisers, thought it worked very well but after talking to the industry we have decided to revert back to the judging panel as it was felt that this was the preferred method. We also introduced some light hearted entertainment but in hindsight feel it detracted from the seriousness and prestige of the Awards, and so will be refraining from doing this again. But the Awards will still be the event to remember for the visual merchandising and display industry.

RF: On the evening you normally show four projects from each category. How are these decided upon?

AC: These are the highest scoring four projects out of the many many projects received for each category. Unfortunately, if we were to show all projects submitted we would need to run the event over a few days!

RF: Are the fine Award statues specially made?

AC: The Awards are miniatures of mannequins and are kindly donated by Universal Display and previously Rootstein. The very prestigious and glamorous Award is won by the retailer and is an exceptional addition to any trophy cabinet.

RF: So, how do retailers go about winning one of this years Awards?

AC: Its very very easy to enter and believe it or not it's free of charge. Something else that we think is important, enabling every size of retailer/supplier/designer the opportunity to enter. I would like to point out that suppliers can enter projects on behalf of retailers but as already stated it is the retailer that wins. In fact anyone can enter projects providing they have permission from the retailer. There are two incredibly simple processes. Firstly, you can enter by email via www.vmanddisplay.com, which has all Award categories clearly listed. Alternatively, if you prefer, put your entries on disc and post to us at the address listed on the website. It could not be simpler. Everyone please remember you can only win if you enter so even if you have entered in previous years and not won this could be your year so come on everyone and submit your entries. The closing date for entries is the 12th August 2011 but this isn't set in stone.

RF: Have you introduced any new categories for 2011?

AC: Yes we have introduced a Christmas Interiors Category and Most Eco Friendly Scheme/Project

RF: Is it too late to book a table?

AC: We are selling out very fast so if you haven't already booked your table or tickets please contact us as soon as possible on Tel: 01406 359 882 or by email at enquiries@rvmww.com

Desigual, London

We came across this scheme at Desigual over the weekend and naturally were drawn in to take a closer look.  What is the connection between Christian Lacroix and the Spanish brand Desigual, we hear you ask?  Well, it transpires that Monsieur C. Lacroix (apparently he can no longer design under the name Christian Lacroix......long story, but various search engines bring up some interesting information)  But, anyway, this is a hugely exciting move forward for this brand.  Finally, we have an incredible couture designer working with a high street retailer rather than an-incredible-couture-designer-working-for-a-high-street-retailer-for-EBay-kinda-scenario.  The window scheme promoting this collaboration oozes excitement and sophistication.  We love a lot of the product here anyway and to have this iconic designer on board is quite incredible, if perhaps a little Parisian.  We're definitely going in to take a closer look at the merchandise when we get a moment.  The scheme itself with its semi-drawn back curtain, show-girl stylised mannequins add a certain depth to this brand that was otherwise ever so slightly missing, but only just.  The text on the 'chalk board' reads "I was awestruck by the first girl dressed by Desigual that I saw in Paris.  As I watched her, I could recognise in her a member of my own tribe.  It was an explosion of colors and patchwork under the elegant, discreet and always monotonous French sky:  It was fantastic, truly love at first sight" - Monsieur Lacroix.  Isnt this all so incredibly exciting?  Now...........if we can get BHS (British Home Stores) to sell some Galliano we're all on the up......if of course Topshop doesn't get there first.........ah yes.......same company anyway, so who knows?

Lalique, London

Like a breath of fresh air into this brand, the team here have finally installed some plinths to highlight individual pieces of product and dare we say it.....created little hero's with the product.  It took a few pokes to get there but these guys have cracked it.  This looks great Lalique.  Now is the opportunity to move to the next stage and experiment with this scenario.

Selfridges, London

We've been boating at the Truvia Voyage of Discovery with Bompas and Parr at Selfridges today.  Whats so interesting about that we hear you ask?  Well, the roof of Selfridges hasn't been accessed by the general public since World War II.  An enormous 65 years and we were there.  On entering the paper back covered lift near the Chanel concession on the ground floor we were elevated to the top of it all with the enviable views over London.  On leaving the lift (or elevator for our U.S. readers) we were presented with crystals (in order to exchange for cocktails) and information about the pending experience.  Small boats take one across this experience floating amongst the edible and incredibly tasting Stevia plants surrounding the pool.  Apparently Truvia sweetener is a calorie-free sweetener and from first hand experience, dipping Strawberries into it from the floating waiters, it really does taste quite incredible (and it really does...! honestly..!).  We were quite in awe of the experience and adored every moment.  These kind of experiences help maintain this store at the top of the list of places to be and experience that one can completely understand how visitors spend a whole day here.  If you weren't fortunate to receive or buy invitations/tickets to this event we've included extra images for you to enjoy and imagine.

Dunhill, London

We love what the guys at Dunhill are doing at the moment as their schemes are screaming quality at the 'other' end of London's West end shopping zone.  Here we have what appears to be the latest (or first copy?) of Vo Autumn / Winter 2011.  Unfortunately, the PR company looking after the interests of this brand didn't send us a copy so we really have no idea what this is about.  Even the website is lacking the connection between windows and on-line clarification.  Ah well, we're sure a copy will be in the snail mail shortly now that we have mentioned it.  Wont it? ( could we have two copies please?)