I love the city of New York, I’ve bee there three years ago and Iwould have never wanted to return home. I think NYC is the world of the advertising and of visual marchandising, especially for its buildings, for its shops, for its various kinds of people… so I’ve decided to write some news which I found interesting about its shop windows.
This holiday season, Louis Vuitton’s Maison in 5th Avenue New York has been wrapped up in vinyl display of Takashi Murakami’s contemporary Monogram Multicolor pattern. The installation was completed on November 9, 2008 and had started a week before .
The Big Brother-esque window display has also been replaced with a more colorful and festive holiday theme with large monogram flowers glowing madly with bags and accessories in their center.
This week, in the window of Paris department store Printemps (Paris’ answer to Selfridges) Karl Lagerfeld unveiled Chanel’s Christmas wonderland.
The dream like scene sees hand-made puppets of legendary Chanel designer Coco Chanel frolicking in Chanel’s imaginary Christmas dream garden. The garden is filled with 2,500 yellow, gold and black Christmas baubles, while the Coco dolls, fly through the air (on frilled parasols) thanks to the technology of French animator Jean Claude De Hix.
Each puppet is stylishly attired in a modern, almost space age take on the classic quilted Chanel suit and every puppet has Mademoiselle Chanel’s iconic blunt fringed bob.
The window will be on display until the new year.
It would be fun if you could post your local CHANEL boutique’s Christmas windows as well!
Here’s the one unveiled by Karl, at Le Printemps department store in Paris:
This is a project which took place in Venice, in November 2008, promoted by I Love Tourism, the Bevilacqua La Masa Book Shop.
Each of the 4 shop windows is allocated to one designer or studio, invited to use the space as they wish for the purpose of self promotion. Instead of usual shop windows, ILT has small galleries of design.
With this project the shop underlines its concept and purpose: to promote young designers and show that Venice is still capable of recognizing and celebrating innovations as well as actively contributing to the discourse of contemporary design.
4WINDOWS is an open dialogue on aesthetics between designer and passer-by, a changeable installation where the object is not only a product but an idea.
Sparks and flashes… the white snow crystallized by Swarovski falls magically on Rinascente of Milano. People of Milan can see 12 Kilometres of crystall that show new Christmas proposes. The new Christmas collections are presented as real jouelles. The scenes which appear on the store windows rievoke moments of Christmas holidays, scenes of happy families that are skiing, romantic moments under a sky polluted by stars, in a winter cold and full of snow, so the real Christmas atmosphere which all of us are dreaming to live.
Another time windows displays have the role of create an atmosphere which lets people dream and be happy, walking through the streets of Milan and simulating ideal Christmas flavours.
Today I would like to write something about the history of the Window- dressing. Surfing on the web I found a lot of informations, in particular I’ve understood that this particular field has been object of different, in particular social and psychological, theories, allover the XX century.
Let’s take a look:
In 1900 is published the first novel about window-dressing, Frank Baum, creator of Mago di Oz, was its author: he encourages window-dressers to learn techniques of lights and colours and to study the effects they have on senses and perceptions; he projects spectacular shop windows in which products disappear letting the scene to the scenography.
Émile Zola is particularly attracted by new forms of spectacularisation of goods which are used in the big cities.
Window place in August Macke paintings becomes an irreal space represented through the rules of the intersecation of different dimentions of cubism and futurism
At the beginning of the twenties, Henri Glévéo, windows dresser and writer of tecniques of exibition, makes a theory about “the power of suggestion through the object”: french style consists in isolating an object or the same kind of objects to obtain a “dramathic” effect (the isolated product will product a silent but at the same time sure suggestion).The power of suggestion through the object is the most important new of nineties window-dressing.
Dadaism and Surrealism work on the secret life of things, letting them become amazing and seductive.
Today windows displays, important instruments for advertisement, tend to be clear and simple: less things decorated and shown with elegance. The target is spectacularisation of goods , finalised to sell.
Actually this disipline in its evolution has become a scenography of the showing places. Today a shop window attracts people’s attention through a sort of dialog, through atmospheres with symbolic inspiration which animate the place. The use of scenography in windows displays represents the possibility to eliminate the “sense of static”, to evoke the movement which let people think to a situation of pleasure, or to let the mind of the designer free to create his interpretation of the situation.
Even if Windows displays are created through their author’s sensibility, they “live” through the lenguage of love and simpathy, where the ability of comunicating is obtained rievoking things which belong to daily reality. In fact the READY-MADE, definition elaborated by MARCEL DUCHAMP, make the difference in a window display: the thing which is used every day, selected by an artist, is not estethically modified, and its importance is determined by a mental process.It’s not a thing selected for its estethic features. From this interpretation Duchamp contributed to identify a methaphore to the modern trade.
There is a radical change in the act of buying: the sell becomes a sort divertissement, buyers become spectators of an activity, shopping, which reguards pleasure and evasion sphere instead of economic rationality.
Indifference is the most eficient therapy against the danger of being overwhelmed by the modern city: only assuming a blasé behaviour, man can defend himself from the nevrothic ansiety which threat his wellfare.
In the modern city the ostacles mix themselves with seductions. One of the most important theme in the rapresentation of the city is “the réverie”, ithe dream of the person who contemplates windows displays, the revelation of the unconscious world.
I was looking for some news about Christmas windows displays when I found a site with a lot of photos about strange (and a little bit crazy) shop windows in London, in particular in a very big shopping centre called “Sellfridge”. I suggest you to take a look….they are very interesting and funny!!! I hope in Milan will be installed something like that ‘cose I think it would be a success!!
This year for the famous boutique in Galleria Vittorio Emanuele II in Milan and for the Store in 5th Avenue in New York the new creation is an exclusive installation which concentrates and emphasises Prada interpretation of Christmas, in two of the most important shopping cities.
The installation “Techno Cave” or “Carillon” represents a modern and oniric interpretation of a urban christmas carousel.
The structure is composed by mirror surfaces with boards decorates by little iron studs. The product is shown on two column elements which have a slow movement, while a beating light gives a perception of soft dynamism. In a single minute the carillon makes a complete rotation thanks to a sophisticate mechanism which moves the dummies and the showing structure. The final effect is a carillon one in which colours and variety of products unificate with the installation in a game of refractions and atmospheres.
Walking through Milan’s streets, in particular passing in Piazza Cinque Giornate I’ve always been attracted by the building which contains the Coin store. I think it’s very particular for its design and structure. I think it’s unique in Milan. The facade is completely see-through and windows displays are composed by a double glass window. On the building you can see the biggest video-wall in Europe which tansforms the surface in an interactive media which communicates directly whith the city, emphasising the role of Coin as a point of meeting and multiplaying.
INTERNAL DESIGN AND WINDOWS DESIGN ARE ALSO ECONOMIC ISSUES
Distributive organisations have been affronting a problem in new strategies of company marketing: product which has to let it see and sell by itself. There is a particular discipline, called Visual Merchandising, which regulates this problem; this is an economical issues which crosses marketing and sociology. I am really fascinated by it also because I’m doing an economic university, so I would like to spend this post considering this new aspect.
Visual Merchandising let products “talk” to customers in an interesting and attracting way. It developes systematically all the opportunities offered by visive sell. It inglobes every kinds of sell-out points, so it has become an unforgettable professional part for all people want to sell things.
Visual Merchandising, required always more and well paid, is a true creator of desires: windows displays do not only attract public attention, let enjoy or feel particular feelings, but it must make the customer buy things.
Windows are essentially a three-dimensional advertising space for
The store. It is usually the first point of communication with the
customer. Good window displays will enhance communication of
the product, brand and image. Equally the window can
communicate a viewpoint or trigger an emotional response, giving
the customer a reason to enter the store. Stores only have a few
seconds to get the customer’s attention: “theatrical windows or
windows with humour can be the most effective way of
transcending the barriers of both language and budget” (Paul
Smith, fashion designer).
This does not always have to be a costly
operation and effective windows are windows that show
imagination. Use of the simplest items can make for a dynamic
statement and aid in the sales of product.
In the last few years the sell out point has been considered by scientists of the discipline a strategic source which contain the “plus” that make the difference.
Visual merchandising regards also producing companies which are always more interesting in a visive optical, so in doing visual merchandising in the sell-out points where their product are.
The use of this technique in every company is purely strategic, because in guides the customer through obbly visual views and because it’s a distinctive element in competitive contests.
Visual Merchandising is at first a way of thinking about how to give a special value to the product, to family of products, to the product store. Visual art developed in America from 60’s and today has become an important point to increase the sell-out, using the product in the better way.
It’s a system of methods which contribute giving to the product an active role in the sell-out process, thanks to its presentation and to its contextualisation; the target is to optimise the inflows of money.
Merchandising can be riassumed in a group of activities structured in five big areas:
Classification of products;
- Lay-out of the instruments: complete setting of the sell-out point, decision of the way of showing products, organisation of fluxes of customers;
- Lay-out of the spaces;
- Display: way of distributing products and families of products;
- Animation of the sell-out point.
So it’s necessary to decide how to show things in particular exhibiting places, what is more or less important, what to remove from the assortment, how to judge the impact of these decisions on the customer’s behave inside the shop. All these elements have an impact in the shop image, so on the store loyalty.
Visual Merchandising reflect the idea of the store as a “theatre of destre” which provokes the creation of an emotional effect on the consumers: the whole shop becomes a true window display.
The shop contributes to the process of selling-out through its capacity of communicating, letting people feel emotions, through an identifying style. The moment of consume is not only a moment of rational nature: it’s an istintive moment, in fact it’s important to see, touch, to feel the product.
The sell-out point, acting above all through merchandising and through advertisements in-store, represents a way to communicate which is the nearest to the customer, the real point of contact between people and the store.
To distingue themselves from the mass and to have success,is foundamental to give the customer the opportunity to live new experiences, welcoming him in familiar and involving places, rational spaces which are able to attract their attention for their particular personality.