Window Signage and Type
Handwritten fonts in use??
It is frowned upon to use handwritten text for a ticket, it always looks unprofessional.
Lighting plays a key roll in the execution and versatility of window displays. Every window has to consider light in one way or another, wether natural, colourful neon signage or artificial lighting, with the intention to emphasise the beauty or visibility of a product.
The process of lighting should be planned at the same time as the window (p.90)
Graphics and Signage
Needs to be considered throughout
Designed to interact with the scheme and products
Signage should be prioritised in order of importance, too many signs or graphics can lead to a visual “over-kill” (p.92)
Contrasting colour is needed to increase legibility
What would happen if type WAS the window display? Windows are not restructured to fashion or beauty, how would this work for a product store? or a product-less store??
- The suffrage posters in window displays as well as the colour scheme
Window Calendar
Plan some windows well in advance
Luxury stores like Bergdorfs plan some windows months in advance to give time to exquisite execution.
Careful planning is needed to give the buyers and designers time for the pieces to arrive (or even be created) in time.
“I do not like to commit to something a year away that might not be so topical when it arrives”- Alannah Weston, Selfridges. Selfridges window team works on a 6 month calendar to keep the customer up to date on trends” (p.98).
-Does this correspond with fashion weeks??
Graphic Design uses terminology such as ‘user’, ‘viewer’, ‘client’ or ‘target audience’, many overlaps occur in window dressing terms, yet they target the ‘customer’ with a ‘scheme’ rather than a concept- despite all meaning the same things when broken down.
Traditional graphic design and window dressing has the exact same process when design decisions always considered for the most appropriate reason.
A chinese New Year or Diwali may break the traditional brand aesthetic/style/guidelines of a company window display (p.100)
Similarities with business - (Fashion Marketing book)
Maintenance- is an issue with window displays, some materials collect more dust so will require staffing.
Budget- May need to collaborate with artists, sculptors, typographers and graphic artists to achieve the desired outcome. This is only within some companies reach, therefore compormises need to be made, and the artwork and ‘show quality’ be reflected through the selected pieces. This act is making the product the sole feature, communicating clearly to the viewer. This style, if done effectively, could be accessible to a trained window dresser aware of the Reimann School.
‘The Future’- External influences and what it could lead/develop to.
(Modernist essay)
Alannah Weston (Selfridges) believes the public will never stop admiring window displays, and they will always go to the high-street for inspiration.
-However! With increased online shopping and less interaction with physical stores, communication displays or any kind may need to be taken to new platforms to fulfil their purpose of art working a brand, This could include interlinking campaigns, internet marketing and user experience, photography, video’s of store set designs and seek peaks into their world so utopia is still there and the viewer can be transported to alternative parts of the world. (Fortnum and Mason).
Escapism is the aim for some, which is now possible due to the internet and the reproduction of image.
A three dimensional window display will always be more powerful than a 2D Vinyl or TV. The viewer is allowed to fully explore the scene and full breadth of the windows communication.
-However! Modernisation could lead to windows being replaced with screens in the attempt of clearer, faster communication. This would reduce the budget after instillation, and designers could change campaigns quicker and easier but this is not window dressing.
A mannequin or physical product is currently required, yet if communication would be easier achieved by a ‘Form Follows Function’ approach, is it possible to remove the object all together? This may be (and is) a route service companies such as Thompson’s or Virgin Media take, communicating a clear possibility and fantasy to the viewer e.g.: a dream holiday or super-fast broadband! Just like interface design, they are trying to sell a feeling and communicating that through a piece of screen in the window.
Just like you pay for what you get when hiring a print designer or architect, the same goes for window creation. Budget is a huge factor and has the potential to effect the final outcome of the dispel.
This essay explores the possibility of the future accessibility of window displays through digital interaction, whilst considering the true ethics of window displays. Bergdorf Goodman pioneered the way in luxury window dressing as a reflection of their high end clientele. It is unfitting to the brands position in the market and couture reputation. These exstablished pioneers, such as Bergdorfs, Harrods and Selfridges will likely never move away from a 3 Dimensional, explorative display, as restrictions such as budget and man-power is not an issue.
Fortnum and Mason case study (p.104)
“The brands image is paramount when designing a window scheme” “it should embrace it”
Fortnum and Mason are a luxury food supplier with aristocratic routes in London History, establishing 1705. Mentioned by Charles Dickins “all the hampers fly open and the green downs burst into a blossom of lobster salad” (p.104)
Paul Symes- Creator of ‘cabinet of curiosity’ window display scheme, Dec 2006
The scheme emphasised grandeur and related conceptually to the 18th century when the F&M team were travelling to all corners of the globe in search of the best food and beverage.
“The cabinets eventually will become as diverse and eccentric as the artefacts they held” (p.104)
-collaborated with a prop maker
Generally, stores considered merchandise and designed around that. Constant changes are being made throughout the design process and photographic documentation is taken at the different studio’s, so “each party has a full knowledge of the detail under discussion.”
Often works best through trial and error, adjusting and developing the design as they go within a creative team.
Once a clear picture is in mind, Symes calls a meeting with his team to “present the concept and show them the props, which will now be in the final stage of production”. This design process is much different to Bergdorfs and that of traditional Graphic Design. The team is only involved last minuet, making it quite a ‘one man show’. One will assume that critiques will occur throughout the ideas and research process, making sure the final scheme/concept selected is the right one.
“A brand such as Georgio Armani relay on architecture and store design to promote the brand” (p.179). Much more expressive and long term. Classic, much like the brand. Stores like this promote a simplistic, modern attitude towards displays and only really incorporate transferable graphics in the cosmetics area. The colour emphasises the brands identity “bold, colourful and striking” can be “as powerful as window display” (p.179)
Stores concept fuses on Italian Chic and Oriental grace, reflected through overall design and other attributes such as lighting.
Mannequuines
There was a trend in the 1980’s where other props were used to carry clothes- could this be more inventive or more irrelevant? It needs to be fit for purpose so often a mannequin is needed.
“In the 15th century mannequins were made to represent ‘The Madonna’”, they were always “made out of papier mocha and leather and was very primitive looking”- could this suggest the oppression of women through retail merchandise? (p.182)
Pioneer of fashion and society related mannequins was Adel Roostein, best 1956 predicting growing 1960’s trends.
The French created the first mannequine in the 1800’s. The Parisian House of worth left additional clothes making additions to give a clear idea of tailoring at the time, and even “nipped the waists to show corsets and bustiers” unlike before p.182. This invention and effective modernisation would not be possible without the need, meaning without displays.
Mannequines 1960’s onwards conformed to societies ‘ideals’ of perfection, making the mannequins skinnier, taller and “less like someones mum”. By perpetuating these ideals of female perfection (the male gaze) (to-be-looked-at-ness) contradicted with female empowerment. The mannequins are no longer portrayed as submissive creatures, simply “women in control of their own destiny.”<-bergdorfs quote.
Mannequines of the 1920’s, 30’s and 40’s were “torso’s of the moment”. Fashion designers wanted to clearly show their designs on the ‘modern woman’ of the time as a selling tool, so tried to visually target them by putting it on their bodies. As upwards comparison theory and freudian psychology suggests we upwards-compare and repress desires, these desires now had a way to be shown. What we wear and everything it embodies about us, projected on the ‘idea’. It suggests that if we buy what they are offering, we will be as perfect as them too and we are one step closer to idealism.
“The mannequin should emphasise the clothes movement and versatility”- clearly and legibly. Bergdorfs tailor downs to the mannequins to achieve a perfect fit. Lesser retailers use pins to artillery existing items, yet it is imperative they are never seen.
“Visual Merchandising” is a sub-category of graphic design, taking into account windows, fixtures, in-store displays, lighting, props, mannequins and P.O.S Displays. Its purpose is to essentially create an idealistic selling point for consumers and potential buyers.
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