trend journal Visual Communications Fall 2016 rylie Healy
Dvf London Windows May 2016
The display captures two style icons of the 70’s who added to the foundation of fashion as a whole and celebrates 100 years of British Vogue. Diana Vreeland, who was editor at large for British Vogue known as the ‘Empress of fashion’. Diane Von Furstenberg an American fashion designer who defined the style bohemian chic. The two were setting the standard for not only the fashion industry but in pop culture as well. This display evokes a sense of remembering our roots and the important icons with them. For the props used, each one had a significant meaning to the display. Starting with the bright but playful magenta pink hinting to the originality and history of the display. Your eye then pulls you to the larger than life letter addressed to DVF from the Late Diana Vreeland. From Diana’s scribbled handwritten signature to the letter itself that encapsulates her personality. Behind it are six photos even more momentous to the next, displaying British Vogue and DVF in collaboration. Each one being framed black and white to once again add to the originality. Moving your eye to the elegantly dressed mannequin, radiating the bohemian chic of DVF head to toe. The set is both simple and alluring to the eye. Its minimalism and sophistication allow the viewer to recognize the theme instantly. Being able distinguish the theme is an element I personally have been struggling with since making my first mood boards. I always have a big idea in which I want to tell a story but struggle to condense it into a few words. I’ve found with our class discussion on the subject of first exploring inspiration for the windows in Morris hall, it was said “to challenge the obvious” which is where this display resonated most with me.
Southpark Mall October 2016
While on our break due to the weather circumstances I visited the Southpark mall in Charlotte, NC. Knowing the mall had a few high luxury stores, I took it as an opportunity to explore the window displays and the experience within the stores. I was able to take in each stores personal aesthetic and energy. The first being Louis Vuitton, who’s window display didn’t necessarily pop out to me. The size definitely did since it was floor to ceiling but, I did not see the brand come alive. The spherical random sized balls took up most of the space in the midst of them you see a handbag near the center. They had two windows like this where the space could have been utilized more. My trip inside the store was very brief after associates in the store shoved me away for taking of photo of the displays. When entering Burberry I felt a jolt of energy seer through me, the music being indie but not mainstream, the lights were dimmed enough so I didn’t feel as if I was in a department store and each employee dressed head to toe in the London based brand. My mom and I wanted to be there even if we weren’t planning on purchasing anything. These all being elements I take into account reflecting to the exclusivity of the brand. Going near back towards the Heritage trench coats where we greeted warmly by associate Alicia. As I began to try on the fit of different coats she made sure to give us the best care, leaving us with her personal business card. It was a memorable experience, showing a lot for Burberry’s authenticity. By having a strong presence on the exterior (the window display) and interior (customer service) each hinders the importance of the overall experience. I find customer service over trumps a stores visual display in order of importance because that is where the foundation of the store lies, within the clothes and lifestyle which surrounds the brand.
Storey studio november 2014
As I was researching for a group discussion, I came across a recent collaboration with Everlane and Storey Studio to create a shoe park. Not only was the park itself displayed artistically but the overall use of spatial design challenging the viewer. I researched further to find creative director, Robert Storey’s refreshing take on visual spaces. As well as his client list such as Hermes, Kenzo, Louis Vuitton and in 2014 collaboration with Nike. Even being almost two years old it still is relevant when looking for inspiration. “Using light as a narrative we created a journey through the space that echoed the collection and embodied the Nike woman.” The excerpt from Storey Studios website, describes articulately the knowledge of spatial discipline and use of space Storey takes into account. You are challenged yet immersed within the environment not feeling overwhelmed but engaged. Being able to engage the and excite the viewer in this type of way, through space, is outstanding. I can connect with our class discussion on how critical placement is. One must think how it will look physically and how it is perceived to viewer, emotionally. “We created an artistic and immersive space that evoked femininity in an urban context. Taking soft colours and juxtaposing them against the angular language of the structure we directly represented the collection within the cut outs of the framework. Iridescent light was used as a narrative throughout the four spaces, changing colour to guide the viewer from collection to fitting room to NTC training space. Materials were used in a playful and representational manner always bringing the viewer back to the core purpose, sport.” The website displays the floor plans in planning this piece which I really appreciate because it shows the artist wants us to know the planning and so forth that went into it. I hope artists like this will continue to push boundaries of spatial and set design within the industry. Having more retail stores collaborate in making a store interactive will grow customer relationships and allowing the viewer to be truly connected. I look forward to see what more is to come with Storey Studio and become more intrigued if this type of display is something I’d like to do in my career.
FREDERIC MALLE OCTOBER 2016
When I came across an article from wallpaper.com, I was immediately intrigued with the image of symmetry and woodwork. It was Frederic Mallic’s most recent work in his fourth boutique in Paris. He is known for his perfumes and collaborations with artists like Dries Van Noten and Pierre Hardy. Mallic was immersed in the world of parfums due to his grandfather being the founder of Parfums Christian Dior. Acquiring knowledge over the years he defines himself as an “evaluator” meaning a specialist who has a deep understanding of structure enabling him to critique a perfume’s composition. Even though he mainly focuses on fragrances, he also has always had a high interest in architecture. While he is usually known to have a ‘clean modernist’ aesthetic when interior decorating his stores, he wanted to do something different. Reaching out to Jakob & Macfarlane architects whose work consist of ‘curvilinear forms, bulges, and sinkholes. It was their ‘Hive’ book shelving built for his bookshop in Florence that caught his eye. The store features mirrored floors, protruding islands and really just an ode to wood itself. This is beyond anything I’ve seen on the interior of a store architecturally. The way your eye gravitates from floor to ceiling, taking in each handcrafted display. I find it somewhat overwhelming at first but couldn’t help but become enamored with every detail. Once again artists from all spectrums collaborating with one another to further the customer experience and showcasing of the product. When it comes to showing the product in store whether it be a designer dress or bath product, the customer may like the scent or style but wasn’t immediately drawn to the product. This is where they lose the customer. If brands stepped up their game by just adding a bundle of lavender next to bath product to give it a personalized effect, it could attract more clientele.
Patrick shearn august 2016
This past August in the middle of Pershing square, a five acre park in the center of downtown Los Angeles, stood Liquid Shard the latest collaborative art project by Shearn. The park was seen as an eyesore for the past few years as it lacked vibrancy and creativity. This installation was in collaboration with students attending Architectural Association visiting School in Los Angeles (AAVSLA) summer program. What better way to re-vamp the square than with thriving artists in the city.
The 15,000 sq ft installation takes the shape of a mesmerizing iridescent wind activated sculpture. It is made of two layers of holographic mylar connected with monofilament allowing it to flitter in the wind. The layers hover between 15 and 115 feet above the square, giving the impression of a million tiny things moving in unison. Shearn told Architect Paper, the inspiration was derived from the swarm behavior which schools of fish and flocks of birds engage as they move in unison.
During the course the students of AVVSLA developed their own versions of the installation with the class coming together in the final weeks to work on the full scale version for the square. Projects like these are ones which should and I feel will be occurring more often. It’s really amazing when well known artists in communities team up with students to make installations like this one but also they are willing to do so. I feel installations similar to this, could be heavily utilized by luxury brands like Louis Vuitton or even Reformation to draw in more customers. Getting the customer come into the store is the first and most important element in creating brand awareness. Furthermore, if brands show an interest in collaborations with other artists not just within in the industry we will continue to blur the lines between different industries becoming one.
gwenael nicolas november 2016
When we think of Dolce and Gabbana were reminded of the purest form of the word Italian. Everything from their ad campaigns to the latest collection breathes of classic Italia. So, when designers \ Domenico Dolce and Stefano Gabbana wanted to create a new selling strategy for their stores, they wanted the stores to showcase a new energy that would once again excite their passionate clientele who travel anywhere from Los Angeles to Dubai. With this they planned to collaborate with different architects for each one of their 12 flagships to a create a new experience. Starting with their hometown Milan. They chose Gwenael Nicolas, Tokyo based architect who had helped create a theatre like experience for the Tokyo store in August of this year. The shop unfolds into a 3-story 18th century store palazzo. Looking up you see where Nicolas cut a hole through the 8 meter high ceilings. With 16,000 square feet of selling space the architect stripped away the heavy decor and put in place a pristine aesthetic language based on clean lines. He wanted the space to be as sacred as a museum. The architect says, ‘When Renzo Piano makes a museum he creates a skin, a beautiful context. If you were to remove all of these furniture cases, you could put a Richard Serra sculpture here and it would be totally appropriate.’ Even with taking the rich heavy factors away Nicolas still stays true to the brands rich iconography. When visitors enter they brought to a halt by a larger than life 18th century gold leaf mirror with a matching table, which are so outrageously proportioned and classic Sicilian no other brand could contain these items. While the rest of the shop is ordained with select chairs and loveseats by Gio Ponti and Ico Parisio. As well as using organic materials like lava rock floors to create a smooth floor of cool to the lush Brazilian turtle green marble wrapping the walls and staircase. These materials are crucial to emit the space and energy of the brand. It was such a wonderful idea for D&G to come to this conclusion of their stores to convey a sense of decadence and classicism by going back to the roots of the brand. Their customers or anyone else who enters the store can allow them to feel as if they’re in another dimension almost. I feel these factors more luxury brands should gravitate towards because of how quickly we are adapting, as a society, to experiences.
isa genzken OCTOBER 2016
As I was reading this month’s issue of with Supermodels Gigi Hadid and Kendall Jenner who graced the cover, I was drawn to specific article which caught my eye. The article discussed German artist Isa Genzken as she explored shifting identities in fashion. She explored this in different ways with mannequins. Showcasing a range of designers in a less traditional way than they are normally used in the retail world. Genzkens inventive work has been exhibiting her work over the past 40 years. In 2013, establishing herself as an artist in the US after her critically acclaimed retrospective at the MOMA in New York. For the exhibition she created her first sculptures Schauspieler (Actors) with props and accessories which held meaning to her. Being positioned in various arrangements suggesting self-portraiture and reflecting consumer culture. Since then she has produced many of these shows, which is where we come to her latest exhibition exclusively for W. Instead of using her own pieces as usual for this commission she received runway pieces that were sent to her. By reconstructing and deconstructing, implementing her own aesthetic, this work is some of the most weirdly intricate and visually compelling work I’ve seen. One of the mannequins displayed had a white tall Doc Marten boot on one hand and what looks like a visor on the other. The next mannequin, a toddler boy dressed in a men’s Burberry jacket tied loosely at the chest with a pair of funny glasses and mustache set at his nose as well as what looks like a lame piece of paper but Genzken utilized it as a headpiece. These are just a few of which stuck out to me. The others being more abstract and odd to the next. I truly admire her sense of spontaneity and teeming mind. The way she placed each one in front of a work in progress scene, really sets the tone making one’s mind wander. Seeing this and being so drawn in, brings me to the conclusion of utilizing artists like these in eclectic stores like Opening Ceremony because it allows the viewer to question how mannequins should be dressed.
thakoon november 2016
Even though Thakoon Panichgul has been immersed within the industry for many years he had yet to open a brick-andmortar store up until this month. It was interesting that he decided to go the opposite way in expanding his business by doing e-commerce then opening up shop. Not many designers do it that way. As well as allowing his business to become a multi-channel experience. By permitting his clientele access to inventory, which he updates every two weeks in limited quantities, he pulls away from fast fashion brands making his brand unique. By collaborating with SHoP Architects Panichgul was able to establish an ‘aesthetic of American sportswear with a timeless simplicity.’ Which is exactly what he accomplished in the store. From the raw American white oak structure when you walk into the fitting areas which simplistic theatrical aesthetic. Every major important to the next. By adding a sense of allows the customer to feel welcomed yet
that grabs you right resemble almost a to minor detail is as serenity and calm it exclusive.
I think the design and layout of the store hints to an industrial and very modern aesthetic. Sometimes when the designer has a hand in everything, the theme may not pull through as eloquently as they would like. But, this is not the case. If more designers pulled back and allowed air within their stores, say ALLSAINTS I think it would really make a difference in creating a different and less cluttered store experience for the customer.
windowswear.com archpaper.com storeystudio.com wallpaper.com .fredericmalle.com google images
Works Cited