I found this article on the WGSN website and i thought it was a really interesting read, and it gives a lot of useful information about window displays.
Gary Card is a set designer and illustrator who has built up a remarkable portfolio. He has worked with Uniqlo, Dover street market, Topshop and Adidas by Stella McCartney. He has a fantastic eye for colour, texture and aesthetics that makes each of his projects so spectacular.
He recently completed a project at Stella McCartney’s Bruton Street store, where he had to create two pieces of art in the window of the shop, whilst being watched and admired by customers.
How did this project with Stella McCartney happen?
Stella McCartney approached me after seeing the shoot I did with AnOther Man, really excited with the idea of me making the window as people watched – so that it becomes more of a process. I was given the freedom to create whatever I wanted, but as Stella was really inspired by the shoot she wanted me to work in that style.
So to keep me challenged I moved it on a little, creating something just as beautiful with a naive handwriting. Stella wanted it bright, vibrant and colourful. The pictures are inspired by children and things that they love – animals, dinosaurs, superheroes and fantasy. I wanted it to be playful, fun and sweet.
Where did the idea to work live come from?
Stella likes the idea of people seeing the process and enabling people to watch. I mean the amount of attention that it has generated from me just standing there has been amazing.
I think designers and retailers are now looking to do something a little more creative and forward thinking in its windows. I remember the Orange store having a massive phone in their window that you could touch and interact with. Interaction is definitely an idea people are playing with a lot more now – which I think is great. Topshop did it with Kate Moss and now im doing it with this.
Does working in public bring added pressure?
No not at all – it actually spurs me on. I really like it, because being watched you know that you can’t mess up. It keeps you motivated, because if people are watching and you stop then it looks really bad. I didn’t even stop for lunch, I was drawing and painting for the entire eight hours.
I also really enjoy the performance aspect, you know that something’s going to get more attention, so you really play to that. To be honest I love the attention.
What materials are you using?
I was drawing and painting on fully functioning wardrobes that were made especially for this project. The first piece was drawn completely using pencil crayons, the timescale of this project didn’t allow me the time to map it out, there was no time to stop and consider what I was doing – but that was half the fun – I just had to do it.
There is a nice naivety you get from using pencil crayons that Stella really responded to. In terms of texture the overlapping scribbles and line work is really nice with interesting tone and texture from cross-hatching. The second piece I used basic house paint and it was more about block colours and creating playful icons.
What was it like to work for Stella McCartney?
The project was a real pleasure to do, the process was very fluid and very organic. Stella is very demanding and knows exactly what she wants and is not prepared to compromise, but she does some fantastic stuff and I am happy to be part of it. I am really happy with the results, the first piece I think is one of the loveliest pieces I have done in a while.
You did work for Stella’s New York and Los Angeles stores. What did this involve?
Yes, last season. Again, Stella was inspired by a shoot that I had done with installation foam, and she asked me to replicate it for the London, New York and LA stores. I directed the project from London. This is a good example of some of my weirder, darker work, which involved stacking foam blocks which looked very raw.
How important do you think art and interaction is for visual merchandising?
I think it is hugely important. Art has the potential to add credibility if there is a reason or weighty influence behind it. That’s definitely what I try to do. I mean if I am going to peddle products, it’s nice to give it a little bit of soul or energy.
In the last year we have seen a lot of interactive events, this is just the beginning. I think there is something really lovely about interaction. Because of budget constraints etc being able to go back to basics and do something as simple as just draw on a wall is quite brave and actually a statement in itself.
I think creative simplicity is important. I mean at the moment, because of the state of the economy I think people are scared, perhaps shy to do something creative and elaborate in their windows, as it’s almost belittling the current climate. This may also explain why already the Christmas displays are much simpler than they have been in the past.
How would you push the boundaries further in terms of art and windows?
Wow! Who knows? I would do massive inflatable elephants. I love what I do, but I always want to push it further, but clients are often scared and play it safe to not upset the customer. If I had it my way it would all be bonkers – it would be a cartoon carnival mania.
Are there any other designer collaborations you would like to be involved in?
Too many to think of - mega designers such as Alexander McQueen and of course Vivienne Westwood. I would love to do something for Selfridges and Barneys New York. My ambition next year is Tokyo – I really would like to make a big impact over there.
