Northern Flower is a boutique flower shop based in the Northern Quarter of Manchester. It is well known for its contemporary and eye catching arrangements. As florals is something that often inspires my work, I decided to contact Northern Flower and ask them a few questions about their window displays.
For your window displays, do you work from a brief, theme? And if so, who supplies this?
We make up our own theme / brief
Do you have a specific team that does the window displays?
As we are a small business we do all the window displays ourselves
Can you describe your window display at the moment?
The window at the moment is a Kath Kidson inspired theme, lots of bright colours for spring / summer
What kind of materials and techniques have you used for your window displays? How do you source these materials?
We use our floristry techniques, such as using bows and bouquets, material wise, we use fabric sourced from wholesale suppliers, lights from various suppliers such as ebay / local shops
How long does it take for you to complete a window display, including planning and construction?
Construction takes around 3 - 4 hours, this includes taking down the old display, cleaning the inside, and constructing the new display ( also stopping to serve any customers which may come in)
Do you have any tips on planning and creating window displays?
Our tips for window displays are:
* less looks better
* ensure it is all priced
* have larger items toward the centre and smaller items towards the outer edge - this ensures the eye is drawn towards the most expensive items / products. * It’s quite rare that they end up as my exact plans!!
Monday, 27 April 2009
Friday, 17 April 2009
Linda Hewson, Selfridges Windows
Linda Hewson is visual merchandising window manager for Selfridges. Selfridges is famous for its stunning displays that are always controversial and eye catching. Here is a checklist that Hewson runs through in order to produce a successful window display.
· Beginners should begin planning their window by understanding the concept or design thoroughly and the budget available.
· Always produce a visual or sketch before starting to install any products or props.
· Consider the space you have and what is physically possible; will everything fit through the door?
· Decide where the main focal points will be.
· Think about what products you will be representing. Who are you targeting and will the products be suitable?
· Ensure that the props do not overshadow the product.
· Be certain that any mannequins being used are sympathetic to the product.
· Is it necessary to use graphics or ticketing?
· Choose a strong colour palette.
· If using props, ensure that they are made to a high standard and are finished well.
· Remember: often the simplest windows are the best.
· Beginners should begin planning their window by understanding the concept or design thoroughly and the budget available.
· Always produce a visual or sketch before starting to install any products or props.
· Consider the space you have and what is physically possible; will everything fit through the door?
· Decide where the main focal points will be.
· Think about what products you will be representing. Who are you targeting and will the products be suitable?
· Ensure that the props do not overshadow the product.
· Be certain that any mannequins being used are sympathetic to the product.
· Is it necessary to use graphics or ticketing?
· Choose a strong colour palette.
· If using props, ensure that they are made to a high standard and are finished well.
· Remember: often the simplest windows are the best.
Thursday, 16 April 2009
Mini Project
As part of my project at the moment I am completing a number of mini projects to gather together a body of ideas and techniques. For this particular project I had to create a window display for Selfridges uses the following items,
· A lemon
· A chocolate bar
· A box of pins
· A marker pen
· White paper
· Masking tape
· White fabric
I was limited to only using the above items to create the display which made it quite restricted. However I was still able to come up with some interesting ideas and solutions. I really enjoyed this project because using everyday items like the ones I were given made it that more unusual and exciting.
· A lemon
· A chocolate bar
· A box of pins
· A marker pen
· White paper
· Masking tape
· White fabric
I was limited to only using the above items to create the display which made it quite restricted. However I was still able to come up with some interesting ideas and solutions. I really enjoyed this project because using everyday items like the ones I were given made it that more unusual and exciting.
Gary Card
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Christmas Window Displays for Topshop
I found an article on WGSN about the Christmas window displays at Topshop/Topman.
Tom Whitmore is the Visual Director at Topshop.
What’s the theme for this seasons windows?
The windows are based on an enchanted fairytale, the contrast of good and evil.....it is quite a dark theme that creates the feel of a gothic kingdom.
Can you describe the windows?
In the windows we have a four metre twisted sleepy hollow tree highlighted with glitter and suspended neon tubes in greens and purple hanging from the branches; the floors are covered with heavy black glitter, moss and very dark flowers; all the mannequins have long wigs and heavily glittered eyes and some mannequins have their faces covered in heavy jewelled see through gauze.
We have also used our gothic Christmas fairytale theme as a huge decal to one side of the glass in black, purples and greens.
What Stock/ Designers are being featured?
Topshop products from the Pagan and Circus trends, as well as pieces from Boutique and Unique.
Have you tweaked the original theme to accommodate the current financial climate?
The theme has been tailored to the scale of each shop in which it is featured.
Tom Whitmore is the Visual Director at Topshop.
What’s the theme for this seasons windows?
The windows are based on an enchanted fairytale, the contrast of good and evil.....it is quite a dark theme that creates the feel of a gothic kingdom.
Can you describe the windows?
In the windows we have a four metre twisted sleepy hollow tree highlighted with glitter and suspended neon tubes in greens and purple hanging from the branches; the floors are covered with heavy black glitter, moss and very dark flowers; all the mannequins have long wigs and heavily glittered eyes and some mannequins have their faces covered in heavy jewelled see through gauze.
We have also used our gothic Christmas fairytale theme as a huge decal to one side of the glass in black, purples and greens.
What Stock/ Designers are being featured?
Topshop products from the Pagan and Circus trends, as well as pieces from Boutique and Unique.
Have you tweaked the original theme to accommodate the current financial climate?
The theme has been tailored to the scale of each shop in which it is featured.
Vinyl Cutters for Visual Merchandising
A few days ago I had a Vinyl Cutting demonstration. Vinyl Cutting is very popular within the visual merchandising industry, for creating stickers for windows, cut outs, labels etc. I am currently researching Vinyl Cutters and making myself more familiar with how they work, because i feel it is something I want to use within my designs. They can be used to create,
· Garment logos
· Text and vector graphics
· Vehicle sign writing
· Decals
· Graphics
· Shop window displays
· Promotional banners
There are many different types of vinyl that can be used on the vinyl cutter,
· Transparent
· Flock
· Reflective
· Glittery
· Printable
· Glossy
· Mirror
· Garment logos
· Text and vector graphics
· Vehicle sign writing
· Decals
· Graphics
· Shop window displays
· Promotional banners
There are many different types of vinyl that can be used on the vinyl cutter,
· Transparent
· Flock
· Reflective
· Glittery
· Printable
· Glossy
· Mirror
Tracy Kendall Lecture
A few weeks ago I went to a lecture by Tracy Kendall. Tracy Kendall studied a BA in Fine Art, specialising in Screen Printing. She mainly works with wallpapers and she originally started producing her own wallpapers for her own kitchen at home. She found that all the wallpapers that she liked were far too expensive so she decided to make her own. Her first were her Knife Fork and spoon papers. At this time Kendall was working as a technician at the Royal College practising digital printing. Luckily for her the royal college held an exhibition of all their students work, and she was able to exhibit her first wallpapers. The editor of Elle Decoration, who was visiting the exhibition, spotted her work and this lead to her papers being featured in the magazine. This is what really set her career off.
Tracy Kendall’s inspirations come from everywhere, magazines, photos, found objects, fashion, papers etc. She loves working with organic things. She describes how picking up a single feather off the street and then asking questions about this feather. She explains how asking questions all the time is imperative when being a designer.
Kendall attends trade Fairs on a regular basis in Milan, London and New York. She believes this is the best way of promoting her work. She notices the fact that male designers dominate the interiors industry and their designs are aimed at a masculine market with a masculine colour palette. To combat this and to appeal to the male market, Kendall uses a lot of Black and White in her work and also minimalism is a theme that runs throughout her designs.
Kendall has recently hired an agent in New York in order to sell her work over there. Clients have included Whistles, and she has also been approached by Burberry and Sex and The City to design and produce wallpapers and window features.
Tracy Kendall is well known for using many different techniques. Most of the time she tends to do the work herself or with the help of an assistant. However for things like laser cutting and digital printing she takes them to specialist companies. When working out prices for her work she always asks the question “How fast can I produce it?” and then works out how much she would be able to produce.
Tracy Kendall’s inspirations come from everywhere, magazines, photos, found objects, fashion, papers etc. She loves working with organic things. She describes how picking up a single feather off the street and then asking questions about this feather. She explains how asking questions all the time is imperative when being a designer.
Kendall attends trade Fairs on a regular basis in Milan, London and New York. She believes this is the best way of promoting her work. She notices the fact that male designers dominate the interiors industry and their designs are aimed at a masculine market with a masculine colour palette. To combat this and to appeal to the male market, Kendall uses a lot of Black and White in her work and also minimalism is a theme that runs throughout her designs.
Kendall has recently hired an agent in New York in order to sell her work over there. Clients have included Whistles, and she has also been approached by Burberry and Sex and The City to design and produce wallpapers and window features.
Tracy Kendall is well known for using many different techniques. Most of the time she tends to do the work herself or with the help of an assistant. However for things like laser cutting and digital printing she takes them to specialist companies. When working out prices for her work she always asks the question “How fast can I produce it?” and then works out how much she would be able to produce.
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