NYC Blog: Men's Fashion, Retail and Visual Merchandising | The Bespoken: For Gentlemen

Smoke and Mirrors

 
Two of the world’s most beautiful women and spokespersons for L’Oreal, Christy Turlington and Julia Roberts are having their advertising withdrawn for misrepresentation. Which is odd as the brand name L’Oreal literally means “of or pertaining to the lore; (as in folklore) usually said of certain feathers of birds, scales of reptiles, etc.” in other words… skin.
 
The famed manufacturer, L'Oréal, has been forced to pull ad campaigns in the UK featuring Julia Roberts and Christy Turlington. The same ads and images are used here in the US. It seems that   there were complaints that the images were overly airbrushed. Here in the US, we have no such standards and we’re perfectly fine with it. We like to believe that cosmetics are a magic potion, and that yes, a bottle of this, a jar of that, will magically transform us back to pristine eighteen year olds. Can I swap you some magic beans for your cow?
 
The official British watchdog group, “the Advertising Standards Authority” declared that both ads breached the advertising standards code for exaggeration, were being misleading and banned them from future publication. The banning of the ads upholds the idea that ads should accurately depict product claims. If L’Oréal claims that these celebrities look like this due to L’Oreal makeup, but simulated their beauty with photo retouching, the ASA claims an exaggerated claim, and one that is not representative of the results the product could possibly achieve. In truth, On Christy Turlington and Julia Roberts worst day they are more beautiful that the rest of us on our best day.
 
In addition to the official claims of "exaggeration," women's advocates see highly retouched advertising photos affecting women's self-perception and creating a false sense of real beauty. "Pictures of flawless skin and super-slim bodies are all around, but they don't reflect reality," Liberal Democrat MP, Jo Swinson is quoted in the Guardian. "Excessive airbrushing and digital manipulation techniques have become the norm, but both Christy Turlington and Julia Roberts are naturally beautiful women who don't need retouching to look great. This ban sends a powerful message to advertisers…let's get back to reality."

When push came to shove L'Oréal UK admitted that Turlington's image had been "digitally retouched to lighten the skin, clean up makeup, reduce dark shadows and shading around the eyes, smooth the lips and darken the eyebrows". (Just a few things) However, it claimed there were still signs of ageing, such as crow's feet, and that the image "accurately illustrated" the achievable results. Not even the British would dare to comment on Ms. Roberts. Heaven forbid! I’ve seen the ads, and I can tell you that a baby’s behind has more wrinkles that Julia Roberts forty-four year old face.
 
“I don't want realism. I want magic! Yes, yes, magic. I try to give that to people. I do misrepresent things. I don't tell truths. I tell what ought to be truth!” Blanche Dubois in A Streetcar Named Desire by Tennessee Williams.

Courtesy of www.retaildesigndiva.com where it appeared on August 22, 2011

Paul Stewart On A Summer Day

I adore Paul Stuart. The windows are always dressed to perfection and remind me that creativity needn't always accompany a big budget. To point... Paul Stuart is offering passers-by a picrure postcard view to travel  around the world (albeit)  on Madison Avenue. Stuart uses colorful "flats" and iconic images to suggest a Samuri warrior, a bull fighter, and Indian wedding elepkand and a Mssissipi steamship. Its executed with naievty, and is just brilliant.

 
 

 
 

Windows On A Summer Day

A few summer  time windows for you pleasure...

 

Marc Jacobs on Bleeker Street celebrates the passage of NY city's Defense of Marriage Act allowing Gay's & Lesbians to enter into civil "recognized" marriage ceremonies

 

Also Mark Jacobs, here a gauze rainbow flag  is placed over the Marc Jacobs Arte Verdi neon sign in hot pink

 

United Colors Of Benneton with rust colored bird silhouettes

 

Saks Fifth Avenue places the AIDS Memorial Quilt in its store windows and not on a "special occasion" just to remind passers by to pause and reflect... How lovely art thou Saks?

 

Saks Fifth Avenue places the AIDS Memorial Quilt in its store windows and not on a "special occasion" just to remind passers by to pause and reflect.

 

Saks Men's knit top is so filmy that the mannequin's nipples are pronounced. The added use of bamboo works as a nice abstraction.

 

Saks Mens  continue  to remain hip, sexy and masculine. Its youthful and there is seldom an outfit I don't covet.. Saks merchandise is the star and the restrained use of props is elegant.

 

The temperature is a sweltering 97 degrees but that doesn't stop Versace from selling quilted turtlenecks, The icelandic blue suggests cooler climes.

 

Versace mosaic logo

 

Versace slit leather gown with wool overcoat presents a world  of dominatrixes. The royal gold and aristocratic purple suggest a palate  that defies the blistering temperatures.

Profesional Profile: Peter-Tolin Baker

 

I am a very lucky person. By that I don’t mean to suggest I play the horses or guess the right numbers for the NY lottery, far from it. In that respect, I am inept. (Although, once I did win a potato peeler on the boardwalk in Asbury Park) I am lucky in so much as I seem to attract dashingly good people. Dogs rely on their sense of smell, dolphins on their sonar; I rely on my instincts which seldom lead me astray. Like so many of you, I have scores of facebook friends and LinkedIn connections, most of whom I’ve never met, nor exchanged as much as a hello, let alone a cup of coffee. There is an exception to that rule…

 

Ages ago Peter-Tolin Baker’s name came up as one of my “possible connections” to which I immediately sent a “connection request”. We had never met, but I did know of Mr. Baker’s work at Tiffany’s, a retailer I’m infinitely fond of. Coincidentally, I was reading Summer at Tiffany by Marjorie Hart, a memoir of her experiences working at Tiffany’s in the mid-1940’s. It’s a charming book! I took it for providence. Mr. Baker and I exchanged a few brief e-mails, and the dye was cast as they say. We shared many common interests, had parallel life experiences, had a similar world view, shared a communal artistic point of view, and a strange ironic sense of humor.

 

We have maintained our professional relationship. Mr. Baker has lectured to my class, (at LIM College) where my students too, were immediately enamored with him. Mr. Baker is bright, entertaining and subversively clever. Mr. Baker teaches as an adjunct at FIT, (lucky students, I dare say) Mr. Baker and I are connected by a mutual colleague, Editor, Jessie Bove at DDI (Display & Design Ideas) Magazine, and were asked to judge the annual Holiday Windows Competition in 2010, and Mr. Baker introduced me to one of his former students at FIT, Lauren Gries, who now works at Tiffany’s, and has an incredible website www.fourthfloorwalkup.com which I've Written about and I had the pleasure to collaborate with.

  

I could almost say that Peter is a good friend. If I did Iit wouldn't be a lie, except we don't socialize. We don't hang out together, we never met for drinks after a hard day, we don't have any mutual friends, yet I'm keenly fond of him. We should be friends! 

 

  

At some point in your career, you are going to need to hire a design service, a company to help promote a new project ot product, to coordinate a special event, an in store promotion , rethink your store planning concept, design and execute a window presentation, a seasonal presentation, create a video, design a theatrical set, or assist with re-branding. When you do, you are going to check out www.ptbdesignservices.com which will steer you directly to all the answers you are looking for. It will be like manna from heaven! You will call the company and Mr. Baker will imbue you with such confidence that you will think to yourself, "How did he know all that? Is he reading my mind?

  

 You will be in good company; other clients include Nicole Miller, Saundra Messinger Jewelry, Pac Team America, M. Booth & Associates, JC Penney, Calvin Klein, and Guild Hall East Hampton.

 

In true entrepreneurial spirit Mr. Baker started his own company after leaving the jewel in the retail crown…Tiffany’s. This speaks to his spirit and optimism especially when you consider he ventured out at a time when most retailers were running around like Chicken Little’s “crying the sky is falling1”. His company P-T B Design Services prides itself on the quality of its work.

 

What can he do for you? That being said, the Tiffany Corporation prides itself on being as flawless as its diamonds, and as discriminating as Audrey Hepburn. With his lions share of experiences at Tiffany’s as the Vice President of Visual Merchandising Mr. Baker is uniquely qualified to raise the bar, however high yours may already be.  But let’s stop and assess this, being the Vice President at Tiffany’s has got to be as stressful and rigorous as being the Vice President of Coca Cola, Exxon, Wal-mart, Disney and the United States. There are probably only a handful of people in the world who could handle it with such aplomb and success. Let me illuminate…Mr. Baker was responsible for product presentations and display standards within all sales locations worldwide. He successfully navigated its explosive sales and market growth and built a talented and responsive global visual merchandising department. Intuitive and confident, he was keenly involved with store planning and fixture development, as well as in-store promotional presentations. Additionally, his role often required partnering directly with Tiffany’s legendary designers on their product presentations, including Frank Gehry, Paloma Picasso and Elsa Peretti. Gehery, Picasso and Peretti are bona-fide genius’ but pleasing them and Tiffany’s is more difficult than walking the high wire at Ringling Bros. Barnum & Bailey.  

 

And a star danced on the day he was born…

 

Baker launched his retail career as the Visual Manager with the legendary luxury emporium Henri Bendel on Fifth Avenue in Manhattan. This position frequently required working directly with both well-established and new fashion designers on display window and in-store presentations. Designers including Michael Kors, Todd Oldham, Jean-Paul Gaultier, and Ann Demuelemeester all of whom relied on Baker to translate their brand and vision into sales.

 

Not just another “Visual Merchandiser”…

 

Additionally, Baker has worked as scenic designer for dozens of dramatic and musical productions. Earlier on in his career, he was both production designer and performer with the groundbreaking band, Voice Farm, which, under the Morgan Creek Records label, played to sold-out crowds in venues such as the Roxy Theater in Los Angeles, The Fillmore in San Francisco and Madison Square Garden.

 

Baker graduated magna cum laude from San Francisco State University, where he received a bachelor’s degree in scenic design & fine arts.

 

Respected in the industry, Mr. Baker has been actively involved as a Board Member of the Retail Design Institute since 2007

 

But does an impressive resume make for great soul? Certainly not. There are many talents, and hard working individuals not worth the time of day. What in the final analysis separates the men from the boys, the wheat from the chaff? It’s being genuine, truthful and authentic. It’s being optimistic, affirming and positive. It’s being passionate, joyful and humorous. Attributes not commonly found on our resumes. I invite you to visit Mr. Baker’s site. Call him if you have a project in mind and he will give you his undivided attention. And let me ask you this, when was the last time anyone ever gave that to you?

 

P-T BAKER Design Services

315 West 39^th Street, Suite 1508, NY NY 10018

212 629-4349

ptb@ptbdesignservices.com

 www.ptbdesignservices.com  

 http://www.linkedin.com/pub/peter-tolin-baker/5/9b6/4b 

 

Seventeen Photos (part two of two)

Seventeen more shots of windows and environs in new York City this week

 

Ralph Lauren on Bleeker Street

 

Macy's men's in Herald Square

 

Macy's men's in Herald Square

 

Bruno Cucchinello on  Bleeker Street

 

Amish Choir in Union Square

  

Graffiti in The Bowery

 

All Saints in the Meatpacking District

 

Diane Von Furstenberg in the Meatpacking District

 

Children's Hospital Promo in the Meat Packing District

 

A Boxing Bar In Chelsea

 

Chanel on 57th Street
 
 

Dior (St. Petersburg Windows) on 57th Street

 

Barneys "McGuiness" Collection on Madison Avenue

  

Etro on Madison Avenue

 

Manhattan Island mosaic in Times Square

 

Paper squid window on Madison Avenue

 

Religious relic mannequin on Madison Avenue

 

Ralph Pucci decoupaged mannequin on Madison Avenue 

 

Seventeen Photos (one of two)

 

This is one of two upcoming posts on windows and displays in the city (New York City) .some wnidows are from great retailers, and some are just beautiful displays from small stores bodegas and architectural elements. Either way they fill our day with beauty, like the bodega above on Second Avenue with the georgous watermellons piled below the classic Budweiser sign.

 

Saks Fifth Avenue

 

Cheap Jack's on Fifth Avenue (Vintage)

 

Second Avenue Antique Store

 

Antiques Center  54th Street and Second Avenue

 

Lady Gaga  Subway Promotion

 

Grafetti in the Bowery

 

Pink Building in the West Side

 

Lord & Taylor Bicycle Presentation

 

Lord & Taylor Bicycle Presentation

 

Lane Bryant undressed mannequins at night

 

Macy's Racing Presentation with Plasma TV screen

 

Boys entrance to a Catholic School

 

James Pearse Japan Fund windows

 

Macy's Racing Presentation "Hot Wheels"

 

Macy's "Wonderland" costume presentation for the Broadway Production

 

Macy's Men's Presentation 

 


 

KUDOS? Another Event I Was Invited To.

 

Originally from the Greek kŷdos. Commonly used to convey…“Thanks for a job well done!”

Kudos entered in the language around 1825–35, meaning “praise or renown.” It was at first used largely in academic circles, but it gained wider currency in the 1920’s in journalistic use, particularly in headlines: “Playwright receives kudos”. “Kudos given to track record breakers”. Kudos is often used, as in these examples, in contexts that do not clearly indicate whether it is singular or plural; and because it ends in an “s”, the marker of regular plurals in English, kudos has come to be widely regarded and used as a plural noun meaning “accolades”, rather than as a singular mass noun meaning, “honor or glory.”

As a gentleman I think it’s important to express kudos and to be grateful receivers when Kudos are given. It’s not easy.

Each year GMHC (The Gay Men’s Health Crisis) has a “Kudos” party to thank volunteers and to recognize an individual who exemplifies the adjectives, praise worthy, renowned, honor and/or glory. This year GMHC co-founder Dr. Lawrence Mass was recognized. Kudos is an adjective that perfectly describe him!

I began volunteering at GMHC back in 1983. (Although it might have been ’82.) I remember this; GMHC was in the basement of Diego Lopez’s apartment on Perry Street. I would volunteer on Sunday morning after my play writing class at HB Studio. I would climb over bags of garbage, and then be chastised by Lopez because I refused to try on his heels. Lopez, an important fashion illustrator had a penchant for heels, and found my obstinance both appealing and frustrating. He called me “sunshine” which I abhorred, as it was a put down, because I was sober on Sunday morning, something he seldom was, or anyone at GMHC for that matter. (See: Dry Bones Breathe by Eric Rofes.) Lopez would check my expression for tell tale signs of utter incredulousness when one of the GMHC hoi-poli would begin to pontificate and preach. My eyes roll further back in my head than anyone I know. Acting and discretion not being my long suit. Lopez, called it correctly, “Leeander”, he would say, “Face facts…its all about real estate, men want a place to park it for an hour or two and then drive home.... you're a permanent lot., You will never be an “A” list homosexual, you’re a “do-bee”. Indeed, I was not a Thursday’s child (fair of face). It was a despicable thing to say, but completely true. Facts are uncomfortable.  If it sounds like we didn’t get along, in truth, we didn’t, but we did adore each other. Go figure. He was a character, and I was too. We recognized in each other our uniqueness’.

Why must the test of everything be its endurance?

Why was I invited to the GMHC KUDOS Event? I volunteered steadily for twenty-five years or so without ever missing a meeting, training, orientation, health symposium or fundraiser. I was assigned to several “buddy teams” including the Pediatric team. I still work with the same family I did back in 1983-84. That being said, in its corporate wisdom, after twenty five years of services, the “The Buddy Team” program was disbanded due to budget constraints from GMHC. FYI: Buddy’s on the buddy teams never received a penny, they never requested one. I raised tens of thousands of dollars for GMHC. Collectively the buddy teams raised millions of dollars for the agency, but somehow magically one night we were suddenly too expensive to maintain so we were all “retired”, showed the door, not so much as a “thank you passed the administration’s lips.  Don’t get me started! Lopez is looking down from heaven upon my expression!

That being said, I am invited to Kudos every year. My name is on the list. I have not attended the Kudos Event for several years, but something got into me this year. Maybe it’s the flurry of broadcasts and articles on AIDS turning thirty this year. Thirty years traditionally that pearls or diamonds. I can only offer pearls of wisdom, and the clarity of a diamond. Unfortunately I am strictly “costume”. I am not, repeat not nostalgic over AIDS. That notion mortifies me! It’s an anniversary year I keep telling myself. Like a high school reunion I hoped to run into former volunteers. People with who I once shared intense and intimate time with. People so close to me that in their grief their tears lid into my ears as if it were a cup. Alas, I ran into only two peripheral people. Two! Lovely people, but peripheral. Together we wandered around like ghosts in limbo wondering, what are we doing here? Where is everyone, my loved ones, everyone here is a stranger to me. It was creepy! Where was everyone? I surmise many of them have perished in the epidemic; many have been so alienated from the agency they wouldn’t deign to attend even if invited. Many have simply moved and are sort of lost. Anyway, the Kudos event was a sad assemblage. It personified everything wrong with the state of the world today. Place a few free drinks, a few hors d’ouvres, sautéed meatballs, a basil pesto pasta salad and a DJ in the room and even a funeral can pass for a “good time”. YIKES!

I did run into the Director of GMHC who introduced herself to me (I won’t mention her name) as if we had just met. We’ve met at least half a dozen times, once with such rank and ankor that even I can’t believe I’m that forgettable. Lopez was right; I am a “C” list homosexual! Still, after twenty five years of volunteering you might think my name on my “Hello my name is” badge would have given her a clue.

Where is the passion? Where is the love? Where is the beautiful anger?  The righteous indignity?

Location, location, location. GMHC has once again moved. In the last twenty-five years it’s moved at last six times I know of. The new address is way out of Greenwich Village, way out of Chelsea, the last two bastions of gay men in New York City, and is now ensconced in Clinton Hills on 34^th Street off of 10^th Avenue. It is far from the madding crowd. The last time a boa was spotted in Clinton Hills was when Lillian Russell sang at the Alhambra.

The Kudos event was held in the new cafeteria, a nice enough room with the faux Keith Haring print in hot pink running along the soffit. I say faux as its Keith Haringish, but without any sex. Instead of the Haring enlarged sexual appendages, all the little men now have tastefully extended arms and legs that look like a… well, you know what. Do you really think the Haring estate would sue if GMHC did a documentary reproduction?

After thirty years of an epidemic it should be impossible to have a “good time”. It should be impossible to be civil or nice. The pile of the AIDS deceased rises higher than the remains of the World Trade Centers. That being said, have we all lost our way? Is it just me who is appalled? There was no mention from the GMHC podium that anyone had died.

Now I’m looking at this thing thirty years into it. I can’t help to self-assess. The revival of The Normal Heart is back on Broadway. AIDS has slipped into our collective consciences as an inconvenience, a trifle bit like diabetes, a manageable crisis, perhaps because the pharmaceuticals have invested their research in keeping us barely alive with protease inhibitors at astronomical costs, (to us) no cure is imminent, when was the last time you read about anything promising to do with AID’s research?

Here is a picture of AIDS not usually presented perhaps because it’s just not as pretty as the 'Kardashian's or Paris Hilton. More that 25 million people worldwide have died of AIDS since the start of the epidemic, (1981) according to the National Institutes of Health. 576,000 people in the U.S. have died of AIDS since the epidemic began. (I’d swear on my grave its twice as many than reported) Regardless, I knew about 250 of those people. About 18,000 people with AIDS die each year in the U.S. There are however 33.4 million people who are living with HIV (the virus that causes AIDS) or AIDS worldwide as of 2008, based on the most recent year for which statistics from the World Health Organization have made available. (That’s three years ago!) 2.1 million of those 33.4 million, are children under age 15. About 1 million people in the U.S. are living with HIV, according to the CDC, and despite testing; about 21 percent of those people are unaware of their infection.

I ask you in all earnestness, where is the passion? Where is the love? Where is the beautiful anger?  The righteous indignity?

Recent Windows...Great Work

Alexander McQueen (2008 Collection) at Saks Fifth Avenue

I loved these windows, which I think most passer-bys did not understand. Naturally the clothing, which is archival (not for sale) was placed in the window to help promote the McQueen Retrospective “Savage Beauty” currently at the Metropolitan Museum of Art.

In each window was a large deconstructed architectural element painted in white. Most passer-bys neglected to figure out what those elements were supposed to represent. The architectural forms were in fact, the spleen of a rowboat. Perhaps a reference to a journey. A journey to heaven? The rowboats are not sea worthy as the planks are all but striped off. Perhaps a poetic reference to McQueen’s suicide, a desire to ascend to heaven, albeit flawed.

The Andy Warhol Project on Union Square

Warhol returns to his infamous Factory on Union Square North. Warhol was the ultimate shopper, the pen-ultimate consumer and collector. He carries an iconic Bloomingdale’s bag and his beloved Polaroid camera. Unfortunately, the Warhol Factory is now office space and the ground floor is now a Petco. Only Warhol would appreciate the irony. Warhol is cast in lamorous silver and striding on a granite pedestal. He looks up, regal and with great intent to travel downtown, possible to meet Edie Sedgwick or Joe Delsandro.

Pirates of the Caribbean 3

Johnny Depp on a city bus is not seamed perfectly creating an odd and eerie expression, even more than the Pirates of the Caribbean 3 poster is meant to convey.

Guilty at Gucci

Promoting Gucci’s new fragrance for men “Guilty” is this dreamy guy with green eyes. He seems more interested in the passers-bye than the women below him with her lips wide open. I could pretend he’s looking at me, but that’s all it would ever be… a pretence. Trust me; the only thing I’m guilty of is what I’m thinking. As I frequently do, I allowed the splendor of the city to rise from his head as if he is dreaming, albeit of Henri Bendel’s.

Alexander McQueen at Bergdorf‘s Goodman’s

This collection is as creepy and haunting as the collection was when it debuted in 2009. The collection created a groundswell of controversy, its was both reviled and praised in the press. The show spoke to recycling and waste as being both beautiful and disgusting. McQueen had this models circle a pyre like structure of old car parts, wire armatures, crates and plastic bottle sprayed pitch black. This stand out gown has a herringbone print that morphs like an MC Escher print into birds. Bergdorf’s creates an iconic red-feathered bird in a scale that speaks to McQueen’s artistic grandiosity. Its just breath-taking.

Alexander McQueen at Bergdorf Goodman 

Again, Bergdorf’s captures one of McQueen’s most personal collections, from 2007. McQueen was doing his family genealogy when he discovered that a distant relatives was executed at the Salem Witch Trials in 1692. This revelation led him to one of his darkest and most mystical collections. The raven on the mannequins shoulder and the black lips tell us everything we need to know.

Water For Elephants at Bergdorf Goodman’s 

Sara Gruen’s best selling novel Water For Elephants was adapted to a rather good film, granted it may have came and gone in the movies, but its well worth seeing. The costume direction by Jacqueline West is superlative. Bergdorf rightfully calls out the otherwise chic era during the Great Depression. Bergdorf’s captures the carnivalesque qualities and its strange pertinence to today. Any retailer who can merchandise around an elephant (Rosie) is tops for me.

Predicting The Future

Retail colleague Jonathan Baker who's site www.retailstorewindows.com is a favorite, recently posted one of the most comprehensive presentations on trends and what visual merchandising will be like in 2020. That's not so far away. Mr. Baker interviewed visual merchandisers, leading retailers, major manufactures, academics, trade specialists, mannequin designers and bloggers. The presentation is brilliantly organized and each page is illustrated. The presentation included some of the world's most respected "insiders" including...

Faye Mcleod, Erin Thompson, Janet Wardley, Laura O’Connor, Glen Foley, Colin Morissey, Logan Shannon, Elsa Sanchez, Jamie Shouli, Paul Symes, Nathan Hicks, Professor Ronald Knoth, Assistant Professor Reginald Rogers, Sarah Bailey, Lisa Mann, Lorna Hall, Gemma Emslie, Alison Embrey Medina, Lyndsey Hubbard, Heather Strang, Lars Laemmerzahl, Janey Rodger, Lynda Murray, Moe Krimat, Jeremy Rucker, Kathryn Scanlon, Millington Associates, Andi Grant, Denise Foley, Gary Porter, Helen Burke, Janey Rodger, Sonya Storm, Pauline Dwelley, Tanya Reynolds, Michael Steward, Jonathan Berlin, Amanda Carr, Professor Leonard Wiltshire, Becky Tyre, Deborah Millington, Maya Stephani.

Let me invite you to visit his site. www.retailstorewindows.com Just scroll down the page and give yourself a treat. In one fell swoop you'll learn more in a few minutes than you can imagine. In addition to being one of Britain's most talented men Mr. Baker may be one of the most gifted interpreters in the field. Am I green with envy? Are emeralds are green! Here's a slice of his report...

"The film Metropolis produced in 1927 and directed by Fritz Lang, was "set in a futuristic urban dystopia [and] explored the social crisis between workers and owners in capitalism". "The film [was] set in the massive, sprawling futuristic mega-city Metropolis, where society [was] divided into two classes: one of planners and management........ and one of workers". What is so remarkable about this film is how incredibly accurately the visual of the film was predictive of 21st century city living. OK well, not in the same visual Raygun Gothic style, but certainly in its portrayal of us (as the workers) as the drones were then also portrayed. Incidentally isn’t it also ironic that futuristic technology which is now our contemporary technology was always promised to make our lives easier giving us as much leisure time as we could endure, although in fact, while not quite enslaving us, it has made us work twice as fast for twice as long than we did before? The convenience factor that this technology provides has actually seeped into our daily routines that it is impossible to not to be part of some kind of digital presence."

 

 

 

 

 

Nobody Does It Better

Recently I did a post called “Rashomon Windows” where I photographed store windows with colleague, Lauren Greis, www.fouthfloorwalkup.com. We traveled together and shot the same windows at the same time to compare how two different people saw the same exact thing.  It was an interesting experiment. I thought I’d put it to the test once again with a slightly different spin.

This is not a blog about the chart-topping 1977 Carly Simon theme song for the James Bond film “The Spy who Loved Me”.  This is a blog contrasting and comparing the same or similar retailers, albeit one in the United Kingdom, and one in the United States. The photos were taken on Sunday afternoon, April 17^th. The photos from the UK are all by Jonathan Baker, www.retailstorewindows.com  and the others are by me. Who does it better, the UK or the US? You be the judge.  If the lyric provide us any clue I might say it’s a draw.

“And nobody does it better
Though sometimes I wish someone could
Nobody does it quite the way you do
Why'd you have to be so good?”

A special round of thanks goes out to mutual colleague, Tanya Reynolds, Creative Director, at Proportion London www.proportionlondon.com  who is supporting our endeavors with a series of posts visa vie social networking. Alas, I do facebook, but I’ve never twittered. It escapes me. Time permitting, visit Tanya’s site at Proportion London, and read the delightful and informative blog, “Miss Mannequin”

A few notes before I post photos and analysis’. In all fairness, if such a thing even exists, Mr. Baker and I decided to cover global retailers known for their corporate roll-outs visually. We chose retailers from the discount, moderate and luxury sectors and we each elected to put in a “wild card” some sort of a surprise retailer. 

 
  
Banana Republic UK Copyright © Jonathan Baker 2011

Everything that goes awry in the US windows goes right in the UK version. In London, the scale of the print is oversize which is easier to read; less cluttered and to me, looks younger, fresher. The UK windows also have the fun topiary elements, which are whimsical and joyful. The topiary adds a much needed layer to the story. With deeper windows to work with, the clothing is shown on mannequins, albeit the perfunctory white headless variety, i.e. stock. With greater sensitivity the UK store opts not to promote its print program, but instead pulls out key colors (in solids) from the print to promote. The UK store also correctly calls out Banana Republic’s new fragrance “Wild Bloom”. Hello! Now that all makes sense!

 Banana Republic USA Copyright © Ron Knoth 2011

While I like shopping at this retailer, I must confide that these windows are shamefully executed. To me they say, “We’re not even trying”. The limp clothing hanging on hangers strung by monofilament are woefully immature. I like the print paper. I like the print clothing. Prints are “hot”. Banana Republic does print very well, but the scale of the two prints is so close in proportion that the clothing almost disappears into the wall. As we say here, state side, "it’s a hot mess". Folks, this is Rockefeller Center, Fifth Avenue. Their next door neighbor is the elegant Facconable, and this is the best that we can be offered? The windows lack imagination, point of view ,or any ability to entice us to walk in. No more than a few dollars could have been spent on these windows, and I dare say that no more than a few dollars will be generated. Yuck!

 
 
 H & M UK Copyright © Jonathan Baker 2011

The H & M in the UK runs along the same lines at the US version, but I have to say I think Fifth Avenue carries it off a bit better.  I don’t care for the annoying red and white “SALE” sign in London. And the mannequins seem isolated, not interactive. The mannequin presentation is relatively rigid, straight on, and very “on the grid” The lighting values are uniform with little sensitivity to shadow. It's curious how the exact same product feels so different across the pond.

H & M USA Copyright © Ron Knoth 2011

H & M is my new guilty pleasure on 5^th Avenue. They light their presentations very nicely, especially the menswear (side windows) which are almost Rembrantian. The widows reflection captures the stately St. Patrick’s. The back wall is a dull metallic panel that is folded in vertical folds like origami, further capturing and reflecting light. The male mannequin poses are sexy, and casual. The stylizing is beautifully executed, so that every drape is artfully composed. H & M raises the mundane mass manufactured into a desirable commodity. Granted, the fabric quality is circumspect, and the conditions that the clothing is made under begs acknowledgement, but H & M is stealing everyone thunder with superior windows. Once underdogs, this retail is evolving as a prominent Misual Merchandiser.

The women’s (front widows) is promoting "Recycled Polyester", which sounds atrocious, except the fashion is very timely, the all white is welcome. Recycled anything is appealing to the consumer. Clearly this is a retailer who knows where there customer is, and how they feel! The clothing recalls the 60’s and 70’s bohemian chic. Brilliant! The long blond wigs (and eyelashes) on the mannequins speak to a return towards realism. The mannequins support the graphics. H & M once again, gets it right, right down to the floppy straw hat; it’s youthful, joyful and chic!

 
 
Ralph Lauren UK Copyright © Jonathan Baker 2011

While not quite the same programs, still very similar with some crossover. The stylizing is typical Lauren, where every article of clothing is rigged and pinned to tailoring death, still Lauren carries it off. Lauren understands lifestyle, and understands storytelling. Their windows are exactly like their ads, dreamy, elegant, patrician. Every promise the advertisements makes is brilliantly execited three-dimensionally  in their store. The sales floor is like wandering into a Hollywood movie set. It’s the constructed allusion of how we wish life to be, (certainly not how it is). I wonder how the quintessential American Brand is seen in the UK. Ralph Lauren mixes their classic Rootstein mannequins in sierra brown with dressmaker forms which only remind me how much more effective a mannequin is. I will say, I wish Lauren would add to their mix of mannequins, and periodically switch colors.

Ralph Lauren USA Copyright © Ron Knoth 2011

I share with you a series of photos of Ralph Lauren in transit. Here are real live Visual Merchandisers, (as in artists) doing something extraordinary, tromp’ l oil in the windows, as in actual craft and artistry, building props, and finessing every bower of silk ivy so it faces just so. It’s exciting and reaffirming to see that a retailer of Lauren’s stature supports good old fashioned skill. The hand crafted work is beautifully handled. The windows reiterate what the clothing says, we’re unique! Is it worth all the expense and effort?  It is if you want some of the most exquisite windows on Madison Avenue.

 
 
 
Versace UK Copyright © Jonathan Baker 2011

The importance of “brand equity” and the importance of delivering the same message is valuable, still what is the benefit of traveling to the world’s great cities if nearly everything looks the same. Otherwise, the world is just one strip mall. Okay, so Versace in the UK is nearly identical to the USA. It’s important to note that the UK store windows run landscape, whereas the USA runs portrait. This creates a different relationship to what is shown, the ammount of negative space, and the prominence of product to the customer. Proportion affects what we see and how we interpret it. Maybe it’s just me, but I think the US does the same windows just a little bit better.

 Versace USA Copyright © Ron Knoth 2011

Versace understands three of the most important elements of the Visual Merchandising craft, great lighting, color and props. Each supports the other and collectively they support the clothing. The black abstracted mannequins root the windows with sculptural integrity. The bold orange, yellow, red and cerulean blue is dreamy. The plexi psychedelic shapes speak to the late 60’s. Think Susan Haywood as Helen Lawson in Valley of The Dolls singing “I’ll Plant My Tree”. Versace is one valley where the dolls are beautifully attired. Versace is a stand out on the street. Tourists stop by to gape at its dazzling beauty. The color is so heavily satiated that it’s just irresistible. Luckily for me the price tag is resistible for me. Otherwise, I’d blow my paycheck there. I can dream too.

 
 
 Zara UK Copyright © Jonathan Baker 2011

Zara Kids: The UK version follows the US (or vica-versa) fairly closely except the UK store adds the gnome for fun. I think of garden gnomes as being terribly British. Another interesting addition is the realistic mannequin with hair. The question remains, yes, but is it more successful? While I’m drawn to the realistic mannequins, they seem a bit out of context (lost) in the all white world.

 
 
 
Zara UK Copyright © Jonathan Baker 2011

Zara Men’s: In this window I think the UK Zara excels. The seated realistic mannequin with the punk Mohawk is sexy, a bit dangerous, (by US standards) if not for the stylish attire. The striding men with the abbreviated blunt cut is right out of the fashion pages. If that isn’t enough, the too fabulous for words zebra print abstracted men totally sell me. There’s absolutely nothing as inventive as this on Fifth Avenue! The amorphic techno background supports the white attire, and reads as very modern. These windows look like a part of the 21^st century, almost cutting edge. The UK windows seem much more relevant. The Brits win this contest hands down…no debate.

 
 
 
 Zara UK Copyright © Jonathan Baker 2011

Zara Women’s: Again the UK windows are so novel and unexpected that it raises the quality of the merchandise to the next level. The colorful light bulb coiffures are adorable. The silk flowers are great. The strange accessories and color blocking is too perfect. It’s a fashion editorial come to life. The heavy make-up is straight out of the high fashion pages. In America we pale down everything until its practically nothing. The industrial PVC serrated orange scrim is a great example of re-use. I love the homo-erotic men touching each others shoulders behind the plastic veil and the very intresting oversize pop-it beads they're wearing.

Zara USA Copyright © Ron Knoth 2011

Zara Kids: odd and quixotic, I’m not certain what the oversize propellers and coils are meant to symbolize, or how they provide a narrative for the clothing. However, it does make me stop and inquire. The clothing is cute. The predominantly white tableau is an interesting choice, clinical, techno, alienating, but ultimately successful.The cartoony elelashes and Cupie dol lips are almost sexual. Then there's the granny style eyeglasses on the elastic strand. Its defies easy interpretation. What I've yet to figue out is why the little boy is wearing a space helmet and a red gingham shirt. He doesnt appear to be at play. What?

Zara USA Copyright © Ron Knoth 2011

Zara Men’s: Okay, Salvador Dali like moustaches (one irritatingly akilter…drives this anal retentive merchandiser crazy!) are interesting. I like the mix of mannequins and dressmaker forms. Compounded by the oversized atomic sized chrome plated ants again make me wonder what is this all about. The insects are beautiful, and climb up the wall creating a vertical motion suggesting a giant ant hill may be nearby. The ants carry Zara’s silky ties back to who knows where. It’s a strange dream-like kind of Sci-Fi world. The clothing is okay, but not nearly as interesting as the visual elements. Unfortunately for Zara the stylizing is sloppy, the pocket squares looked forced, the shirt cuffs hang too long, and the suits are pinned and bunched unattractively. Given that the flawless Zenga and Ferregamo are nearby, I’d up my stylizing game.

Zara Women: elegant and nicely lit, the windows work well. The sheer dresses and seated mannequins (Schleppi) are used effectively. They seem to be posing and aware of us. The titanium white industrial elements speak to the urbane. And I do like the sunglasses used on the back wall nooked on the side beams.

 
 
Reiss UK Copyright © Jonathan Baker 2011

Our local Reiss is at the moment in transition, and the store has removed all mannequins, and has nothing but suspended bars and fixtures in the windows. So there is no contrast or comparison. The store in the UK is far more interesting to interpret. I love the use of the flat screen technology being incorporated. It speaks to their demographic, which are mostly squed on the millennial side, and add movement and interconnectivity in what would be a relatively static window. For me, what works especially well is the female mannequins with the exaggerated contrapposto pose, which is really very nice. And the male with his legs spread wide is also a nice choice too. Together they create a smart sexy couple. She looks feminine, he looks strong. They look very modern and perfect for this brand. The corporate logo is handled nicely. Its clean lines are linear and add to the composition of the black background.

Barneys USA Copyright © Ron Knoth 2011

Barneys is under new Creative Direction with former Editorial staff from W Magazine. Gone are the whimsy, found objects, and serendipity. Gone is the humor and social commentary. Barneys is evolving into a slicker, more “modern” environment. Ideally more sophisticated. TBD.

These windows are technologically driven, with serrated metal screens light colorfully in neon hues. The light up graphics are very slick and paint a world of women dressed in beautiful prints by the world’s best designers. The women in the photographs are made up as heavily as  kabuki dancers or drag queens. The floor is reflective and the surfaces capture ever movement on Madison Avenue. While technically static the windows are very active. So that works nicely. It’s a very visually complicated window, so much so that it’s nearly impossible to make out the actual clothing. It almost disappears. What really turns me off is the chrome plate mannequins, which are made in China. I know they are made in China because the process used to create them is so carcinogenic that it is illegal to make them in the US, Canada, Mexico, South America or Europe. Workers and communities that live nearby the Chinese manufacturers are at astronomically high rates from cancer. I wish that that message to eliminate these mannequins was better known, alas, no one talks about it, and therefore no one knows.

If you got this far…congratulations! So let me ask you..."Who did it better'?" Now let me invite you once again to read Mr. Bakers interpretation on his phenomenal site www.retailstorewindows.com