Student work New Pret-a-Manger concept development

Commercial Interior environments change over time (as they should), but also the space in which their products are placed (the spaces within the space). The students began designing by developing and subsequently applying a lateral approach to design ideas and solutions for their given space. The selected site was spread over two floors with an existing staircase. Students had to survey the site (this happened to be a bar along the Kings Road, London) and record their measurements. The starting point of students research was the book Cool Rules, Anatomy of an Attitude by Pountain & Robins, 2000, Reaction books. I selected particular text from the publication which was given to the group during their initial briefing which they then had to analyse, unravel and interpret into a three-dimensional solution. Using Pret-a-Manger brand equipment (kit of parts) students had to design their space to create an innovative conceptual solution for the site. Here represents just one students initial ideas visualised through sketching before they computerised their solution. I feel that it is crucial for students to develop their drawing skills before using a computer program as computers present so many inherent limitations (if one is not able to use it effectively) as well as fantastic opportunities through presentation and ultimately enabling us to sell the scheme.

Student Work, New Pret-A-Manger concept development sketches

One of the experiences that I feel is so important for my students is the opportunity to take part in live projects with an actual client. Pret-a-Manger contacted us to discuss an opportunity to work with our students and develop a new concept for their flag ship site. During the course, students study a unit called Commercial Design Practice which draws together the main themes which they have been developing throughout their course of study, and which enables them to investigate and research an area of Interior Design in depth which was also relevant to their expected eventual career pathway. Students began with Design Research and conceptual development and investigated into the development of design history from a cultural perspective in conjunction with Market research and consumer trends. Here represent some concept development sketches from one student in the group. Over the next few days you will be able to track this progress - a kind of synopsis of the process which in reality of course took several weeks.

Pringle, London

David Shrigleys Faux Naive drawings form the current concept at Pringle here in London. Articulated wooden hands drop from the upper plane and on the lower plane they are holding the cut out letters of the name of the Scottish-born illustrator. Known for his popular publications Err and Merry Excema, apparently we are about to see his work everywhere. The background here in a familiar 'Selfridges' trade mark colour with black vinyl lettering and images applied to the glass. The merchandise here is suspended on hangers. This is something that I would never normally recommend doing but in this case I think it works incredibly well. An animation of Shrigley's work is played on a loop in one of the windows some of which is shown below.

100% Design, London

As the annual 100% Design show here in London closes it was a time to reflect and allow the vast amount of visual stimulation to sink in. I resisted collecting all of the brochures and catalogues from the show as I have realised that I have stacks of the stuff in my office which barely sees the light of day and so instead I have decided that after viewing the latest products, in the 'flesh' I would use electronic means to chase any future leads or information. These images here are just some of the ones that I took at the show, and which represent just some of my favourite pieces.

Tiffany, London

Stimulation of the buying urge comes no better than from Tiffany. Whichever one you visit either London, New York etc. the visual excitement created by this company in such a tiny space is remarkable. These windows banish boredom and create the point of difference that underlines its character. I am always amazed by these windows in London as the creative team really do create little miniature worlds within these spaces that always work so well. I find myself hunting for the piece of jewellery within their schemes which very much part of the fun. I found myself recently inside this store but sadly the design of the Interior Space is quite unremarkable. Odd really considering the wonderful image that these windows project. Anyway, with such a tiny space the team have yet again achieved such a sense of depth. I have tried to break up the scheme into the three layers employed here, the foreground, containing the branches and leaves, the mid ground has a pyramidal stack of rock which elevates the piece of jewellery and the background is a printed image of a landscape. The viewer is also able to hear the water trickling around the rocks which brings together this stunning scheme.

Adlers, London

I always feel that perfect symmetry is a little too unimaginative and some 'break' in the symmetry gives a presentation a bit more life and interest. Symmetry has its place in product presentation just as it does in Architecture, Furniture and Cars etc. but this perfect balance is too obvious and too nailed down for me. Whether we like it, admire it or are irritated by it it does have a strength. However, by adding in an element that is not quite symmetrical does draw our attention and creates some interest. As this is a jewellery store the product is placed below eye level, in fact actually here it is at least waist level so that we are almost forced to look down on the product. What has been added in here are some show cards telling us where the product has been worn and by whom. They have also added in some small pieces of Art work which also add interest to this presentation, although I feel that perhaps if this window had been broken down either into small spaces where we would zoom in visually on the pieces of very expensive jewellery or the product was elevate a little rather than on the same plane in a symmetrical curve, it would certainly have added more impact.

Versace, London

Following on from Burberrys windows yesterday, Versace, also here in London have used another example of the suspended vertical plane. The simply coloured panels in a matt finish work incredibly well against this merchandise and additionally allows us to see into the store. Unfortunately as I was taking these images at night time the security grill was in place which I feel distracts from this whole visual effect. (The only thing I can think of comparing this to is someone producing a beautiful work of Art and selling it in a garage - this a very masculine statement.) There must be better ways of securing the merchandise to enable and support the stunning visual effect that has been created. In fact is it really needed at all? In the second window the Versace team have used two figures, again with the suspended vertical planes but with the addition of flashing lights. I made a quick video of this as I think in order to understand the effect it needs to be seen in action. I like the idea of these lights as they do scream...over here...over here..! but I am not quite sure that this works particularly well? or perhaps the first window also needed the same treatment?

Burberry, London

Planes used in a store window can of course be created in a variety of ways. Planes can be horizontal, for example as in the floor or ceiling or vertical as in the window, sides and backdrop or a variety of angles as in this Burberry concept. As a young design student we were instructed by our tutor to only refer to floors, walls and ceilings as planes. If we didn't he would simply not talk to us. This was easy enough to do until we had the added difficulty of doors and windows, which we also had to include in our 'new' vocabulary' to which the answer came that they were planes punctuated with an orifice. And so it went on. While it seemed a little pompous at the time, retrospectively this, then new design language became very useful. Here, Burberry have added additional planes in the form of their very recognisable trademark design in vinyl applied to the glass (or vertical plane) and three-dimensional cut outs (possibly) in perspex suspended within the space. There is some unwanted glare from the cut outs, but I feel this adds to the concept as there is no information on the variety of planes used that we have to read or understand. I am not a fan of motifs (as now my own students and graduates will testify as I pass on the baton) although we recognise this motif as belonging to Burberry, and this, perhaps is enough.

Juicy Couture, London

The use of triangles in presentation is one of the most important structures that adds dynamism and strength to the visual aspects of a window or in store display. The triangle suggests strength and dependability more than any other geometrical form apart from the pyramid and arch form. Of course, it is difficult to 'fit' my drawn triangles into a scheme that may not have originally been designed from this view, however we are able to see at least the idea. The scheme, (I am guessing - but there are strong clues here) is based on Alfred Hitchcock's, 1963 suspense The Birds. A large white wired cage exploding with feathers forms a focal point in this scheme. I think this is all that is needed as the rest of what we might expect as a 'visual' is filled in by our creative minds. What is quite unusual here however is the mixture of both Mannequins and bust forms in one scheme. One bust form is used to carry the merchandise, the other is used as a prop which is covered in Black feathers. This is quite an unusual combination but I think it works incredibly well, providing both entertainment and yet being able to sell to the target audience.

Jigsaw, London

Jigsaw have been doing some great schemes over the past year of so and this is no exception. Here they have used outsized playing cards, two dimensional chess pieces, crowns and keys tumbling through the double height space. The brand are using a lot of bust forms covered in a fabric material, with articulated arms and hands, and here used in groups of three, two and one.

Max Mara, London

I absolutely love this store. Currently. I love this brutalist feel to this store and the windows. I think it reminds me, from my experience at least, of a 1970's secondary school, created from breeze blocks and concrete - where is the swimming pool that I froze in after school only to use all of the hot water in the shower just to warm up I ask myself? This of course is far more chic and beyond the 'Kes' feel of the place, as it does have fabulously glossy surfaces. Of course by lifting anything away from the floor and suspending it gives the illusion of space which is exactly what this store does. It is exquisite with its luxurious materials, I only wish I could live here.

Ralph Lauren, London

Ralph Lauren seem to have created a group of windows which to me would not look out of place as a Charles Dickens Great Expectations Theatre set, the figure used here, is perhaps the beautiful Estella? Swathes of nude toned materials, fixtures and furniture wrapped in ropes and heaps and heaps of dried Hydrangea. These are very beautifully executed windows (as they always are) However, I do find that the rather tanned Yasmin le Bon Rootstein Mannequin is cropping up in every single scheme. Yasmin of course married Simon Le Bon the lead singer of Duran Duran the famous 80's pop group and is one of only a few in the Rootstein archives that actually has an open mouth. Some brands use her with painted freakishly white teeth. This figure from Rootstein's Frieze collection produced in 1990 I feel is perhaps a little dated? After following these windows for many years I think I am, I hate to say it, a but uninspired seeing her in every single scheme and in the same skin tone whether it is in the heat of Summer of the freezing cold of a London winter. I would dearly hate to leave a negative thought here as the wonderful schemes that this brand produces are so fantastic, but c'mon visual team, please change the multi-Yasmins.

Escada, London

When a store window has a 'theme', there needs to be some continuity of this in the form of visual links either through colour, props or merchandise throughout the commercial interior space, particularly within a small boutique space such as this. This continuity can be carried out either through the use of props., perhaps through merchandise, but in the case of Escada here in London, they have used the colour lilac (or perhaps purple - the colour of fantasy, adolescence and royalty, depending on how you view it) Escada have also used repetitive urn-like props. the same colour as the merchandise. The merchandise in lilac has been sprinkled throughout the store as it acts as an accent colour and in fact, ultimately, as a focal point to direct us to the back of the store. The space itself is very luxurious with the use of reflective and sparkling tiles. Luxury rugs are being used to separate and designate the different spaces and therefore highlighting the different activities, depending on what is being sold. Furniture is covered in a luxurious materials (in this case probably Leather in a White finish). Notice the floor to ceiling shelving fixture (in the centre of the image) which directs us toward the back of the space to the merchandise (I think I would have put something a little more interesting at the end however to really create an interesting focal point), but this guides us around and helps us to navigate around the space until we hit the seating area (perhaps to drop off the men folk who by this stage are usually thoroughly bored) while the rest of us keep shopping and enjoying the experience.

Joseph, London

This is another great example from Joseph in London of a 'prestige display' which is usually adopted for exclusive merchandise stores - the type of thing I have shown for the past few days. When placing figures in windows, I always advise students to place them facing the customer flow. As we all know when walking along the high street we may glance at people from head to toe and back again. The face of course becomes the significant feature by which we recognise each other. Here Joseph have used repetition of the mannequin with chandeliers actually covering the faces, removing our ability to focus on the facial features and therefore drawing attention to the merchandise - cleverly thought through..! The figures are also placed in a semi-radiating format where the is eye is drawn to where we think the line of convergence should or would be. We can also just about see through the store and how the lighting inside is also a repetitive radiating form and therefore these forms of radiation lead from one to another to create a very harmonious environment. The additional window contains a chandelier as if it has crashed to the floor. The facial features of the figure are almost faded as if to make it unrecognisable. We recognise the human form but not the 'person' wearing it and therefore as these figures become generic we once again are drawn to the next recognisable feature, the merchandise itself.

Mathew Williamson, London

The Mathew Williamson luxury fashion brand was begun in 1997 here in London (according to the website). This flagship store on Bruton Street is one that I haven't viewed very often, however I came across this innovative scheme launched for London Fashion week. This is a fun idea using silver balloons as the main prop and mannequins wearing his designs and placed as if swimming in this sea of silver. Of course the figures are not meant to have their arms at these angles and this is where the scheme jarrs a little for me as they do look quite odd. However, it was a pleasure to see such ideas being executed and perhaps this could influence mannequin manufacturers to consider producing figures that have the ability to be rather more flexible than they currently are (at least in fibreglass). This would enable designers of these schemes to have the versatility required and create ever more creative ideas without them looking odd?

Alexander McQueen, London

The Alexander McQueen windows along Bond Street in London, absolutely exemplify what he [Alexander] is doing on the catwalk for Autumn 2010. I have seen this store many times and it still remains one of my favourites with its suspended pillars and curvilinear interior - absolutely beautiful. The windows here normally have a glass floor and therefore I suppose it is difficult to create an installation which works with the existing Architecture. This installation however works incredibly well. Anyway, it is the most progressive and the boldest scheme that I have seen in a long time from this Designer (with regard to the windows) which reflects the look and feel from Alexanders catwalk shows. Truly amazing, is the feel of this brand with the pyramidal stack of televisions, some flickering with and attempting to tune in to out there, in here, or at least some where. The stretched and exaggerated perspective hounds tooth design that I have shown recently at Jaegar on a vinyl seems to work even better in this context.

Harvey Nichols, London

These are my absolute favourite windows in London currently at Harvey Nichols, Knightsbridge, London. I am so excited in sharing these with you from my weekly flaneur -ing of the London cityscape. I am not sure where the idea originated from, however, but for me at least, they have a wonderful Surreal quality. I have been trying to think about what they remind me of and I think they are a combination of Hans Belmer's poupees (but these are far more glamorous and certainly not as gruesome), but also windows from 1930's Grand Magasin and the Exposition Internationale du Surrealisme at the Gallerie Beaux-Arts, Paris. I feel the team at Harvey Nichols have absolutely excelled themselves with these windows and I much say, they really are superb..!

Stella McCartney

I have been following Stella's windows for quite a while and I just don't quite know what to say about them, if I am honest, beyond just describing them. I feel that there is such an opportunity here to do something quite clever for such an amazing designer and yet I do feel that I am missing the point. Are these windows so elite and abstract or do they simply not make any real sense other than the obvious with the use of the usual populist cartoon characters, large format graphic and two mannequins? In any case, I just feel that there seems to be a missed opportunity here.

Issey Miyake, London

How simple and yet how wonderful is this? While flaneur-ing the city I was drawn to this like a moth. The repetition of the product and how wonderfully it was illuminated is quite incredible. I see this store very frequently and while it is absolutely amazing, the store itself unfortunately changes very little for such an a amazing designer. For some reason, some how I just expect it to be so much more pioneering - and it is in so may ways, although not necessarily the space in which the product is sold. Anyway, in places such as New York, particularly in bars and restaurants they use these a lot to display product (the booze) and it looks so appealing when illuminated by a light box, it really does. I have ordered several myself (although not at this size) to illuminate some glassware for one of my clients. Get 'em while stocks last...!

Jaeger, London

This is an interesting idea produced by Jaegar along Regent Street here in London. I was drawn to it I think because I had seen a similar idea in 2001 in Tokyo in the then new Louis Vuitton store. I particularly like the hounds tooth vinyl on the glass here at Jaegar. The oval form frames the whole image of the store window almost phasing out the area behind and focuses our attention on what is in the window itself. The figures are in the usual groups of 2, 3 and 1 which of course visually works very well and the background large format image communicates the lifestyle and possibly our aspirations? I do feel that this window works very well in its own right but I also feel that having seen the Louis Vuitton store in Tokyo 8 years ago, perhaps more could have been done to create the impact that this wonderful store deserves? The Louis Vuitton store created a kind of strip tease effect that made one go up to it and see beyond the vinyl. After all, as we know (or are prepared to admit), things that are gradually revealed (as in a strip tease) and that we discover are far more exciting than if we are shown a full frontal. Aren't they?

Louis Vuitton, Tokyo, 2001

Juicy's Travels, London

I have never noticed the Juicy store tucked away near Claridges in London before (where have I been, hey?). I usually only veer as far as Stella's as there tends to be little else along the street. Anyway, after flaneur-ing a little further I came across these windows which grabbed my attention. It was so uplifting to see such a complex yet a carefully orchestrated scheme that is entertaining and yet sells the product. Juicy have used tiny soldiers (possibly artists models) and painted and dressed them as the Queens guards of Lilliputian proportions in comparison to the life sized figures wearing the merchandise . This presents a wonderful narrative as your eye moves around the window to find figures unravelling ropes and string and generally giving a mischievous appearance. How wonderfully fun and typical of this brand..!