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The Design Process

Martin M. Pegler and Anne Kong

Source: Visual Merchandising and Display, 7th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

one-off design brief, alternative approach todocumentation included in design briefdesign briefdocumentation included inbalancedefinedbriefdesign concepts ofdirective forThe design design concepts ofprocess forprocess typically begins with a document known as a design processdesign directivedesign directive, which is also called a brief or deckdeck. The directive provides a comprehensive review of the proposed initiative. It can originate internally within the company or externally with a contrac

Display Window Construction

Martin M. Pegler and Anne Kong

Source: Visual Merchandising and Display, 7th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

reflectionclosed-back windows bank of windowsreflectionbalancedefinedclosed-back windows bank of windowsdisplay windowclosed-back windowsclosed-back windowsA closed-back window is the typical display window, with a full back wall, sides, and a large plate glass window facing the pedestrian or street traffic. It is also known as an enclosed windowenclosed window.

Types of Displays and Display Settings

Martin M. Pegler and Anne Kong

Source: Visual Merchandising and Display, 7th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

display amusingtypes ofThe primary purposes of displays are to present and to promote. A display is at its best when it simply shows a color, an item, a collection, or just an idea. Types of displays include the following:

Techniques Commonly Used in Visual Merchandising

Martin M. Pegler and Anne Kong

Source: Visual Merchandising and Display, 7th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

Color is the biggest motivator for shoppers. It is what we see first, what attracts us to an object. Consumers buy because of color, before size, fit, or price, and they make this decision in less than ninety seconds. Color tells a story, sways our emotion, and causes us to react. Color has meaning and can be used to suggest environments, historic time periods, and styles. Color combined with texture evokes more insight related to the overall theme. For example the color green combined with a lea

Seasonal Displays and Familiar Symbols

Martin M. Pegler and Anne Kong

Source: Visual Merchandising and Display, 7th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

seasonal and familiar displays back to schoolcollegecollegeback to schoolIt happens every fall, starting with alphabet blocks and advancing to busts of CaesarCaesar and ShakespeareShakespeare. Symbols of back to school can attract the consumer and inspire memories from the past. Consider using a simple facade of a quaint little red schoolhouse, stacks of colorfully covered books, or a grid of backpacks on a wall surface. A current favorite is black or green chalkboard paint. A chalkboard-painted

Modular Fixtures and Systems in Store Planning

Martin M. Pegler and Anne Kong

Source: Visual Merchandising and Display, 7th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

balancedefinedmodulesas building blocksH&Mbuilding blocks, modules asgraphicson modulesmoduleson floorsfloorgraphics onmodular fixturesfixturesconstruction ofAs you travel across the country and visit malls and shopping centers in the different cities, you discover that many store brands are designed with consistency. A ZaraZara is always a Zara, an H&M is always an H&M, and StarbucksStarbucks in a different city somehow looks just like the one back home. When a chain-store operation calls upon a

Point-of-Purchase Display

Martin M. Pegler and Anne Kong

Source: Visual Merchandising and Display, 7th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

plywoodimpulse shopping andbalancedefinedplywoodas displayersplywoodas displaysplywoodas fixturesPoint of purchase (POP) has been around since long before the cigar store Indian sculpted out of wood, clutching a handful of tobacco leaves, and garishly painted in green, red, and gold. It stood outside cigar stores and tobacco shops announcing to one and all on the street that tobacco products were sold just inside. Point-of-purchase signage probably goes back even further than the Middle Ages, whe

Exhibit and Trade Show Design

Martin M. Pegler and Anne Kong

Source: Visual Merchandising and Display, 7th Edition, 2018, Fairchild Books Library

Book chapter + STUDIO

balancedefinedexhibits types ofExhibits are designed to showcase objects or collections with the purpose of stimulating interest and educating viewers about a particular product, idea, or organization. And while the exhibit itself is organized and orchestrated for enjoyment, enlightenment, and experience, it may also be used to market and advertise a sponsor.

Walter Van Beirendonck

Paula Alaszkiewicz

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Charles James

Rio Ali

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Traje De Crioula: Representing Nineteenth-Century Afro-Brazilian Dress

Aline T. and Monteiro Damgaard

Source: Dress History. New Directions in Theory and Practice, 2015, Berg Fashion Library

Book chapter

This chapter examines representations of Afro-Brazilian dress from nineteenth-century Brazil with the aim of examining the traje de crioula’s origin, formation and influence. The research includes comparative analysis of a broad range of nineteenth-century visual representations and written descriptions alongside analysis of surviving garments currently held in museum collections, and their subsequent interpretation and display. To present a case study for this chapter, a sample of four images is

Dress, Self-Fashioning and Display at the Isabella Stewart Gardner Museum

Christine Guth

Source: Dress History. New Directions in Theory and Practice, 2015, Berg Fashion Library

Book chapter

Isabella Stewart Gardner negotiated a prominent public position for herself in Boston through the establishment of a museum that promoted a different attitude towards art than those founded with the aim of educating the public. She assembled her collection as an individual, producing a competing, but equally ideologically motivated account of what she regarded as art. Her collection embraced the cultures of Europe and Asia, but also gave recognition to products of female craft such as lace. While

All Out in the Wash: Convict Stain Removal in the Narryna Heritage Museum’s Dress Collection

Jennifer Clynk and Sharon Peoples

Source: Dress History. New Directions in Theory and Practice, 2015, Berg Fashion Library

Book chapter

This study extends historian Stefan Petrow’s 2009 study of the convict stain and Narryna by suggesting ways in which its effects can be overcome or reinterpreted, especially in relation to dress. The metaphor of the convict stain relates to a social stigma dating from the 1840s, when anti-transportationists in VDL began a fierce political and moral campaign against convict transportation to the colony. The stain metaphor was a nineteenth-century term applied by historians from the 1850s through t

Dai Rees

Alessandro Esculapio

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Véronique Branquinho

Alessandro Esculapio

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Kosuke Tsumura

Alessandro Esculapio

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

‘Look At Me I’M Different!’: Identity Art And The Expectations Of Race

Adam Geczy and Jacqueline Millner

Source: Fashionable Art, 2015, Berg Fashion Library

Book chapter

National identification is an exemplary case of how an external border is reflected into an internal limit. Of course, the first step towards the identity of the nation is defined through differences from other nations, via an external border: if I identify myself as an Englishman, I distinguish myself from the French, German, Scots, Irish, and so on. However, in the next stage, the question is raised of who among the English are ‘the real English’, the paradigm of Englishness; who are the Englis

Minimalism: Donald Judd Or Ikea?

Adam Geczy and Jacqueline Millner

Source: Fashionable Art, 2015, Berg Fashion Library

Book chapter

Minimalist artists constructed simple, monochromatic, geometric objects of formal symmetry, characterized by an absence of traditional composition. Minimalism was an extreme abstract art, not imitative but solipsistic, self-referential: it was unto itself, harking back to the idea of truth to materials whose lineage can be located in the Russian Constructivists (particularly Rodchenko, AleksandrRodchenko and El Lissitzky) through to Moore, HenryMoore, Hepworth, BarbaraHepworth, Gabo, NoamGabo, Pe

Inside-Out: Outsider Artists Go Inside

Adam Geczy and Jacqueline Millner

Source: Fashionable Art, 2015, Berg Fashion Library

Book chapter

The term ‘Outsider Art’ was coined in 1972 (a year after the ‘birth’ of Contemporary Aboriginal, Aboriginal artAboriginal art) by the English art critic Roger Cardinal, RogerCardinal as an umbrella term to describe the art produced by those not associated with, admitted to or educated by the art scene, denoting usually the insane, but also the parochial ingenue. ‘Outsider Art’ also incorporates the ‘Art BrutArt Brut’ of French postwar artist Jean Dubuffet, JeanDubuffet, and folk art as part of it

Conclusion: Fashionable Art

Adam Geczy and Jacqueline Millner

Source: Fashionable Art, 2015, Berg Fashion Library

Book chapter

Bella Freud

Elizabeth Glendinning

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Margaret Howell

Elizabeth Glendinning

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Pam Hogg

Elizabeth Glendinning

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Designer Biography

Analyzing the Presentation of a Fashion Collection

Tony Glenville

Source: Fashion Photography Archive, 2015, Fashion Photography Archive

Article

Fashion Curatorship and Scholarship

Michele M. Granger

Source: The Fashion Industry and Its Careers: An Introduction, 3rd Edition, 2015, Fairchild Books Library

Book chapter

Yves Saint Laurent and Pierre Bergé opened their haute couture house in 1962. During 40 years of creating fashion, Yves Saint Laurent used what was considered traditional masculine styling to bring women self-assurance and power, while preserving their femininity. His designs are part of 20th-century history, reflecting women’s emancipation in every domain, from personal to social to political. Yves Saint Laurent invented the modern woman’s wardrobe: the pea jacket, trench coat, the first women’s

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