GSA
Interior Design students’ ideas for a new Top Shop store in LA make short list
for Retail Design World (RDW) Student Awards
Interior Design students’ ideas for a new Top Shop store in LA make short list
for Retail Design World (RDW) Student Awards
“the GSA students were working to a real brief from one of the most dynamic
fashion retailers in the world. To impress seasoned designers in that
context suggests that these students are truly ones to watch.”
Matthew Valentine, Editor of Retail Design Week
Three international Interior Design students from The
Glasgow School of Art have made the short list for the 2016 RDW Student Awards it
was confirmed today, 3 March 2016. Venus Pang (from Hong Kong), Aaron Hunter (from Dundee) and Lisa
Gauss (from Cologne) responded to a brief to create a concept for the new Topshop store in
Los Angeles which was set by Guy Smith, Head of Design at Arcadia Group.
Glasgow School of Art have made the short list for the 2016 RDW Student Awards it
was confirmed today, 3 March 2016. Venus Pang (from Hong Kong), Aaron Hunter (from Dundee) and Lisa
Gauss (from Cologne) responded to a brief to create a concept for the new Topshop store in
Los Angeles which was set by Guy Smith, Head of Design at Arcadia Group.
“We are delighted that three of our level three
students have made the short list for these prestigious awards,” say Patrick Macklin, Head of Interior Design at
the GSA. “Having a live brief to work to
is vital for professional development, and to have the opportunity to create
concepts for a new Top Shop store in Los Angeles was hugely exciting for the
students.”
students have made the short list for these prestigious awards,” say Patrick Macklin, Head of Interior Design at
the GSA. “Having a live brief to work to
is vital for professional development, and to have the opportunity to create
concepts for a new Top Shop store in Los Angeles was hugely exciting for the
students.”
“To be
shortlisted in a national design competition is no small matter, but when the
entries are of such a high standard it really is a vote of confidence,”
says Matthew Valentine, Editor of Retail Design Week, who was instrumental in
establishing the RDW Student Awards and was a judge in this year’s competition.
shortlisted in a national design competition is no small matter, but when the
entries are of such a high standard it really is a vote of confidence,”
says Matthew Valentine, Editor of Retail Design Week, who was instrumental in
establishing the RDW Student Awards and was a judge in this year’s competition.
“The work submitted by entrants to the Retail
Design Student Awards this year was terrific, and genuinely impressed the panel
of senior designers who gave up their time to be judges. And let’s not forget
that the students from Glasgow were working to a real brief from one of the most
dynamic fashion retailers in the world. To impress seasoned designers in that
context suggests that these students are truly ones to watch.”
Design Student Awards this year was terrific, and genuinely impressed the panel
of senior designers who gave up their time to be judges. And let’s not forget
that the students from Glasgow were working to a real brief from one of the most
dynamic fashion retailers in the world. To impress seasoned designers in that
context suggests that these students are truly ones to watch.”
“At the heart of the Topshop brand
is an innate understanding and love for
is an innate understanding and love for
fashion. Rather than being confined by rules and visual
devices, as long as
devices, as long as
it’s current, Topshop can go anywhere and be anything.”
Guy Smith, Head of Design at Arcadia Group
The
students were challenged to consider what
references to previous Topshop sites, in particular the existing Los Angeles
store, there should be in the new store; the role of new digital technologies
in the shopping process; how the space might react to change; and how the store
could introduce Topshop to potential customers who are unfamiliar with the
brand.
students were challenged to consider what
references to previous Topshop sites, in particular the existing Los Angeles
store, there should be in the new store; the role of new digital technologies
in the shopping process; how the space might react to change; and how the store
could introduce Topshop to potential customers who are unfamiliar with the
brand.
Lisa Gauss’s concept is for a machine
that transports clothes over tracks throughout the store.
that transports clothes over tracks throughout the store.
“The customer is surrounded by flying clothes,” explains Lisa. “It takes the shopping experience to a whole new level and makes the
journey of finding a new favourite outfit a lot easier and more exciting.”
journey of finding a new favourite outfit a lot easier and more exciting.”
“The design is entertaining and theatrical
reflecting the location of the store in Los Angeles,” she adds.
reflecting the location of the store in Los Angeles,” she adds.
In Surprise
behind the Veil Venus Pang begins with a façade that hides the products
presenting the shop instead as a “box of surprises” whilst also conveying the
brand’s “hip vibe”. Inside the store a series of geometric shapes subtly break
up the interior space into sections for four different departments.
behind the Veil Venus Pang begins with a façade that hides the products
presenting the shop instead as a “box of surprises” whilst also conveying the
brand’s “hip vibe”. Inside the store a series of geometric shapes subtly break
up the interior space into sections for four different departments.
“As the shopper stands at the entrance they get
a clear glance at the overall placement of departments,” explains Venus. “Their attention is directed to the focal points along the main aisle
displaying the newest and best items in the store.”
a clear glance at the overall placement of departments,” explains Venus. “Their attention is directed to the focal points along the main aisle
displaying the newest and best items in the store.”
“Special photo booths with space for up to 8
people, which are installed with professional lighting, camera and a touch
display, will enable people to join friends for a photo session. This will be converted
into a digital look book and uploaded on to social media, for sharing and
comparing,” she adds.
people, which are installed with professional lighting, camera and a touch
display, will enable people to join friends for a photo session. This will be converted
into a digital look book and uploaded on to social media, for sharing and
comparing,” she adds.
In Holografsion Aaron Hunter proposes the
application of holograph technology to allow customers to experience something
extraordinary and interactive. Features of the design include 7m floor to
ceiling mirroring and holograph screens as well as interactive outside shopping
technology.
application of holograph technology to allow customers to experience something
extraordinary and interactive. Features of the design include 7m floor to
ceiling mirroring and holograph screens as well as interactive outside shopping
technology.
“Three
main structures are positioned purposely to lead the customer through the
store,” explains Aaron. “A shoe area is suspended from the roof with
pink rubber allowing translucency and light to travel through the space; the
changing area is located within a structure tailored in hologram material, and the main structure is an 11m x 5m dual holographic screen. It is a
design that would enable Glendale to change fashion retail for ever.”
main structures are positioned purposely to lead the customer through the
store,” explains Aaron. “A shoe area is suspended from the roof with
pink rubber allowing translucency and light to travel through the space; the
changing area is located within a structure tailored in hologram material, and the main structure is an 11m x 5m dual holographic screen. It is a
design that would enable Glendale to change fashion retail for ever.”
As part of
the design process the students were mentored by Ross Hunter of acclaimed
design agency, Graven Images. The winners will be announced at Olympia in
London on 9 March 2016.
the design process the students were mentored by Ross Hunter of acclaimed
design agency, Graven Images. The winners will be announced at Olympia in
London on 9 March 2016.
Ends
For
further information contact:
further information contact:
Lesley
Booth,
Booth,
0779 941 4474
Notes for Editors
RETAIL
DESIGN WORLD STUDENT AWARDS
DESIGN WORLD STUDENT AWARDS
Retail
Design Student Awards, a much-applauded scheme designed to celebrate, encourage
and promote the future stars of retail design, were launched in 2015.The 2016
Awards build on the success of the inaugural scheme. Students from six universities
took part (Kingston, Nottingham Trent, Huddersfield, Manchester, Northumbria,
and The Glasgow School of Art).
Design Student Awards, a much-applauded scheme designed to celebrate, encourage
and promote the future stars of retail design, were launched in 2015.The 2016
Awards build on the success of the inaugural scheme. Students from six universities
took part (Kingston, Nottingham Trent, Huddersfield, Manchester, Northumbria,
and The Glasgow School of Art).
Mentors
for the 2016 applicants were: Tim
Greenhalgh, Chairman and Chief Creative Officer of FITCH, Jeff Kindleysides,
Founder of Checkland Kindleysides, Helen Shelley, Creative Director of
MWorldwide, David Judge, Creative Executive Director of Start JG, David
Dalziel, Group Creative Director of Dalziel and Pow, and Ross Hunter, Director
of Graven Images
for the 2016 applicants were: Tim
Greenhalgh, Chairman and Chief Creative Officer of FITCH, Jeff Kindleysides,
Founder of Checkland Kindleysides, Helen Shelley, Creative Director of
MWorldwide, David Judge, Creative Executive Director of Start JG, David
Dalziel, Group Creative Director of Dalziel and Pow, and Ross Hunter, Director
of Graven Images
Entrants from Kingston University, Nottingham Trent
University and Huddersfield University worked on a live brief from Speedo, and
those from Manchester University, Northumbria University, and The Glasgow School
of Art tackled a brief set by Topshop.
University and Huddersfield University worked on a live brief from Speedo, and
those from Manchester University, Northumbria University, and The Glasgow School
of Art tackled a brief set by Topshop.
All shortlisted work will be displayed at the Retail
Design Expo 2016 (March 9 – 10) and the two winners will be announced on 9th
March at 1.00pm.
Design Expo 2016 (March 9 – 10) and the two winners will be announced on 9th
March at 1.00pm.
NEW
TOP SHOP LA DESIGN BRIEF
TOP SHOP LA DESIGN BRIEF
Topshop Los Angeles
Establishing a constantly evolving brand in a new market
CONTEXT
For many years, brands have been defined and recognised by formulated
and rigidly applied aesthetic treatments. Company logos, secondary typefaces,
brand colours, patterns, forms, styles of photography and other visual devices
are used to make brands instantly recognisable to their existing and potential
customers.
and rigidly applied aesthetic treatments. Company logos, secondary typefaces,
brand colours, patterns, forms, styles of photography and other visual devices
are used to make brands instantly recognisable to their existing and potential
customers.
Topshop is one of a new breed of brands that work in an entirely
different way. At the heart of the Topshop brand is an innate understanding and
love for fashion. As fashion constantly changes so to does Topshop. As long as
an approach possesses a certain energy and is all about what is current and
‘now’ it can be applied to and used by Topshop. Rather than being confined by
rules and visual devices, as long as it’s current, Topshop can go anywhere and
be anything.
different way. At the heart of the Topshop brand is an innate understanding and
love for fashion. As fashion constantly changes so to does Topshop. As long as
an approach possesses a certain energy and is all about what is current and
‘now’ it can be applied to and used by Topshop. Rather than being confined by
rules and visual devices, as long as it’s current, Topshop can go anywhere and
be anything.
This brand elasticity can give great freedom when designing stores for
Topshop. Each one can be unique, new and different from those that have gone
before as long as it remains true to the principle of being on trend and
primarily about fashion.
Topshop. Each one can be unique, new and different from those that have gone
before as long as it remains true to the principle of being on trend and
primarily about fashion.
However, this posses a challenge for the continued expansion of the
brand. As a long established UK business Topshop needs to establish itself in
new markets around the world in order to grow. While in the UK, generations
have grown up familiar with the Topshop brand, in other countries the brand is
virtually unknown.
brand. As a long established UK business Topshop needs to establish itself in
new markets around the world in order to grow. While in the UK, generations
have grown up familiar with the Topshop brand, in other countries the brand is
virtually unknown.
To date in the USA Topshop has opened stores in Chicago, Las Vegas, San
Diego, Huston, Atlanta and New York (2).
Diego, Huston, Atlanta and New York (2).
THE CHALLENGE
Building large numbers of identical stores, ‘cookie cutting’ a design
into numerous sites is the accepted way of establishing a retail brand in a new
market. However, Topshop’s love of fashion and change makes it tempting to
create one-off store designs, each being different from the last.
into numerous sites is the accepted way of establishing a retail brand in a new
market. However, Topshop’s love of fashion and change makes it tempting to
create one-off store designs, each being different from the last.
So, should Topshop adopt the accepted, proven route to expansion or
attempt a riskier strategy which, if it doesn’t work could significantly set
back the international growth of the brand?
attempt a riskier strategy which, if it doesn’t work could significantly set
back the international growth of the brand?
THE BRIEF
To design Topshop’s second store in Los Angeles. Your design should
reflect an understanding of the following issues:
reflect an understanding of the following issues:
·
What references the design makes to previous Topshop sites, in
particular the existing Los Angeles store.
What references the design makes to previous Topshop sites, in
particular the existing Los Angeles store.
·
What roles do new digital technologies have to play in the shopping
process? Consider what may help and augment the shopping experience and what
might distract and diminish the hands-on, visceral experience of being in a
real store.
What roles do new digital technologies have to play in the shopping
process? Consider what may help and augment the shopping experience and what
might distract and diminish the hands-on, visceral experience of being in a
real store.
·
How does the space react to change? Should it be a permanent temple to
fashion or an empty stage?
How does the space react to change? Should it be a permanent temple to
fashion or an empty stage?
· What can the store do to introduce Topshop to potential customers who
are unfamiliar with the brand?
are unfamiliar with the brand?
APPENDIX AND NOTES
50% of the space should be used by
Topshop.
Topshop.
30% of the space should be allocated to
Topman, the menswear equivalent of Topshop.
Topman, the menswear equivalent of Topshop.
Consider how the two brands co-exist in
the space. Are they side-by-side, one in front of the other or some other
approach?
the space. Are they side-by-side, one in front of the other or some other
approach?
20% of the space should be given to
‘Back Of House’ requirements – offices, store rooms etc. The design of this
space in not included within this brief.
‘Back Of House’ requirements – offices, store rooms etc. The design of this
space in not included within this brief.