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| Venus Pang wins an RDW Award it was announced today |
GSA Interior Design Student, Venus
Pang from Hong Kong, has scooped a prestigious RDW Award for Surprise
behind the veil it
was announced today, 9 March 2016. The announcement was made at Retail Design Expo
at London’s Olympia. Venus 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. She wins placements
with Topshop and with leading design company, Graven Images.
Pang from Hong Kong, has scooped a prestigious RDW Award for Surprise
behind the veil it
was announced today, 9 March 2016. The announcement was made at Retail Design Expo
at London’s Olympia. Venus 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. She wins placements
with Topshop and with leading design company, Graven Images.
“I’m so excited to have won this award,” says 21-year
old Venus. “I’m looking forward to getting professional
experience working with Topshop and Graven Images. Working in a real life
contexts will really help me to develop my skills as an Interior Designer.”
old Venus. “I’m looking forward to getting professional
experience working with Topshop and Graven Images. Working in a real life
contexts will really help me to develop my skills as an Interior Designer.”
“We are thrilled that Venus has won this
prestigious award,” says Pamela
Flanagan, Interior Design lecturer at the GSA. “Having the opportunity to create concepts for a new Topshop store
in Los Angeles was hugely exciting for our students and it is wonderful that
one of them has gone on to win the RDW Award.”
prestigious award,” says Pamela
Flanagan, Interior Design lecturer at the GSA. “Having the opportunity to create concepts for a new Topshop store
in Los Angeles was hugely exciting for our students and it is wonderful that
one of them has gone on to win the RDW Award.”
“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,”says Matthew Valentine, Editor of Retail Design Week who was instrumental in establishing the RDW Student Awards and a judge in this year’s competition.”And let’s not forget that Venus was working to a real brief by one of
the most dynamic fashion retailers in the world. To impress seasoned designers
in that context suggests that she is truly one to watch.”
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,”says Matthew Valentine, Editor of Retail Design Week who was instrumental in establishing the RDW Student Awards and a judge in this year’s competition.”And let’s not forget that Venus was working to a real brief by one of
the most dynamic fashion retailers in the world. To impress seasoned designers
in that context suggests that she is truly one to watch.”
THE
BRIEF
BRIEF
At the heart of the Topshop brand
is an innate understanding and love for fashion.
is an innate understanding and love for fashion.
Rather than being confined by rules and visual
devices, as long as it’s current,
devices, as long as it’s current,
Topshop can go anywhere and be anything.
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.
Surprise behind the Veil
In Surprise
behind the Veil Venus Pang begins with a façade that hides the products
presenting instead the shop 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 instead the shop 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
compraring” 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
compraring” she adds.
Two other GSA Interior Design Students, Aaron Hunter and Lisa Gauss, were shortlisted for the awards.
As
part of the design process the students were mentored by Ross Hunter of
acclaimed design agency, Graven Images.
Ends
For
further information on the GSA contact:
further information on the GSA 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.
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?
What can the store do to introduce Topshop to potential customers who
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.