Showing posts with label shop windows. Show all posts
Showing posts with label shop windows. Show all posts

Monday, 7 January 2019

Singapore Day 4

Today started very slowly as there were phone conferences with Spain, Nevada, Melbourne and 
Laos. By the time work was over I just went out and walked around the giant shopping mall that is 
known as Orchard Road. I allowed myself to get lost in the underground labyrinth that keeps people 
out of the heat and still shopping.

Looking at all the shops I reflected on the importance of Western brands in Asia. 
It's not as if there aren't fabulous designers in Asia. From Japan alone there is Miyake Issei, 
Mori Hanae, Takada Kenzo, Kawakubo Rei and Maruyama Keita to name just a few.
And there are stand-alone branded Asian fashion stores: Shanghai Tang from Hong Kong 
and Comme des Garcons from Japan. I got on the web and discovered that in Singapore there
are four Shanghai Tang shops and one Comme des Garcons. But there are eight Bvlgari outlets, 
six Dior, five Fendi and three Chanel shops. As well as strong representations by Bally, Coach, 
Gucci, Zara, and Topshop and many more well known branded companies. 
It is starting to look like a flashy, trashy airport shopping centre.
Singapore is not alone. I've seen this trend in Hong Kong, Shanghai and Tokyo. I realise the 
same brands are to be found all around the world but there seems to be a heavy domination 
by them in Asia. I personally have a problem wearing logos. I feel that if I am going to become 
a walking advertisement for a particular company they can pay me. These brands are expensive,
by wearing them you are saying 'I can afford this' rather than an indication of your own tastes.
 If you're not confident in your own style then self-identification with someone-else's brand 
philosophy could invest you with self-worth. But it can't give you a sense of identity. 
It is borrowing another's values. 
Another megacity that I visit regularly is Mumbai. Western brands are well represented 
in the shopping malls of the large hotels but in the main shopping centres everything 
is Indian. Does this mean that Indians are more confident than Asians in their own 
style and don't feel the need to adopt an alien identity?

 
This identification of Western style includes the mannequins. In India I have seen mannequins 
that have been changed to make them look Indian, I haven't seen the same in Asia. I simply 
don't get a young Chinese girl identifying with a blond-haired, blue-eyed fashion display. 

 Earlier I mentioned Shanghai Tang. All of their designs have a cultural link to Chinese heritage, 
whether it's with the fabric design or a subtly upturned collar. Their clothes are recognisable by their 
style without the need for giant logos (although some of their designs have a small logo).
Chinese culture has a rich history of wonderful silks and exquisite embroidery. 
You see none of this in the shops or on the streets. 
 I continued to wander through shopping heaven or hell, whatever you feel about endless consumerism, in the hope that I would find a style that reflected the geographic area I was in.
 No such luck.
 Harley Davidson, Prada, Rolex, Tiffanys, Mui Mui and another Dior.
Ahhhhhhhhhhhhhhhhhhhhhhh!
 
 I was really disturbed by the lack of a 'Singapore" identity. 
That night we decided to revisit a place that we had eaten at over a decade ago.
We got a cab to Nelsons Circle. A long time ago the area was a ramshackle arrangement of 
food shacks in a vacant lot. It was noisy and colourful and full of amazing aromas.
It is now neat and tourist friendly. The dirt has been exchanged for concrete.
It is all well lit and, like the rest of Singapore, incredibly safe.

 But at least we found a true Singapore brand. Tiger beer.
 
 Now you are presented with menus from the numerous touts but the crabs and the 
oyster omelettes were still delicious.
 It's just a pity that yet another chaotic area of Singapore has been turned into a theme park.

Saturday, 10 March 2012

Mannequins of the world


Mannequins are a mirror of how we would like to be, a glamorous alternative of who we are. 
In 1964 Adel Rootstein developed the first celebrity mannequin when she sculptured a 
14 year old Twiggy. Since then the "ideal glamour woman" has been used as a template, 
from Lynda Carter to Victoria Beckham, depending on current social preferences.
They also mirror our social times. After World War II mannequins were made with happy smiles
as they welcomed the troops home. In the months following 9/11 the mannequins in New York 
were sombre and draped in red white and blue. 
Six months later mannequins had lost their heads or their faces and the windows of New York 
were without glamour or personality. 
It took more than a year before frivolity returned.
 The mannequins of Hollywood Boulevard mirror a slightly tawdry, totally unreal sexuality.
Mannequins mirror the cityscape back at us on the windows they hide behind. City reflections 
take the mannequins out of the window and place them firmly in our world where they are very 
much alive. Like us.
New York
 The city they inhabit is familiar but is seen eerily in reverse.
Paris
 The city reflections put the mannequin in a time and space, from the skyscrapers of New York, 
to the grand emporiums of Regent Street London and to the country shop fronts of rural Australia.
London
Camperdown, Victoria
I began shooting mannequins in New York in 1977 and a fascination turned into an obsession 
and then a profession.

I’ve travelled the world trying to find mannequins that reflected the local community but I found 
the opposite. Chanel windows look the same in Tokyo, in Melbourne, in New York and all
places in between.
Tokyo
Madrid
 An aside about Chanel: for years they used mannequins based on Erin O’Connor and Ute 
Lemper, a couple of years ago they changed to a very ugly cheaper mannequin, much to the 
disgust of stylists.
Paris
I couldn’t find an Asian mannequin in Shanghai or Hong Kong.
Hong Kong
Shanghai
And now, world chains are rolling out their look throughout the world. Zara, internationally are 
using an abstract white mannequin that has graphic black elements added to it for a change.
Melbourne
 But I noticed last year, so it may have changed by now, in London Zara was still using realistic 
Rootstein mannequins.


I’d like to thank all stylists and visual merchandisers for dressing your city and making travel for 
me always exciting.
Paris
London

For a collection of world windows check this out

For more models of the world
http://www.flickr.com/photos/dianeworland/collections/72157618909900091/