#06The Paris Issue - Jakobs-DMV GmbH & Co. KG

#06The Paris Issue - Jakobs-DMV GmbH & Co. KG

#06The Paris Issue - Jakobs-DMV GmbH & Co. KG


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www.alu.com<br />

2<br />

#06 The <strong>Paris</strong> <strong>Issue</strong><br />

#06 The <strong>Paris</strong> <strong>Issue</strong>

www.bonaveri.com<br />

2<br />

ART into ART<br />







Ehrenhof 4-5<br />

40479 Dusseldorf Germany

72-77<br />

Get Lost . . . <strong>Paris</strong><br />

<br />

Designer and local resident Philippe Di Méo<br />

shows us this bustling neighbourhood’s<br />

most fascinating spots.<br />

4<br />

46-53<br />

Christophe Lemaire<br />

<br />

‘style interests me more than fashion’<br />

Fashion designer Christophe Lemaire, creative<br />

director of both the Hermès women’s prêt-à-porter<br />

collection and his signature label.<br />

MInD #06 / contents<br />

18-23<br />

Kuntzel+Deygas<br />

<br />

Tv commercials, title sequences,<br />

ad campaigns, lamps, the adventures<br />

of ‘their’ Cap & Pep: whatever the project,<br />

this French duo keeps pushing the<br />

boundaries.<br />

78-85<br />

Free Your Mind<br />

<br />

Three youngsters, litres of paint and ALU<br />

systems as a blank canvas.<br />

5 MInD #06 / contents<br />

InTervIew<br />

Christophe Lemaire 46<br />

reTAIL<br />

L’eclaireur 32<br />

Bill Tornade 40<br />

ArT<br />

Kuntzel+Deygas 18<br />

ALUsTrATIons<br />

<strong>Paris</strong> Mon Amour 12<br />

The Pleasure of Leisure 24<br />

Get the Look 54<br />

Going Dutch 66<br />

DePArTMenTs<br />

out There 9<br />

Luca Goes shopping 30<br />

Talking Design Régis Clavelly 38<br />

Meanwhile, in a City far Away 60<br />

The Classic Serge Lutens 64<br />

Get Lost in ... <strong>Paris</strong> 72<br />

ALU shop Free Your Mind 78<br />

In the Air 87<br />

How To Use Slider 90<br />

Ask the expert Hélène Lafourcade 96<br />

<strong>Co</strong>ntacts 98<br />

<strong>Co</strong>ver<br />

Kunztel+Deygas: Illustration representing<br />

the characters Caperino & Peperone.

w w w . m a i n e t t i . c o m<br />

Mainetti S.p.A.<br />

Via Casarette nr. 58<br />

36070 Castelgomberto (VI)<br />

Vicenza, Italy<br />

T_: +(39) 0445 428511<br />

F_: +(39) 0445 428627<br />

E_: info@italy.mainetti.com<br />

<strong>Co</strong>ntributors Editorial<br />

wHo Anna samson<br />

wHAT writer<br />

HABITAT <strong>Paris</strong><br />

DID Get Lost . . . in <strong>Paris</strong>, page 72 and the<br />

retail story on Bill Tornade, page 40<br />

worK appeared in Frame<br />

wHo victor Duran<br />

wHAT Photographer<br />

HABITAT Amsterdam<br />

DID the photos of the Dutch ALU<br />

showroom, page 66<br />

wHo Bruno Fournier<br />

wHAT Photographer<br />

HABITAT <strong>Paris</strong><br />

DID the photos for Get Lost . . . in <strong>Paris</strong>,<br />

page 72<br />

worK appeared in neo 2, A Magazine,<br />

vs Magazine<br />

wHo shonquis Moreno<br />

wHAT editor / writer<br />

HABITAT new York City<br />

DID the retail story on L’eclaireur, page 32<br />

and Ask the expert, page 96<br />

worK appeared in Frame, surface,<br />

T, Gestalten<br />

wHo Chris scott<br />

wHAT writer/ Graphic designer<br />

HABITAT <strong>Paris</strong><br />

DID The Classic, page 64<br />

worK appeared in Frame, Print, Blueprint<br />

wHo Charlotte vaudrey<br />

wHAT writer<br />

HABITAT Marche (IT)<br />

DID The Pleasure of Leisure, page 24 and<br />

Get The Look, page 54<br />

worK appeared in Frame, Footprint,<br />

In Design<br />

wHo sofia Fernandez-stenström<br />

wHAT Photographer<br />

HABITAT Bassano del Grappa, stockholm,<br />

Madrid<br />

DID Luca Goes shopping, page 30<br />

worK appeared in Interni,<br />

sportswearinternational, www.caporea.it,<br />

www.sofiaf.com<br />

wHo emma Faucheux<br />

wHAT Photographer<br />

HABITAT <strong>Paris</strong><br />

DID The photos for Billtornade at Gallerie<br />

Lafayette, page 40<br />

worK www.neufmoisemois.com<br />

7<br />

<strong>Co</strong>ncept<br />

Frame Publishers, Amsterdam<br />

framemag.com<br />

editor<br />

Alexandra onderwater<br />

alex-on.com<br />

Design<br />

Marco Ugolini<br />

Production<br />

Marlous van rossum-willems<br />

Translation and copy editing<br />

Inotherwords<br />

(Donna de vries-Hermansader)<br />

MInD #06 / colophon<br />

Publishing<br />

Printed in Italy<br />

MinD is published three times<br />

per year by ALU<br />

For free subscriptions visit<br />

alumindmagazine.com<br />

ALU Headquarters<br />

via del <strong>Co</strong>mmercio, 22<br />

36060 romano d'ezzelino (vI)<br />

Italy<br />

T: +39 0424 516 816<br />

e: aluitaly@alu.com<br />

w: www.alu.com

VISSA S.R.L.<br />

Viale dell’Industria 122/A<br />

36015 SCHIO (VI)<br />

T. +39.0445.576690<br />

info@vissa.it<br />

www.vissa.it<br />

Out There<br />

worDs AlexAndrA onderwAter<br />

silEnt dis<strong>Co</strong><br />

relaxing amidst the greenery of Amsterdam’s<br />

westerpark on a lovely summer’s day, surrounded<br />

by blossoms and butterflies, Dutch designer <strong>Co</strong>nny<br />

Groenewegen must have envisioned a spectacle<br />

unhindered by walls, roofs or concrete floors. when<br />

Amsterdam International Fashion week (AIFw) rolled<br />

around last July, Groenewegen showed her collection<br />

in the open air. This was not a catwalk accompanied by<br />

blaring music, however: seated on clingfilm-wrapped<br />

crates, representatives of the press and other invited<br />

guests viewed the show wearing headsets, as did<br />

the models, who were dressed in fashions inspired<br />

by the metamorphosis that turns a caterpillar into a<br />

butterfly. Before parading in metallic bodysuits and<br />

garments with butterfly sleeves and loosely crocheted<br />

details, the models stood, unmoving, swathed like<br />

cocoons in the same type of plastic film. As the<br />

models gradually shed their skins, Groenewegen’s<br />

creations were revealed.<br />

www.<strong>Co</strong>nnYGroeneweGen.nL<br />

9 MInD #06

oCkin’ in rEd<br />

It’s the subject of annual speculation: who’s ‘doing’<br />

the serpentine Gallery Pavilion this year? Following a<br />

list of illustrious names – including olafur eliasson,<br />

sAnAA, Zaha Hadid (twice), Frank Gehry and oscar<br />

niemeyer – it was up to the equally illustrious French<br />

architect Jean nouvel to create a temporary eyecatching<br />

accommodation for the tenth edition of Park<br />

nights, a public programme that features events and<br />

talks.<br />

nouvel’s cherry-red duet of lightweight materials<br />

and cantilevered metal structures makes a striking<br />

contrast to the surrounding greenery, while also<br />

referring to London’s iconic telephone and post boxes,<br />

not to mention the city’s red buses, without which<br />

we cannot picture life in this bustling metropolis.<br />

reflected in the design is a touch of French fantasy<br />

that comes, perhaps, from table-tennis tables on the<br />

lawn outside the pavilion. Paddle in hand, for a brief<br />

moment we are transported to la douce France.<br />

open daily from 10 a.m. to 6 p.m. until oct 17<br />

(admission to the pavilion is free)<br />

www.serPenTIneGALLerY.orG<br />

PHoTos courtesy of serpentine GAllery<br />

Just in CasE<br />

You may have just returned from your holiday<br />

spree, but next time you take off for places unknown,<br />

here’s a handy hint: a great travel companion is the<br />

very official-sounding ‘Leather suitcase no 03 M’ by<br />

Palmer & sons. sturdy and roomy, this handsome bag<br />

has a traditional design that you either love or hate.<br />

Those who love it are sure to appreciate the caption on<br />

the Canadian manufacturer’s website: ‘In just 1 cubic<br />

foot of empty space a man can pack all that he needs<br />

to get the job done, and still bring back a gift for his<br />

angel.’ For the real man: there is an online shop.<br />

www.PALMerAnDsons.CA<br />

takE it?<br />

taPE it!<br />

Obviously, today’s top perfumes are far more than ‘a great bouquet’. And it’s not just the design of the bottle<br />

that gives your favourite fragrance an edge. The latest generation of scents soars to the stars on more than<br />

cool bottles and classy packaging. In 2010, perfumes have lead roles in films, like the one the Brothers Quay<br />

made to convey the mystical message of <strong>Co</strong>mme des Garçons’ wonderwood, a scent described as ‘an evocation<br />

of exuberance’ and ‘a positive overdose of woods, woody notes and synthetic wood constructions’. The film<br />

may not win an Academy Award, but what a fabtastic description of a new-age essence.<br />

www.DoversTreeTMArKeT.<strong>Co</strong>M<br />

thE art<br />

oF aroma<br />

‘A new experience of creativity with a conscience’<br />

or how to spray your way into heaven. every year<br />

six scents pairs six celebrated perfumers with six<br />

artists in an attempt to raise awareness – and a bit<br />

of moolah – for a good cause. series one featured<br />

fragrances created in collaboration with Bernhard<br />

willhelm (‘close to the elements of water and air’ his<br />

contribution expressed the ‘back to nature’ side of<br />

Bernhard) and Gareth Pugh, who opted for ‘a struggle<br />

between lightness and darkness’ with ingredients<br />

like dill, black pepper, nutmeg, white amber and<br />

musk. The artist has a say not only in the choice of<br />

scent but also in the design of bottle and packaging.<br />

The focus of series Two is the relationship between<br />

artists and nature, a theme that is explored by means<br />

of photographs, films, stories, art and, of course,<br />

fragrances.<br />

www.sIx-sCenTs.<strong>Co</strong>M<br />

10 MInD #06<br />

11 MInD #06 / out there<br />

Flying<br />

sauCErs<br />

nymphenburg, the ‘king of porcelain’, knows as no<br />

other how to link tradition and superior craftsmanship<br />

with contemporary talent and, in so doing, to produce<br />

one surprise after another. For its most recent<br />

collaboration with a living artist, the prestigious<br />

German porcelain manufacturer chose Carsten<br />

Höller (1961), whose Flying City Tableware honours<br />

the wondrous project of the same name created by<br />

russian constructivist architect and artist Georgy<br />

Krutikov (1899-1958). The collection expresses<br />

Höller’s out-of-the-box thinking – in a world led<br />

by conventions upon which we base our behaviour,<br />

is it possible to imagine things in a fundamentally<br />

different way? – disguised as serving plates, dinner<br />

plates, side plates, cups and saucers fit for royalty, or<br />

even for your mother-in-law’s next visit. one spinning<br />

plate from the Flying City series begs to be mounted<br />

on the wall.<br />


The <strong>Paris</strong> <strong>Issue</strong><br />

worDs AnD IMAGes Alu<br />

It started with a French love song and ended with all of us<br />

humming along.<br />

Autopole and Loop make an ideal marriage<br />

for window displays, enhancing product<br />

presentation without being invasive.<br />

Whether the items on display are<br />

cosmetics, fashions, accessories – you<br />

name it – this appealing duo knows no<br />

bounds. All types of products are welcome.<br />

12 MInD #06 / the pAris issue 13 MInD #06 / the pAris issue

ooh là là, <strong>Paris</strong>! City of light, city of dreams, city of love.<br />

A bustling metropolis, a grande dame, a place of passion, heroic<br />

appeal and irresistible charm, inviting you to dance with her<br />

on warm summer evenings and beckoning you indoors on chilly<br />

winter afternoons to feel the heat of burlesque entertainment<br />

in unparalleled <strong>Paris</strong>ian style. This issue of MiND pays tribute to<br />

<strong>Paris</strong> and its outspoken inhabitants, a combination that has been<br />

radiating beauty, refinement and elegance for centuries. we guide<br />

you through a flavourful palette of French diversity introduced by<br />

a petit déjeuner with Bill Tornade; continuing with an avant-garde<br />

boutique, L' eclaireur; pausing against the backdrop of Centre<br />

Pompidou to talk to the brand-new creative director of Hermès,<br />

Christophe Lemaire; and ending with a visit to Kuntzel+Deygas,<br />

visual storytellers par excellence, at a cosy office in a northern<br />

neighbourhood of the vibrant metropolis.<br />

14 MInD #06 / the pAris issue 15 MInD #06 / the pAris issue

Loop is available in three sizes: 40, 60<br />

and 90 cm (16, 24 and 36 inches). Used for<br />

signage or for the display of hanging or<br />

folded products, Loop is at your service.<br />

<strong>Co</strong>mmunicate and display with the same<br />

setup, simply by rotating.<br />

It is precisely the blend of glamour and sensuous elegance<br />

found in <strong>Paris</strong> – a priceless urban gem steeped in history – that<br />

appealed to Autopole, ALU’s most enduring design. Inspired by<br />

the <strong>Paris</strong>ian atmosphere, Autopole has taken on a French twist,<br />

reinventing itself with the help of its latest accessory, Loop.<br />

<strong>Paris</strong> and Autopole meet in an imaginary world, a burgundy mise<br />

en scène in which a fading blood-red horizon and a sparkling<br />

ambience create the perfect setting for our slender diva,<br />

the lovely Autopole.<br />

<br />

16 MInD #06 / the pAris issue 17 MInD #06 / the pAris issue

Art<br />

Florence Kuntzel and Olivier Deygas amidst<br />

several of their MiCha lamps.<br />

Meeting Florence Kuntzel and Olivier Deygas in their<br />

charming <strong>Paris</strong>ian studio (a king-size living room filled<br />

with chesterfield furniture, knick-knacks, works of art,<br />

sketches, mock-ups, figurines, a gramophone, LPs,<br />

candles, et cetera) is like stepping into a life-size version<br />

of their cartoon-like work. The artistic duo, whose shared<br />

career spans almost 20 years, claimed their way to<br />

international fame with a trailer for steven spielberg’s<br />

Catch Me If You Can and the lovably amusing Caperino<br />

& Peperone – Cap & Pep for those in the know – a pair of<br />

perky pets born at <strong>Co</strong>lette in 2004. Kuntzel, Deygas and<br />

I talk about a lamp that’s half cat, and they thoroughly<br />

convince me that nothing beats the drawing table.<br />

worDs AlexAndrA onderwAter<br />

PHoTos courtesy of Add A doG<br />

18 MInD #06 / Art 19 MInD #06 / Art

[MiND] Nice place!<br />

[Kuntzel] It used to be a glass factory. You can still<br />

see the stains on the concrete floor, reminders of<br />

its former glory. In the basement we have a team of<br />

freelancers working – about 20 of them at the moment<br />

– and all our digital facilities.<br />

What are you working on now?<br />

[K] we have two major projects going at present. one<br />

is a series of Tv commercials for American express,<br />

which we’re doing together with ogilvy London. with<br />

the exception of the UsA, it’s a worldwide campaign.<br />

very graphic and simple, it appeals to a variety of<br />

cultures. It features a black background and merging<br />

graphic designs that tell a story. our other big project<br />

is a lamp we just launched, called MiCha.<br />

Do you always work with an ad agency?<br />

[K] no. At times we just create something that we feel<br />

is necessary. But the collaboration with ogilvy London<br />

is a very natural, fluent process with no waste – which<br />

we appreciate. normally, there’s so much waste<br />

in the ad world: of time, of energy, of ideas . . .<br />

Isn’t your own company, Add a Dog, a creative<br />

agency?<br />

[K] Add a Dog is a production house. It’s a tool<br />

dedicated exclusively to our projects – similar to a<br />

studio owned by the musicians who record there.<br />

Do all your projects come through an ad agency?<br />

[K] For Tv commercials, yes. It’s a very specialized<br />

world. In the case of many other projects, though,<br />

we deal directly with the client. Brands like veuve<br />

Clicquot and Diptyque.<br />

‘IMPerFeCTIons Are InTeresTInG’<br />

Olivier Deygas<br />

Their candles are mesmerizing . . .<br />

[K] I know. we loved them so much we spontaneously<br />

created a pair of candles for the brand.<br />

Without being asked?<br />

[K] For several years we’ve been trying to blur the<br />

boundaries between commissions and jobs that we<br />

initiate ourselves. Currently, our work consists of<br />

about half of each. our idea was to make a pair of<br />

candles instead of the single models that Diptyque<br />

had done previously. so we showed them the beauty<br />

and the beast, our signature characters. They loved<br />

the idea immediately. You can only buy the two<br />

together. we were also involved in the creation<br />

of the scents, which work best if you put the candles<br />

in adjacent rooms; opening a window usually makes<br />

the two fragrances blend.<br />

Like a good relationship.<br />

[K] [Laughs] Indeed. olivier drew the beast and<br />

I drew the beauty. They share an essence of violet<br />

that makes their scents harmonize with each other.<br />

Actually, we’re working on a new project for<br />

Diptyque right now.<br />

What makes the brand appeal to you?<br />

[K] we love its simplicity. Diptyque is mainly about<br />

black and white, and so are we. There are many levels<br />

on which we connect.<br />

Does that happen a lot?<br />

[K] It’s very rare. working with luxury brands is not<br />

easy. The process takes a long time. relationships can<br />

be fragile. every case is different. But we like working<br />

with luxury labels for these very reasons. It’s similar<br />

to the art world. Big brands have a personal story to<br />

tell, and all their output needs to be in line with that<br />

story.<br />

[Deygas] There’s also the French aspect. France<br />

relies heavily on the history of the poster. Long ago,<br />

all marketing for the luxury business was done by one<br />

poster designer: concept, paintings, logo, advertising.<br />

French brands still maintain the somewhat oldfashioned<br />

idea of having an artist connected to a<br />

campaign. we find it interesting, of course, as it allows<br />

us to work directly with a brand.<br />

How much do you do by hand?<br />

[K] every project begins with a hand-drawn sketch,<br />

after which we sometimes work with the computer.<br />

or organize a photo shoot. we draw directly on the<br />

computer, but we also mix hand-drawn sketches with<br />

digital work. There’s always a bit of us in the result.<br />

An artisanal touch. we want everything we do to be<br />

an expression of our personal vocabulary.<br />

[D] Imperfections are interesting; they add life to<br />

a drawing. when we work by hand something happens<br />

that wouldn’t occur if we were to stick strictly<br />

to the computer. >>><br />

View of the Kunztel+Deygas studio featuring<br />

a Caperino & Peperone rug in the foreground.<br />

20 MInD #06 / Art 21 MInD #06 / Art

Recent work by Kunztel+Deygas includes<br />

audio sculptures. Pictured here is a model<br />

that emerged from experiments with<br />

a ‘mini skull’ speaker.<br />

Various prototypes of the MiCha lamp.<br />

[K] Using real tools means fighting with reality;<br />

the pen is sharp, but not as sharp as you want it to<br />

be. with the computer, you visualize what you want<br />

to obtain and you achieve a virtual result. working<br />

manually, you can be more intuitive. where the charm<br />

comes from remains a mystery.<br />

‘ToDAY’s ArTIsT HAs To exPLore More<br />

THAn one CreATIve FIeLD’<br />

Florence Kuntzel<br />

You’re from the pre-nerd period – right?<br />

[D] Before the rise of computer graphics, we were<br />

making films with puppets built from wood and metal.<br />

It worked quite well. Today, though, you’re able to<br />

change every detail of the animation process – timing,<br />

lighting, everything. Using old-school tools, we shot<br />

a scene and were done. Finished. no modification<br />

possible. From an artistic point of view, it might be<br />

interesting to do it like that again, but I’m not sure<br />

whether people are ready to deal with results that<br />

can’t be altered.<br />

Florence, when you started working together<br />

in the ’90s, Olivier was a pioneer of digital imaging,<br />

and you were an expert in hand-drawn,<br />

Disney-style animation.<br />

[K] Digital creation – using the computer to make<br />

pictures – was just emerging then.<br />

[D] I created title sequences for rock bands, moving<br />

images with effects. The computer was slow,<br />

expensive and difficult to use.<br />

[K] He was at the forefront of technology, and I was<br />

an old-fashioned girl. Classical violin meets electric<br />

guitar, so to speak.<br />

[D] Today I don’t use a computer at all.<br />

[K] And I love that machine!<br />

[D] But I’m very messy. I need a computer for keeping<br />

records and organizing images.<br />

And now you have a new baby, MiCha.<br />

[D] Yep, we created a company entirely for the lamp.<br />

[K] As artists, we’ve never had full control of<br />

everything before, including the manufacturing<br />

process and commercial decisions like where the<br />

lamp will be sold. we even opened an e-boutique.<br />

Why do everything yourself?<br />

[K] To bring the idea to life and to ensure the quality<br />

of a product that bears our name.<br />

[D] You can have a company for which you develop<br />

characters, or you can have a character for which you<br />

create a company.<br />

Wow.<br />

[K] why are you surprised? sometimes it’s better for<br />

an artist to work alone. To be independent. To precede<br />

22 MInD #06 / Art 23 MInD #06 / Art<br />

reality, not lag behind. Today’s artist has to explore<br />

more than one creative field. visiting the business and<br />

contract side of design can be enriching. we might<br />

be wrong and we might fail, but we have to try.<br />

How is MiCha made?<br />

[K] In seven French workshops close to <strong>Paris</strong>, MiCha<br />

goes through 20 operations – moving back and forth<br />

between ateliers as the work progresses. It includes<br />

metal cutting, folding and painting. The head is<br />

crafted separately; the moustache is made<br />

of springs . . .<br />

Bespoke spiral.<br />

[K] Indeed. It took years to develop. It’s a luxury<br />

product.<br />

And the name?<br />

[D] MiCha refers to the French words for half a cat.<br />

And the lamps look like cats.<br />

Everything you make is so cute. All your designs<br />

have a rather cartoon-like quality.<br />

[K] [Laughs] Ultimately, though, it’s human hands that<br />

make them tick.<br />

<br />

Still of a trailer the artists created<br />

for the movie Catch Me If You Can.

worDs chArlotte VAudrey<br />

PHoTo sofiA fernAndez-stenström<br />

The right display fittings can refresh the most unexpected<br />

of locations. ALU’s Autopole system revitalizes leisure<br />

environments, such as spas. Its slim, slender lines fit right<br />

in, adding a new dimension by transforming a service<br />

area into a point of purchase. Autopole is also an original<br />

solution for a bar, where it is the perfect tool<br />

for stimulating sales.<br />

sPa<br />

Fixed securely between floor and<br />

ceiling, Autopole adds a lean look<br />

to a spa environment. Carefully<br />

selected accessories complete the<br />

upscale sales point.<br />

Thanks to:<br />

BLUE Wellness & Relax<br />

Via Cà Rezzonico 54<br />

36061 Bassano del Grappa<br />

W: www.bluecenter.it<br />

24 MInD #06 / AlustrAtion 1<br />

25 MInD #06 / AlustrAtion 1

ar<br />

Autopole’s sleek profile<br />

mirrors the tall stools and<br />

tables found in a bar. Add<br />

shelving to create an elegant,<br />

upright wine presentation.<br />

Thanks to: B.A.R.<br />

Vicolo degli Zudei 9/11<br />

36061 Bassano del Grappa<br />

T: +39 0424 529388<br />

26 MInD #06 / AlustrAtion 1<br />

27<br />

MInD #06 / AlustrAtion 1

Thanks to: SEARS<br />

Via Matteotti 3<br />

36061 Bassano del Grappa<br />

T: +39 0424 524977<br />

aPParEl<br />

Autopole can be dressed up or<br />

down with shelving and hanging<br />

accessories to bring hot items<br />

from a new collection to the<br />

shopper’s attention.<br />

UnPACK ALU’s AutOPOLe In A reTAIL envIronMenT AnD MArveL AT THe<br />

FreeDoM oF exPressIon IT BrInGs. wHeTHer YoU Use THe DIsPLAY sYsTeM To<br />

FeATUre An I<strong>Co</strong>nIC ProDUCT or To MerCHAnDIse THe LATesT HIGHLIGHT In YoUr<br />

<strong>Co</strong>LLeCTIon, everY TIMe YoU reInvenT THe sPACe, AutOPOLe ADDs A CerTAIn<br />

je ne SAIS quOI To THe resULT.<br />

Thanks to: 22.12<br />

Via Vittorelli 36<br />

36061 Bassano del Grappa<br />

W: www.ventiduedodici.blogspot.com<br />

28 MInD #06 / AlustrAtion 1<br />

29 MInD #06 / AlustrAtion 1<br />

Foot-<br />

wEar<br />

Showcasing select pairs of shoes<br />

on a perfectly proportioned shelf<br />

encourages shoppers to step up<br />

and take a closer look.

Luca Goes Shopping<br />

worDs lucA pAVAni / creAtiVe director Alu<br />

PHoTo Alu<br />

I’ve never much liked the vintage look . . .<br />

I’ve tried. Lots of times. I just can’t bring myself to<br />

buy vintage items. I’ve seen all the beautiful stores,<br />

but buying somebody else’s story just doesn’t work for<br />

me. I don’t mind stepping inside and looking around.<br />

I can appreciate the beauty, and I think a vintage store<br />

has something that other stores don’t have: it can<br />

become a merchandiser’s unique strategy, thanks to a<br />

décor based primarily on old, one-of-a-kind furniture.<br />

Looking at the latest collections, I see that<br />

everyone is including pieces from the glorious past,<br />

30 MInD #06 / lucA Goes shoppinG<br />

without even taking the trouble to revise such designs.<br />

I’m referring to those who’ve been in business for 20<br />

years and are now digging out the things they weren’t<br />

able to sell back then – as well as to people who return<br />

to the past as a way of showing that we’re even further<br />

behind now.<br />

I’m over 40; many of the clothes hanging in my<br />

closet are half that old – call it ‘vintage’ if you like.<br />

will my favourite store this year be my personal<br />

‘vintage’ closet?<br />

ALU/<br />


2011/<br />

Düsseldorf/<br />

from 26.2/<br />

to 2.3.2011/<br />

Hall 11/<br />

Booth E30.<br />

ALU spa - Via del <strong>Co</strong>mmercio 22 - 36060 Romano d’Ezzelino (VI)- Italy<br />

Tel: 0039 0424 516816 - Fax : 0039 0424 36550 - e-mail: aluitaly@alu.com - www.alu.com

Retail<br />

worDs shonquis moreno<br />

PHoTos dAVe bruel<br />

Belgian Studio Arne quinze (sAQ) gave the high-brow,<br />

courageous French boutique L’eclaireur in Le Marais<br />

a brave new face with crudely collaged structures,<br />

maze-like shelving, hammered-together slats<br />

and randomly embedded video screens.<br />

32 MInD #06 33<br />

MInD #06 / retAil

Close-up of the cabinet-like structure –<br />

an assemblage of slats, LCD screens and<br />

car paint – that snakes through a <strong>Paris</strong>ian<br />

boutique created by Studio Arne Quinze.<br />

34<br />

The space is an organic labyrinth;<br />

six films displayed on 147 flat screens<br />

stir the imagination.<br />

Part fashion designer’s atelier, part graffitied city lot,<br />

part gallery and part plush fitting room, <strong>Paris</strong>’s sixth<br />

L’eclaireur shop was sewn together from swatches of<br />

material by Belgian studio Arne Quinze. The interior<br />

features an appliqué-like smattering of LCD screens<br />

displaying abstracted imagery and is embroidered<br />

with the highly textural patchwork plank-art that has<br />

become artist Arne Quinze’s signature. Though Quinze<br />

contributed only a sculpture, a (restrained, for him)<br />

accretion of cascading bent-ply slats, and a loop<br />

of video, his fingerprint, gracefully refined by his<br />

design team, is conspicuous throughout.<br />

L’éclaireur often translates as ‘boy scout’<br />

and connotes, in the highest lowbrow manner,<br />

the ‘pathfinder’, the ‘avant-garde’ and even<br />

‘enlightenment’. The brand is the creature of Armand<br />

Hadida and wife Martine, who opened their first retail<br />

space in 1980 in the basement of a Champs Élysées<br />

gallery, selling – the first to do so in France – labels<br />

like Prada, Ann Demeulemeester, Dries van noten and<br />

Martin Margiela. since then, the couple has continued<br />

to combine found objects, art, architecture and<br />

fashion.<br />

MInD #06 / retAil 35 MInD #06 / retAil<br />

‘THIs Is noT A sTore; THIs Is A sTorY’<br />

naziha Mestaoui, visual artist<br />

Hadida, none too fond of the word ‘shopping’,<br />

has certainly been a pioneer of the tightly edited<br />

concept shop. By now, however, this type of retail<br />

space – dedicated to high-touch service, exclusivity,<br />

a forward-looking aesthetic and the generation<br />

of an immersive and lush sense of luxury – is not<br />

particularly innovative. Hadida’s own shops did it<br />

early on, after all. But the design succeeds amply<br />

in its manufacture of a rarefied atmosphere in which<br />

the customer is considered the ‘host’, in command<br />

of a lingering experience expected to last, whether a<br />

purchase is made or not, 30 minutes to an hour instead<br />

of mimicking the typical ten-minute dash-through.<br />

Part of the rarity consists, perversely, of the<br />

Belgian design studio’s crudely collaged structures<br />

and wilfully rough finishes. Here the surfaces of<br />

uneven, textural and interleaved panels, maze-like<br />

shelving and hammered-together slats are painted<br />

a single unifying colour and framed cleanly with a<br />

manicured concrete floor and a heavy black drop<br />

ceiling. Light, lightness and accents assert a strong<br />

presence, however, in the shifting tattoo of 147<br />

randomly embedded video screens and clothes >>>

‘THe <strong>Co</strong>nCePT wAs A DressInG rooM,<br />

noT A BoUTIQUe’<br />

Roel Dehoorne, SAq designer<br />

posing within a few well-lit niches. ‘not everything has<br />

to be shown,’ points out sAQ designer roel Dehoorne.<br />

A single room conceals the bulk of the stock<br />

behind automatic doors that open, like garage doors,<br />

only upon command. when the customer enters the<br />

store, she is received immediately by a salesperson,<br />

who helps her to ‘discover’ the displayed portion of<br />

the collection, which serves as a tasting menu. when<br />

the customer indicates her tastes, the salesperson<br />

can dip into any of six cabinets of curiosities, each<br />

dedicated to a single designer. ‘The concept was a<br />

dressing room,’ Delhoorne explains, ‘not a boutique.’<br />

But this is also a space inflected with artistry<br />

(with which the garments can’t help but be infected).<br />

Though technology and conspicuous signs of (literal)<br />

construction hem the interior, these feel on a par<br />

with the expressions that they support: ‘It’s not art<br />

over architecture or architecture over art,’ Delhoorne<br />

emphasizes. ‘It’s just a healthy mix of the two.’<br />

on show is a video that Quinze shot of the mudsmeared<br />

eyes of his wife, along with clips by local<br />

video-art students. Also playing in a hidden room at<br />

the heart of the store are the serial digital instalments<br />

of Roombook by <strong>Paris</strong>ians naziha Mestaoui and Yacine<br />

Aït Kaci of electric shadow. The first chapter, entitled<br />

‘echo & narcissus’, projected real-time state-ofthe-world<br />

statistics into a basin on the floor. The<br />

second chapter, ‘superfluidity’, installed in May, is an<br />

audiovisual environment that allows visitors to change<br />

a projected image while producing a sound with each<br />

alteration, all of which is played out simultaneously<br />

online, notionally connecting virtual and physical<br />

spaces.<br />

‘retail has become a place for experience,’ says<br />

Mestaoui, who suggests that, on entering a store,<br />

a shopper does not suddenly become only a customer<br />

but continues to maintain her complexity, her interest<br />

in many subjects, including the arts. ‘retail has to<br />

consider people not only from the perspective of<br />

branding but also as players in a dialogue with the<br />

universe the shop creates. As I said to Armand at<br />

the opening, this is not a store; this is a story. As I<br />

understand it, the meaning of the name, L’eclaireur,<br />

reflects my view: the store doesn’t sell just objects;<br />

it sells illumination.’<br />

<br />

The ‘ordered chaos’ of the 450-m 2 interior<br />

is a choreography of constantly changing<br />

sightlines, lively video images and walls<br />

of recycled components arranged to form<br />

multi-layered collages.<br />

36 MInD #06 / retAil 37<br />

MInD #06

Talking Design<br />

wHo<br />

régis<br />

ClavElly<br />

What I<br />

dislike the most is . . .<br />

The loss of memory. How<br />

a brand like Yves saint Laurent,<br />

which is not directed by a single<br />

person, has employees who sometimes<br />

bring out products that have nothing to do<br />

with the style of the brand. what’s important<br />

for the continued success of a brand is<br />

artistic direction from someone who’s really<br />

invested in the project, whether it’s in <strong>Paris</strong><br />

or worldwide – someone who says,<br />

‘we can do this, not that. not a circle,<br />

but a square. That’s beautiful,<br />

but it’s not us.’<br />

How can<br />

a bricks-and-mortar<br />

shop keep up with its<br />

virtual competitors?<br />

Unlike the situation on the<br />

internet, you can’t have a physical<br />

store without a real live salesperson<br />

and the accompanying service<br />

afforded by the human element.<br />

Americans are very strong in this<br />

area. In the United states,<br />

even the security guard<br />

says hello.<br />

Any heroes?<br />

Somebody you'd be if<br />

you couldn’t be you?<br />

Yves saint Laurent is one. Just<br />

think of fuchsia and black – two<br />

signature colours that make you say:<br />

‘oh, that’s Yves saint Laurent.’ Another is<br />

typographer Adrian Frutiger, who creates<br />

typefaces for clients like Charles de Gaulle<br />

Airport – letters that give brands the<br />

‘codes’ needed to express themselves.<br />

or Charles and ray eames – I like<br />

their designs and how they used<br />

a pencil to create a chair.<br />

worDs AnnA sAmson<br />

Favourite<br />

shopping experience?<br />

It’s interesting to see that the<br />

shopping experience differs according<br />

to the country involved and to recognize that<br />

the French notion of ‘beauty’ is strictly French.<br />

Brands that are very strong in fragrances and<br />

make-up enter Asia through the beauty-care market,<br />

whereas in europe the emphasis is more on the colours<br />

of fragrances and make-up. It’s a question of culture.<br />

In Asia beauty is often linked to an interior sense of<br />

wellbeing and to taking care of oneself. A lot of retail<br />

interiors offering cosmetics to oriental customers<br />

are white. when we designed the Yves rocher<br />

stores in Asia, we replaced the green furniture<br />

for which Yves rocher is known in europe with<br />

white furniture in order to create a clear<br />

association between the products<br />

and beauty.<br />

www.LAvACHenoIre.Fr<br />

régis Clavelly, cofounder and<br />

director of La vache noire, a creative<br />

agency specializing in the fragrancesand-cosmetics<br />

market and in the cultural<br />

domain.<br />

nATIonALITY French<br />

LoCATIon <strong>Paris</strong><br />

HIGHLIGHTs A worldwide retail concept<br />

for French beauty brand Yves rocher and<br />

its beauty institutes, including stores and<br />

shops-in-shops in Asia; retail concept<br />

for French beauty brand Dr Pierre ricaud,<br />

whose products were previously available<br />

only by mail order.<br />

The future<br />

of retail is . . . ?<br />

Promising. retail is the first<br />

and last contact that people have<br />

with many brands. If brands don’t do<br />

press and communication, they live only<br />

through their retail space. when we worked<br />

on Bourgeois, we developed a total concept<br />

for the shops in Asia, where the brand did<br />

not exist previously. we had to consider<br />

how to represent and organize the brand.<br />

I picture retail evolving in an<br />

increasingly refined way, with each<br />

and every detail expressing<br />

the brand.<br />

<strong>Co</strong>mmon<br />

retail mistake?<br />

The reconstruction of a brand’s<br />

identity. <strong>Co</strong>mmon retail mistakes<br />

occur when a brand is subjected to<br />

change – as when a foreign agent or<br />

subsidiary believes that because the local<br />

market is different the brand needs a new<br />

form of expression. In that case, the brand<br />

lets the reins of its identity slip away.<br />

It loses its DnA, its promise. It may go<br />

from one extreme to another: a brand<br />

that’s the height of luxury on one<br />

continent can become quite<br />

accessible on another.<br />

38 MInD #06 / tAlkinG desiGn<br />

39 MInD #06 / tAlkinG desiGn<br />

What’s<br />

your description<br />

of a satisfying La Vache<br />

Noire project?<br />

one that allows us to be in charge<br />

of everything. For French makeup<br />

brand Une, we worked on the<br />

identity, the product design,<br />

the merchandising and the retail<br />

space, everything from A to Z.<br />

This was more than<br />

satisfying; it was ideal.<br />

What’s the<br />

most frustrating aspect<br />

of retail right now?<br />

It’s frustrating to enter a store<br />

that resembles a museum or a closed<br />

box and to be unable to touch the<br />

merchandise. I like stores with lots of<br />

things and lots of choice. A store should<br />

provide accessibility to what you want to<br />

buy, to touch, to open. It should be a place<br />

where you can ask for advice. A store<br />

should have fluidity, facility, a clear<br />

layout. It should enable you to<br />

understand things easily.<br />

If I<br />

had an unlimited<br />

budget, I’d create . . .<br />

I’d like to have the scope<br />

to create the DnA of the<br />

brand, the place, the identity<br />

and the discourse. It’s not<br />

really about budget,<br />

though. It’s about<br />


Retail<br />

when the owners of French menswear brand Bill tornade<br />

decided to open a new store on rue vieille du Temple and<br />

to roll out several shops-in-shop at the Galeries Lafayette<br />

department-store chain, they asked ALU to execute the<br />

merchandising systems. josé Ronez, cofounder of Bill<br />

tornade, explains what rock glamour is doing in the<br />

Marais and why white is the colour of choice:<br />

‘You need to be able to breathe.’<br />

worDs AnnA sAnsom<br />

IMAGes tibo - emmA fAucheux<br />

Bill Tornade cofounder José Ronez.<br />

40 MInD #06 / retAil 41<br />

MInD #06 / retAil

ALU's Mobile fixtures have been selected<br />

for Bill Tornade's shops-in-shops.<br />

[MiND] Tell us about the background and brand<br />

DNA of Bill Tornade.<br />

[José ronez] The brand started in 1977. My brother<br />

Francis [who designs the collections] and I started it<br />

in a maid’s room and gradually it grew – and grew and<br />

grew. At one point it was a lot bigger than it is now.<br />

The economic crisis has forced us to become smaller<br />

again. But the collections are more precise, luxurious<br />

and upscale. we’ve launched a range of shirts, suits<br />

and coats, and we do less sportswear. The brand is<br />

about a rock-glamour spirit, well-cut clothes and good<br />

quality.<br />

How did the partnership with ALU come about?<br />

I met Pierre Barbey, the head of ALU in France, by<br />

chance at a restaurant. He showed me a catalogue<br />

and I liked it. I thought it would be interesting to work<br />

together.<br />

42 MInD #06 / retAil<br />

43 MInD #06 / retAil<br />

‘ToDAY we neeD roUnDer,<br />

soFTer ForMs’<br />

josé Ronez<br />

Were you looking for a new kind of display<br />

solution? Something different from what you had in<br />

the shop on rue Etienne Marcel, which you opened 14<br />

years ago?<br />

Today we need rounder, softer forms. we were looking<br />

for a product that wasn’t too expensive – something<br />

modular, adaptable and creative. Using the same ALU<br />

product, we can work with a wide range of concepts<br />

and do all sorts of things.<br />

What part do ALU display systems play at the rue<br />

Vieille du Temple store?<br />

we used the Autopole collection, fixing the modules<br />

securely between floor and ceiling and allowing<br />

the space to evolve linearly. Because the Autopole<br />

collection features soft, rounded, subtle forms,<br />

people feel good in the store. They enter, browse and<br />

buy – all in a casual, relaxed way. >>>

‘PeoPLe enTer, Browse AnD BUY –<br />

ALL In A CAsUAL, reLAxeD wAY’<br />

josé Ronez<br />

What inspired the design for the store?<br />

I wanted to do a white store with a sense of<br />

spaciousness – a place that gives people room to<br />

breathe. white brings out the colours of the clothes.<br />

I liked the idea of doing something different from the<br />

wood-panelled floors and black interiors that you find<br />

in so many <strong>Paris</strong>ian boutiques. since the shop is in<br />

an area known for its art galleries, it has the spirit of<br />

a gallery – very light, with photographs on the walls.<br />

There’s also a large, white piece of furniture in the<br />

middle, which is industrial and soft at the same time.<br />

What ALU systems are you using for the shopsin-shops<br />

that you’ve opened at the Galeries Lafayette<br />

stores in <strong>Paris</strong>, Tours and Toulouse?<br />

we selected the Mobile fixtures and geared their<br />

use to the size of the shop, to the display concept in<br />

question and to the open or closed layout of the shopin-shop.<br />

our smaller outlets, at Galeries Lafayette in<br />

Tours and Toulouse, are open: they are not partitioned<br />

off from the rest of the store. The one in <strong>Paris</strong>, where<br />

walls are involved, is closed.<br />

Are you going to roll out shops-in-shops at<br />

Galeries Lafayette in other cities?<br />

I hope so. If it works well in <strong>Paris</strong>, it’s important for<br />

us to continue this strategy throughout the rest<br />

of the network.<br />

<br />

www.BILLTornADe.Fr<br />

www.GALerIesLAFAYeTTe.<strong>Co</strong>M<br />

www.ALU.<strong>Co</strong>M<br />

ALU's Autopole is starring at Bill<br />

Tornade's rue Veille du Temple store.<br />

José Ronez: 'Because of Autopole's soft,<br />

rounded, subtle forms, people feel good<br />

in the store.'<br />

44 MInD #06<br />

45 MInD #06 / retAil

Interview<br />

worDs AlexAndrA onderwAter<br />

PHoTos courtesy of christophe lemAire<br />

Under his signature label, Christophe Lemaire, he designs<br />

elegantly minimalist fashions for self-confident men<br />

and women. Frenchman Christophe Lemaire doesn’t<br />

roar or rumble – not at the drawing table and not during<br />

interviews. over a Perrier Menthe, the fresh creative<br />

director of the Hermès women’s ready-to-wear line talks<br />

about quietude, fashion prostitutes and nonconformity.<br />

<strong>Paris</strong>-based<br />

fashion designer<br />

Christophe<br />

Lemaire was<br />

recently appointed<br />

creative director<br />

of Hermès women’s<br />

prêt-à-porter<br />

collection.<br />

46 Mind #06 / IntervIew 47 MInD #06 / interView

Tucked into the back of the cocoon-like<br />

Christophe Lemaire boutique is a Lacoste<br />

shop-in-shop that was designed along<br />

the lines of a ’30s gymnasium.<br />

‘sTYLe Is ABoUT FInDInG YoUr<br />

PersonAL Groove’<br />

Christophe Lemaire<br />

For a man whose career deserves a nod of esteem,<br />

at the very least – he’s worked for Yves saint Laurent,<br />

Thierry Mugler and Jean Patou; assisted Christian<br />

Lacroix; served nine years as artistic director at<br />

Lacoste, a period that ended only last winter; and<br />

seen his own label garner international success over<br />

the past ten years – Christophe Lemaire is remarkably<br />

modest. we meet on the terrace of Café Beaubourg<br />

in <strong>Paris</strong>, Lemaire’s home ground. with the Centre<br />

Pompidou in my field of vision, not to mention an<br />

enthusiastic balloon artist and a mix of chic <strong>Paris</strong>ians<br />

and camera-crazy tourists, I scan the crowd and<br />

finally spot Lemaire: a tall, soft-featured guy in<br />

a moss-green shirt and tortoise-shell sunglasses,<br />

scooter helmet perched on the seat next to him.<br />

He stands to greet me with a resolute yet friendly<br />

look on his face. we have a half hour before he’s<br />

off to his next appointment.<br />

Three days earlier he had introduced his latest<br />

collection, Femme/Homme ss 2011. At the end of<br />

March, Lemaire stepped into the shoes of Jean-Paul<br />

Gaultier, who had been the creative director of Hermès<br />

and head of the brand’s ready-to-wear collection for<br />

the previous seven years. But that bit of breaking<br />

news is out of bounds for today, because Gaultier<br />

is still responsible for the last Hermès collection<br />

that’s been shown. ‘It’s still virtual’ – so what’s to be<br />

said, other than that working for the fashion house,<br />

bar none, is like stepping into a dream. And that, no,<br />

he’s not on pins and needles. ‘I have a feeling it will be<br />

less complicated than what I did at Lacoste. Lacoste<br />

is more corporate, and the collection I designed there<br />

was huge. with Hermès, it’s going to be much quieter.<br />

It’s not such a big collection either. It’s not going<br />

to be easy, but more rewarding, I think.’ >>><br />

48 MInD #06 / interView<br />

49 MInD #06 / interView<br />

The Christophe Lemaire boutique in the<br />

Marais district has the feel of a cosy<br />

living room, thanks to display cushions<br />

along the walls.

Photos of the Christophe Lemaire<br />

Femme/Homme SS 2011 collection.<br />

PHoTos<br />

In a past life, the boutique was<br />

a chemist’s shop.<br />

[MiND] For nine years, you gave Lacoste<br />

a distinctive face and simultaneously developed your<br />

own collection. How did you – and do you – manage<br />

to shift from one to the other, constantly donning<br />

a different fashion personality?<br />

[Lemaire] It’s like an exercise. when I worked at<br />

Lacoste, I entered the world of Lacoste. with Hermès<br />

it will be the same. As a designer I am very careful,<br />

very keen on doing something that makes sense<br />

for the brand. That’s my job, and the only thing that<br />

interests me. I have never been interested in making<br />

noise. I truly believe the fashion business has lost<br />

itself in the spectacle. revolutionary philosopher<br />

Guy Debord already described everything that is<br />

happening now in a book he wrote in 1967: society<br />

of the spectacle. At the end of the day, what we<br />

currently call ‘fashion’ is just a media-business thing.<br />

spectacular fashion shows that don’t relate to reality.<br />

Presenting clothes that nobody can wear?<br />

That nobody can wear, but also . . . [Pauses.] I don’t<br />

deny that John Galliano is super-talented, but what<br />

is the point in what he is creating for Dior in relation<br />

to where Dior is coming from? There is no meaning,<br />

no sense.<br />

Isn’t this so-called ‘circus’ intrinsic to the world<br />

of fashion?<br />

Look, some designers are great at creating beautiful<br />

images that make you dream. That’s important. But<br />

as a designer, I am not interested in getting attention.<br />

I want to do the right thing.<br />

50 MInD #06 / interView<br />

51 MInD #06 / interView<br />

But if everybody is yelling and you remain silent,<br />

do you get noticed?<br />

Apparently, since someone at Hermès approached me<br />

for this position. I don’t believe we exist only through<br />

the media. we have been conditioned to think that a<br />

designer exists only by appearing on Tv or a magazine<br />

cover. I don’t agree. There is also the business reality,<br />

and what looks good in the media doesn’t necessarily<br />

sell. I have always believed that people represent the<br />

true destination of the clothes I design. They either<br />

buy them or they don’t. Do people wear your clothes<br />

or not? That’s the main thing. It’s rewarding when<br />

someone tells you they bought a pair of pants you<br />

designed ten years ago and still wear them.<br />

Better than being on the cover of a magazine?<br />

It’s a great way of getting attention and recognition –<br />

but it’s just a medium.<br />

Isn’t the fashion-show frenzy essentially the same<br />

thing?<br />

Putting on a fashion show twice a year is a single<br />

dramatic event. nothing can replace it. It enables<br />

you to create a mood, a context – to explain why you<br />

designed a collection. But it’s only a tiny step.<br />

How big is your signature company – Christophe<br />

Lemaire?<br />

we have a staff of ten. You know, I feel clearer than<br />

ever in my mind. I guess it comes with age and<br />

experience. I’m very determined to go on. And pretty<br />

confident too.<br />

‘To Be UnorTHoDox ToDAY YoU HAve<br />

To Be A PUrITAn’<br />

Christophe Lemaire<br />

How does a collection come about?<br />

It’s a combination of dreams, a mix of pragmatic<br />

questions. There is no recipe. It’s a complex process.<br />

Can you give me a concrete example?<br />

For the latest collection I was inspired by a British<br />

new wave band and a French painter. There was<br />

something about the texture, the colours – a certain<br />

subtlety, off-whites and light greys – that appealed<br />

to me. what I had in mind was movement, suggesting<br />

a certain kind of clothes. But I try to do the same every<br />

season, always the same.<br />

That’s remarkable . . .<br />

It explains my focus on style rather than fashion.<br />

I don’t believe in changing a collection every season.<br />

The system tries to sell you the idea that this season<br />

you have to have this luxury bag to be cool. That’s<br />

exactly what I’m opposed to. style is about finding<br />

your personal groove. what kinds of pants, shirts >>>

and colours suit you and say who you are? I try to<br />

propose an alphabet – not exchangeable pieces but<br />

some sort of ‘basic equipment’ that lets you create<br />

your own vocabulary.<br />

Without being boring.<br />

I shouldn’t use the word ‘basic’, because it suggests<br />

something cheap, but with minimalist, essential work<br />

I try to be as simple and as evident as possible, while<br />

taking care not to be boring. My ultimate goal is to<br />

be simple but special, rich. every season I set out to<br />

discover clothes that reveal the personality, that fuel<br />

your moves, your gestures, and don’t disguise you.<br />

How then do you make sure your ad campaigns<br />

don’t propose, or impose, a certain type<br />

of personality?<br />

By using sincere, noble images. Like our show, which<br />

was intimate, with people sitting beneath a blue<br />

sky and models walking normally. Music and styling<br />

suggested elegance. But I do have a specific vision<br />

of my ideal woman.<br />

Do we have to be like her?<br />

no, not at all. But you have to be clear about who you<br />

are. I like quiet fashion, oozing harmony, serenity.<br />

Then, of course, you have cool pants that are worn<br />

by someone else and go off to lead a life of their own.<br />

‘I TrY To Do THe sAMe everY seAson’<br />

Christophe Lemaire<br />

It’s people who make the clothes.<br />

Let’s face it: style is people. The designer can do only<br />

half the job. I hate the idea of fashion being some sort<br />

of nouveau riche affair. In the ’60s, who you were was<br />

how you looked. now, people who just want to buy a<br />

brand don’t even check whether it suits them. It’s so<br />

not true, so not being who they are.<br />

Society has changed.<br />

I love fashions from the late ’70 and ’80s, when<br />

fashion mags were talking about the ‘free woman’<br />

and designers were creating clothes for everyday life:<br />

appealing, progressive, stylish, positive fashions.<br />

By the end of the ’80s, all that had changed. Fashion<br />

started being about money and status. Top models.<br />

Capitalism. Fashion magazines took on an air of<br />

corruption, showing images of women who looked like<br />

high-class prostitutes.<br />

Prostitutes?<br />

Yes. And women were guilty players in that game as<br />

well, dressing like whores. There’s a certain sense<br />

of pornography there. I’m not a puritan, not at all.<br />

when I say ‘whores’ I’m referring to a degraded view<br />

of women. I believe in dignity, decency, intelligence,<br />

refinement. In being yourself. we have been<br />

conditioned by the business and media system to sell<br />

stupidity in order to make easy money.<br />

‘THe FAsHIon BUsIness HAs LosT<br />

ITseLF In THe sPeCTACLe’<br />

Christophe Lemaire<br />

Women are conditioned to dress a certain way?<br />

To be cool?<br />

wear 12-inch heels, make people believe that showing<br />

your tits and having orgies is cool. It’s not unorthodox<br />

at all. And it has nothing to do with rock’n’roll.<br />

I love rock’n’roll. But what’s happening here is too<br />

artificial. To be retro today you have to be a puritan.<br />

rock’n’roll is a demonstration of energy and life and<br />

nonconformity. showing everything is just going along<br />

with the crowd.<br />

But what if the heels and the sexy duds are her<br />

style?<br />

If it’s her true identity, I completely accept it. I’m not<br />

a fascist. not everyone should wear what I design. It’s<br />

the dictatorship of this development that I’m against.<br />

I endorse the right to be eccentric – if it’s truly you,<br />

excellent. I believe in diversity, but please don’t insist<br />

there’s only one way to be cool and stylish.<br />

So what I buy and wear is my decision?<br />

Yes, but we are conditioned, subconsciously.<br />

Fashion magazines today are a completely corrupted<br />

business.<br />

How do you survive in this jungle?<br />

Modern technology gives me the capacity to<br />

communicate and stay in touch with the world.<br />

That makes it easier. And you have to be able to resist.<br />

Professionally and personally, I strive to be true to<br />

what I believe. I don’t give up. You have to be able<br />

to say no. It’s oK to say no.<br />

<br />

52 MInD #06 / interView<br />

53 MInD #06 / interView<br />

The fashion label’s design<br />

studio is on the first floor.<br />

A tennis racket on the façade<br />

hints at the presence of<br />

Lacoste’s shop-in-shop.

worDs chArlotte VAudrey<br />

IMAGes Alu<br />

<strong>Paris</strong> is a city whose streets are alive with exchanges,<br />

where a glance is returned with a smile. retailers watching<br />

these silent conversations have taken flirting to heart,<br />

and <strong>Paris</strong>ian window displays seem to wink at the passerby,<br />

catching her eye. elegant? Desirable? Moi? they imply.<br />



CreATe DIsTInCTIve AnD ever DIFFerenT wInDow DIsPLAY <strong>Co</strong>nFIGUrATIons.<br />

54 MInD #06 / AlustrAtion 2 55<br />

MInD #06<br />

ALU’s savvy systems have been designed to attract<br />

that all-important, lingering look, transforming the<br />

pedestrian into a potential client.

TAKInG reTAIL DIsPLAYs To new HeIGHTs Is SLIDeR, THe LATesT sYsTeM FroM<br />

ALU. CLIP A CABIneT To PArALLeL TrACKs, THen roTATe or sLIDe IT To CreATe<br />

A vIBrAnT new wInDow DIsPLAY As oFTen As DesIreD.<br />

56 MInD #06 57 MInD #06 / AlustrAtion 2


MADe In HeAven. weATeHr UseD As sIGnAGe or For sHeLvInG, LOOP<br />

Is neAT AnD DIsCreTe.<br />

58 MInD #06 / AlustrAtion 2 59 MInD #06 / AlustrAtion 2

Meanwhile,<br />

in a City far Away . . .<br />

UnLeAsHeD DoG sPA<br />

Location Toronto (CA)<br />

Application Fixture<br />

ALu Systems Autopole<br />

By ALU UsA<br />

rIP CUrL<br />

Location Hossegor (Fr)<br />

Application Fixture<br />

ALu Systems Autopole<br />

By ALU France<br />

FAT FACe<br />

Location Brighton (UK)<br />

Application Fixture<br />

ALu Systems Mobile<br />

By Fat Face In-House Creative Team<br />

BLACKHAwKs sTore<br />

Location Chicago, IL (UsA)<br />

Application visual Merchandising<br />

ALu Systems Autopole<br />

By ALU UsA<br />

CHevIGnon<br />

Location <strong>Paris</strong> (Fr)<br />

Application Fixture<br />

ALu Systems Autopole<br />

By ALU France<br />

THe norTH FACe<br />

Location <strong>Co</strong>penhagen (DK)<br />

Application Fixture<br />

ALu Systems Mobile<br />

By The north Face Team<br />

60 MInD #06<br />

61 MInD #06 / projects<br />

esCADA<br />

Location Harrods, London (UK)<br />

Application Fixture<br />

ALu Systems Acrobat/ Frame<br />

By ALU Italy<br />

Tes<strong>Co</strong><br />

Location Prague (CZ)<br />

Application Fixture<br />

ALu Systems Mobile

BHv<br />

Location France<br />

Application visual Merchandising<br />

ALu Systems Mobile<br />

By ALU France<br />

AL sAwAnI DePT sTore<br />

Location red sea Mall, Jeddah (sA)<br />

Application Fixture<br />

ALu Systems Mobile<br />

By KsA / schwitzke<br />

DAInese<br />

Location IsPo, Messe München (De)<br />

Application Fixture<br />

ALu Systems Mobile / Ribbon<br />

By Dainese spA<br />

nAPAPIJrI<br />

Location <strong>Paris</strong> (Fr)<br />

Application Fixture<br />

ALu Systems Autopole<br />

By ALU France<br />

sIGnATUre sTore<br />

Location whistler-BC (CA)<br />

Application Fixture<br />

ALu Systems Reed/Pylon<br />

By ALU UsA<br />

JUsT Bee<br />

Location McArthur Glen, serravalle (IT)<br />

Application Fixture<br />

ALu Systems Orizzontale<br />

By APrIL Milano<br />

62 MInD #06<br />

63 MInD #06 / projects<br />

sPorT HerITAGe neTworK<br />

Location Henley Museum (UK)<br />

Application Fixture<br />

ALu Systems Box<br />

BUrTon<br />

Location whistler-BC (CA)<br />

Application Fixture<br />

ALu Systems Reed<br />


The Classic<br />

worDsPHoTo<br />

A valhalla for aficionados of irresistible essences, Les Salons<br />

du Palais Royal is the brainchild of perfumer Serge Lutens,<br />

who let himself be guided by the couleur locale. Mystical<br />

visions and astrological signs meet Arabian nights in the<br />

heart of <strong>Paris</strong>.<br />

walking into Les salons du Palais royal is like<br />

stepping into another world. You might be hesitant<br />

to cross the threshold, but having done so – and<br />

having fallen under the seductive spell of sublime<br />

scents and sumptuous surroundings – you are sure<br />

to become a regular.<br />

Pilgrimages are made by members – young and old<br />

– of the shop’s loyal international clientele, who are<br />

addicted to the fragrances and charmed by the rather<br />

old-fashioned elegance and ‘magic’ of the place.<br />

Located in what must be one of the most distinguished<br />

yet idyllic spots in <strong>Paris</strong> – Jardins du Palais royal<br />

– with its select mix of shops and restaurants,<br />

‘Les salons’ is subtly hidden from the city’s main<br />

boulevards and busy shopping streets. when sampling<br />

the perfumes and looking out over the courtyard<br />

gardens, one imagines having reached nirvana.<br />

This ‘refined salon for perfumes’, as it has been<br />

referred to, is the work of one of the most talented<br />

and gifted creative people around: serge Lutens, a<br />

mysterious and poetic man who finds creativity in<br />

‘everything and nothing’. Born in Lille, France, in 1942,<br />

Lutens can glance back – while striding forward –<br />

at a fascinating and exciting career that embraces<br />

various artistic disciplines, including photography,<br />

film, design, hairstyling and make-up.<br />

After developing the Christian Dior cosmetics<br />

line in the late 1960s, Lutens became the creative<br />

director of shiseido, where he was responsible for<br />

the company’s striking international image<br />

from 1980 to 1997. The success of that line of products<br />

was such that Lutens was asked to create an exclusive<br />

perfume, a project that was followed by the opening of<br />

‘Les salons’ in 1992. without hesitation, he pinpointed<br />

the site he had in mind: a spot at the very heart of the<br />

city – yet away from the crowds – in the Jardins du<br />

Palais royal, which was at the time a place relatively<br />

undiscovered by the general public.<br />

Lutens, who didn’t want to create a ‘design style’<br />

shop, was influenced strongly by the couleur locale<br />

of an area that is steeped in history and which has<br />

functioned as a backdrop for literature, film, theatre<br />

and culinary excellence. Adorning the upper walls and<br />

ceiling of the shop’s unique and timeless interior –<br />

already considered a classic among retail spaces –<br />

is a wonderland of mystical visions, astrological signs,<br />

birds, insects, plants, stars and a smiling moon.<br />

A modest Lutens, however, says it may take another<br />

150 years for a rich patina to appear on the surfaces<br />

of rooms that he ‘designed 20 years ago’.<br />

A touch of Arabian nights underpins a palatial<br />

ambience enhanced by sculpted and painted wood,<br />

luxurious cedar and oak furnishings, gleaming<br />

floors of jewel-like marble – from the same quarry<br />

that supplied Château de versailles – and a palette<br />

of deep, warm tones. At the centre of the space, a<br />

beautiful spiral staircase of black bronze and red<br />

64 MInD #06<br />

65 MInD #06 / the clAssic<br />

The timeless interior design of Les<br />

Salons du Palais Royal is influenced<br />

by the couleur locale of the area:<br />

the Jardins du Palais Royal.<br />

copper gives the enchanting environment a fairytale<br />

focal point. opening its ornate gate, the visitor<br />

ascends to a more private area, where low tables<br />

and stools in dark wood extend an invitation to sit<br />

and partake in some serious olfactory sampling.<br />

Much of the inspiration for Lutens’ opulent<br />

blends of oils and essences comes from Morocco,<br />

in particular from Marrakech, the city where he has<br />

lived for many years. This master mixer combines the<br />

basics of Arabian perfumes, embellishes the resulting<br />

concoctions and furnishes the world of fragrance with<br />

scents completely new. To date, some 50 perfumes<br />

have been created, a number of which are exclusive<br />

to the salons du Palais royal. every year, Lutens<br />

designs a limited-edition bell-jar bottle. These<br />

scent bottles quickly become highly sought-after<br />

collectibles, as each edition comprises only 30 pieces.<br />

Asked whether perfume should be seen as one<br />

of life’s necessary luxuries, serge Lutens replies:<br />

‘Perfume is a luxury only if one considers it to be.<br />

It depends on how much value you give it.<br />

There are no rules.’

worDs AlexAndrA onderwAter<br />

PHoTos Victor durAn<br />

ALUBeneLUx@ALU.<strong>Co</strong>M<br />

snake your way up a tiny alley in the historical heart of<br />

Amsterdam and into ALU’s bright, character-laden Dutch<br />

showroom. Located on the first floor of a listed building,<br />

the loft-like space generously hosts ALU’s collection<br />

of products, providing a mix of contemporary design<br />

and Dutch architecture, evoking never-ending stories,<br />

and suggesting an infinite number of applications.<br />

Mobile is one of those didn’t-know-youneeded-it-till-you-had-it<br />

designs. And<br />

now, of course, you can’t do without it.<br />

Freestanding, lightweight, understated<br />

and confident, Mobile makes an ideal<br />

addition to any retail environment.<br />

66 MInD #06<br />

67 MInD #06 / AlustrAtion 3

An independent communication tool as well<br />

as one part of a bigger framework, Oyster<br />

flips open wherever desired – to highlight<br />

a single product or to convey a significant<br />

message – as it merges with the rest<br />

of its ‘display tile’ relatives.<br />

68 MInD #06 / AlustrAtion 3<br />

69 MInD #06 / AlustrAtion 3

A seemingly ordinary pole with magical<br />

features, Autopole blends in and stands<br />

out at the same time. And it couldn’t<br />

be more accommodating: Autopole makes<br />

friends with whatever fixtures you clamp<br />

to its shiny tubular structure.<br />

Versatile Ribbon comes in different<br />

colours; pictured here is Ribbon in black<br />

and silver metallic, which can be combined<br />

with almost any other colour.<br />

70 MInD #06<br />

71 MInD #06 / AlustrAtion 3

Get Lost . . . in<br />

<strong>Paris</strong><br />

worDs AnnA sAnsom<br />

PHoTos bruno fournier<br />

www.resodesiGn.com<br />

The Marais district of <strong>Paris</strong> heaves with designer stores,<br />

galleries and, of course, French bistros. we asked longstanding<br />

local resident Philippe Di Méo to guide us through<br />

the freshest, most exciting spots. As the founder of<br />

resodesignband, whose projects range from commissions<br />

for Boffi to the creation of Bouddhours – a spiritual artoy<br />

(short for ‘art toy’) – and a former organic restaurant,<br />

Di Méo knew exactly where to take us. ‘The Marais<br />

is an area that has changed a lot in the past 15 years;<br />

I remember when there were still prostitutes here.’<br />

72<br />

MInD #06 / Get lost . . . in<br />

1 2<br />

librairiE<br />

yvon lambErt<br />

rEading art Unique in <strong>Paris</strong>, Librairie Yvon Lambert<br />

is the city’s only book shop owned and run by an art gallery.<br />

The conceptual, contemporary Galerie Yvon Lambert lies at the<br />

back of the cobbled courtyard at the same address. Managed<br />

by Bruno Mayrargue, the book shop has been around for nine<br />

years. It stocks a vast array of art books and is a treasure<br />

trove for difficult-to-find publications. Check out the sales,<br />

or braderies, for books marked down to bargain prices.<br />

<br />

108 rue vieille du temple, 75003 <strong>Paris</strong><br />

+33 1 42 71 09 33 / www.yvon-lambert.com<br />

73 MInD #06 / Get lost . . . in<br />

galEriE bsl<br />

CrossovErs in dEsign Founded in May 2010 by<br />

Béatrice Saint-Laurent and designed by Noé Duchaufour-<br />

Lawrance, Galerie BSL opened with an exhibition of organic<br />

pieces by Nacho Carbonell and porcelain objects by Djim<br />

Berger. The key feature, though, is a dramatic white <strong>Co</strong>rian strip<br />

by Duchaufour-Lawrance that veers through the otherwise<br />

black space. The French architect-designer describes it as<br />

a ‘functional sculpture extrapolated to architectural dimensions’;<br />

it is meant to be ‘cocoon, showcase and display support’<br />

in one. The gallery features 20 th -century lighting by the likes<br />

of Ettore Sottsass and Ingo Maurer, vintage and contemporary<br />

jewellery by artists such as Pol Bury and Lito Karakostanoglou,<br />

and fashion by Martin Grant and Benoît Duvignacq.<br />

<br />

23 rue Charlot, 75003 <strong>Paris</strong><br />

+33 1 44 78 94 14 / www.galeriebsl.com

3 4 5<br />

surFaCE<br />

to air<br />

hiP hivE The 150-m 2 store that creative agency Surface<br />

to Air opened in January 2010 deviates from its previous multilabel<br />

retail spaces by offering customers only Surface to Air<br />

fashions, described as ‘a mix of revisited classics and edgy<br />

pieces’. Philippe Di Méo, who likes ‘the equation resulting from<br />

the products and the interior design’, bought a pair of trainers<br />

during our visit. ‘The clothes are creative and accessible without<br />

being pretentious.’ The agency is known for its multifarious<br />

collaborations, from music videos for Justice and Midnight<br />

Juggernauts to commercials for Louis Vuitton and Diesel. SF2’s<br />

versatility extends to the brand’s capsule collections with<br />

Justice, rock band Kings of Leon and fashion photographer<br />

Sølve Sundsbø. Art on display, such as trivision images from<br />

Midnight Juggernauts’ ‘Into the Galaxy’ video, reinforces the<br />

collaborative climate. In line with the brand’s eclecticism<br />

is the shop’s graphic black-and-white interior design,<br />

which juxtaposes wood-panelled and concrete surfaces.<br />

<br />

108 rue vieille du temple, 75003 <strong>Paris</strong><br />

+33 1 44 61 76 27 / www.surfacetoair.com<br />

rosE bakEry<br />

organiC CantEEn Behind a glass door framed in cast<br />

iron, a long, narrow, split-level eatery serves food – including<br />

scones, crepes, tarts and quiches – that is 80 per cent organic.<br />

Rose Bakery has built its reputation on brunch and bio, with an<br />

emphasis on quality. The owners, French-English couple Jean-<br />

Charles and Rose Carrarini, previously opened a rustic-style<br />

canteen on rue des Martyrs near Montmartre. The Carrarinis<br />

boldly expose their ingredients and products on open shelves<br />

for all to see. ‘It’s the opposite of the usual style,’ says our guide,<br />

‘because nothing is hidden.’ He compares the place to ‘a college<br />

refectory’. In a capital city not known for its devotion to organic<br />

cuisine, the success of Rose Bakery is no small feat.<br />

<br />

30 rue debelleyme, 75003 <strong>Paris</strong><br />

+33 1 49 96 54 01<br />

74 MInD #06 / Get lost . . . in<br />

75 MInD #06 / Get lost . . . in<br />

lEs PrairiEs<br />

dE <strong>Paris</strong><br />

Fashion art Fusion The flagship store of trendy<br />

Les Prairies de <strong>Paris</strong>, a womenswear label featuring designs<br />

by Laetitia Ivanez and founded by her father, turns the generic<br />

retail concept upside down. The collection is housed solely in<br />

the basement. Rather than being a window to the brand, the<br />

ground floor is a black-walled exhibition space. Gallerists and<br />

curators are invited to present a few pieces of art, and several<br />

emblematic works from the collection are pinned to a fabriccovered<br />

wall. Visitors get a dose of culture – such as Raymond<br />

Hains’ lacerated posters or Wen Fang’s portraits of Chinese<br />

workers printed on concrete bricks – before going downstairs<br />

to look at the clothes. ‘It's a transversal, open-minded concept<br />

in which the store window lends access to other creative<br />

domains,’ says Philippe Di Méo. ‘There’s a role reversal, whereby<br />

fashions by Les Prairies de <strong>Paris</strong> occupy the basement rather<br />

than the ground floor.’<br />

<br />

23 rue debelleyme, 75003 <strong>Paris</strong><br />

+33 1 48 04 91 16 / www.lesprairiesdeparis.com

6 7 8<br />

mErCi<br />

rEtail mECCa Merci, a concept store that can be<br />

seen as an alternative to the iconic <strong>Co</strong>lette, was founded by<br />

Marie-France and Bernard <strong>Co</strong>hen after they sold Bonpoint, a<br />

chic French brand of clothes for children. Housed in a former<br />

19 th -century textile factory – currently radiating a comfy, clean<br />

aesthetic – Merci offers a mishmash of merchandise in a range<br />

of prices. This one-stop-for-all venue consists of three loft-like<br />

floors filled with contemporary design and furniture, industrial<br />

household products, designer and vintage fashion, fragrances<br />

and haberdashery. For cooking utensils and hardware, take<br />

a detour to the basement. ‘I like the mix of high-end contemporary<br />

furniture and tools for the kitchen,’ says our guide.<br />

Don’t miss the library of second-hand books next to a cosy<br />

café furnished with vintage pieces. Notably, Merci’s proceeds<br />

go towards the <strong>Co</strong>hens’ endowment fund for underprivileged<br />

children in countries like Madagascar.<br />

<br />

111 boulevard beaumarchais, 75003 <strong>Paris</strong><br />

+33 1 42 77 01 90 / www.merci-merci.com<br />

toolsgalEriE<br />

Edgy dEsign ‘It’s the edgiest collection of design in <strong>Paris</strong>,’<br />

says Di Méo. ‘There’s a real vision; it’s about personal, very coherent<br />

choices and it’s not at all commercial. I’ve seen the work<br />

here of quite a few Dutch designers not yet known in France.’<br />

ToolsGalerie was created in 2003 by Loïc Bigot as ‘a venue for<br />

research and convergence exclusively dedicated to contemporary<br />

designers’, and its spirit is anchored in today’s designrelated<br />

issues. In June and July 2010, the gallery showcased the<br />

F-Light series by David Enon. Anticipating the disappearance<br />

of incandescent bulbs from the European market in 2012, Enon<br />

redefined iconic lamp design with ten table, floor, wall and<br />

hanging lamps that rely on low-energy fluorescent bulbs.<br />

<br />

119 rue vieille du temple, 75003 <strong>Paris</strong><br />

+33 1 42 77 35 80 / www.toolsgalerie.com<br />

blaCk <strong>Co</strong>mmE<br />

dEs garÇons<br />

blaCk and whitE The small space pictured here<br />

belongs to the gang of guerrilla stores selling <strong>Co</strong>mme des<br />

Garçons’ more affordable Black line, a collection of fashions<br />

that Rei Kawakubo launched in 2009 to celebrate her<br />

company’s 40 th anniversary. The concept is ephemeral, and<br />

the stores will close in December 2010 after an 18-month<br />

existence. Kawakubo has raved about her desire to produce<br />

‘revolutionary retail strategies’ and about the Black stores’ aim<br />

to introduce ‘positive energy’ in hard times. In this geometric<br />

black-and-white décor, one open cube presents menswear<br />

and another womenswear. <strong>Co</strong>llections are back to basics and<br />

more focused on the main staples of a wardrobe than on the<br />

conceptual, avant-garde styles for which Kawakubo’s main line<br />

is renowned.<br />

<br />

7 rue du Perche, 75003 <strong>Paris</strong><br />

+33 1 42 78 02 67<br />

76 MInD #06 / Get lost . . . in<br />

77 MInD #06 / Get lost . . . in

Alu Shop www.ALU.<strong>Co</strong>M/sHoP<br />

worDs AlexAndrA onderwAter<br />

PHoTo s sofiA fernAndez-stenström<br />

Three excited kids, litres of paint and a blank canvas<br />

in the form of Mobile, Ombelico and Autopole. In the blink<br />

of an eye, ALU systems take on a personalized flavour.<br />

If only makeovers were always this simple . . .<br />

78 MInD #06 / Alu shop 79<br />

MInD #06 / Alu shop

80<br />

MInD #06 / Alu shop<br />

81 MInD #06 / Alu shop<br />

For such a slim and slender object,<br />

the variety of alterations possible with<br />

Autopole made even these clever youngsters<br />

elf-struck. Presto!

Ombelico proves its<br />

versatility on the spot,<br />

doubling as a chair, a table,<br />

a storage box, a stool and,<br />

of course, a fun thing<br />

to paint.<br />

82 MInD #06 / Alu shop<br />

83 MInD #06 / Alu shop

A daub of green, a dash of blue, a dot<br />

of yellow: a modest character like Mobile<br />

is easy to transform into anything you<br />

want it to be.<br />

Thanks to: 519<br />

<strong>Co</strong>rte Sgarzarie 6b<br />

Verona - Italy<br />

www.519web.it<br />

84 MInD #06 / Alu shop<br />

85 MInD #06 / Alu shop

The North-East of Italy is the area with the<br />

highest degree of creativity in the world<br />

www.innovetionvalley.com<br />

Un progetto di fuoribiennale<br />

In the Air<br />

worDs AlexAndrA onderwAter<br />

land-<br />

sCaPing<br />

ship ahoy! shoppers who sail into the<br />

port of nike in the Marais, <strong>Paris</strong>, or into<br />

the brand-new shop devoted to swedish<br />

fashion label Monki in Amsterdam, set<br />

foot on unexplored territory. They enter<br />

another world.<br />

At the new nike store, our voyager<br />

finds a retail interior that reflects the<br />

environment outside – in the form of<br />

charming illustrations of <strong>Paris</strong>ian street<br />

life interwoven with nike icons on the<br />

walls: all designed by Antoine+Manuel,<br />

the French duo also responsible for<br />

the wallpaper. Credit for the rest of the<br />

colourful interior – formerly home to a<br />

Jewish book shop – goes to nike’s in-house<br />

design team. The sporty touch comes from<br />

features that evoke a range of strenuous<br />

activities: pendant lamps hang from what<br />

look like climbing ropes, a vault that’s<br />

normally for handsprings invites shoppers<br />

to sit and relax, and the wall behind the<br />

cash desk is a recycled gym floor.<br />

whether a glimpse of land in the<br />

distance is always a welcome sight is<br />

debatable, however. Throwing out the<br />

anchor at Monki in Amsterdam is a rather<br />

spooky affair. Here the adventurer finds<br />

chunks of ruined skyscrapers, mysterious<br />

vegetation, asphalt and moving machine<br />

parts. Monki’s in-house architects,<br />

Catharina Frankander and Joel Degermark,<br />

designed this alien arena. <strong>Co</strong>lour comes<br />

from neon plants that huddle beneath<br />

toxic clouds of gas hovering in the<br />

dimness. The occupants of this ghastly<br />

ghetto, black Monkis, survey the scene<br />

with curious eyes. not for the hesitant,<br />

but a shop that you won’t easily forget.<br />

Pearls covering part of the ceiling<br />

provide illumination, while those on the<br />

floor function as seating or display units<br />

at Monki’s new Amsterdam shop.<br />

PHoTo courtesy of monki<br />

Illustrations inspired by sportswear and the<br />

fascinating streets of <strong>Paris</strong> adorn the walls of this<br />

two-floor nike shop in the Marais.<br />

PHoTos<br />

87 MInD #06 / retAil trends

drEam on<br />

Give the magazine an attractive cover and<br />

double your sales. The same should work<br />

for a shop – right? In a world in which a<br />

plethora of divine display windows keep<br />

popping up, one after another, you’d<br />

certainly think so. some impart a cryptic<br />

message; others are a literal translation of<br />

the brand and its niche. But more and more<br />

often we find scenes that have little to do<br />

with the rest of the retail image. Although<br />

a good display window has always been<br />

a work of art and an extension of brand<br />

identity in 3D, most retailers are realizing<br />

that the time has come to line their glazed<br />

façades with themed narratives.<br />

windows that make us dream, that<br />

lift us high above mundane reality –<br />

the creation of such flights of fancy is<br />

an art that Printemps has understood<br />

for nearly a century and a half. recently,<br />

the <strong>Paris</strong>ian department store went all<br />

out with an original depiction of Alice in<br />

Wonderland in a series of tableaux that left<br />

not even the most indifferent passer-by<br />

unmoved. eight windows facing Boulevard<br />

Haussmann presented viewers with a<br />

unique interpretation of Lewis Carroll’s<br />

famous tale, prompted by the premiere<br />

of the Disney film directed by Tim Burton.<br />

Amidst a surreal landscape of giant<br />

props and magical backdrops (designed<br />

by the Printemps Creative Team), ‘Alice’<br />

wore costumes created especially for<br />

the occasion by a host of top designers<br />

whom Printemps had invited to partake<br />

in the project: Christopher Kane, Ann<br />

Demeulemeester and the late Alexander<br />

McQueen, among others.<br />

what’s been done in <strong>Paris</strong> can be<br />

done in London. Last summer selfridges<br />

dressed its flagship store in a fantastical<br />

set of ‘wonder windows’: five sculptural<br />

installations with metaphysical<br />

undertones that began in the brain of<br />

Brighton resident Kyle Bean. Keeping<br />

in mind that ‘matter cannot be created<br />

or destroyed, only transformed’, Bean<br />

produced visual stories that instantly<br />

clarified this scientific theory. one scene<br />

featured a suspended wedding cake<br />

next to a mobile made of its ingredients;<br />

another had a meticulously crafted<br />

mythical castle, for which Bean used<br />

the pages of three counterweight fairytale<br />

books; and yet another contained<br />

Surreal<br />

monochrome<br />

backdrops frame<br />

the outfits worn<br />

by Alice in<br />

display windows<br />

at Printemps.<br />

PHoTos frAnçis<br />

peyrAt<br />

a cardboard box held in balance by an<br />

office chair that Bean fashioned from the<br />

same material. All eyes were drawn to a<br />

motorcycle balancing in midair beside<br />

a hanging assemblage of all the bike’s<br />

components. (The installation of this<br />

piece was a live performance.) All in all,<br />

it was a standout production that set<br />

London tongues wagging throughout the<br />

sweltering months of July and August.<br />

In perfect<br />

balance on this<br />

scale are a wedding<br />

cake and all the<br />

ingredients that<br />

are used to make<br />

it – a delicious<br />

scene on display at<br />

Selfridges that left<br />

window-shoppers<br />

dying for dessert!<br />

PHoTo courtesy of<br />

selfridGes/ blinkArt<br />

mE, mysElF<br />

and i<br />

Ideally, the interior of a store is all about<br />

the brand. entourage, furnishings,<br />

colours, props – everything expresses and<br />

accentuates the spirit of the brand. You<br />

will seldom find, however, an environment<br />

designed more in harmony with the<br />

merchandise for sale than the interior<br />

of Boutique <strong>Co</strong>stes, a retail venue named<br />

for Hotel <strong>Co</strong>stes, despite the fact that the<br />

two have different owners.<br />

At first glance, Boutique <strong>Co</strong>stes<br />

looks like an ultra-smart display window<br />

interrupting the façade of the illustrious<br />

design hotel on the chic rue saint-Honoré<br />

in <strong>Paris</strong>. A peek through the pane rewards<br />

the passer-by with the view of a deep-red<br />

oasis sheltering instruments of a visibly<br />

sensuous nature. Apart from a row of tall,<br />

slim bottles (about the size you’d expect<br />

to be filled with olive oil, not perfume:<br />

‘we like it to have weight, as it is a precious<br />

product’) and tasteful candles on the<br />

simple counter, the space breathes not<br />

a hint of its purpose, which is to sell<br />

incredibly exclusive perfumes. no, it’s<br />

the olfactory organ that has to do the<br />

work at this spot, where the world of Iunx<br />

is revealed in all its glory to the<br />

unsuspecting visitor.<br />

The nose behind this petite collection<br />

of Iunx perfumes and candles? olivia<br />

Giacobetti, the same person who cocreated<br />

the <strong>Co</strong>stes line of products<br />

in association with Jean Louis <strong>Co</strong>stes<br />

and rami Mecdachi.<br />

sniffing the goods in this store is an<br />

act as sophisticated as it is sublime. The<br />

tiny space – designed by olivia Giacobetti;<br />

her famous photographer father, Francis<br />

Giacobetti; and Fabienne <strong>Co</strong>nte sévigné –<br />

is completely free of frills. The minimalist,<br />

subtly illuminated interior sets the tone<br />

for the ‘essence experience’. You stand<br />

in front of a wall of aromatiseurs: an<br />

ingenious system of containers, from<br />

which thin sticks project. Press a button<br />

and the aroma – pure and alcohol-free –<br />

wafts in your direction. At the moment,<br />

the collection comprises five eau de<br />

toilettes, one perfume and 13 scented<br />

candles, including L'eau Blanche, L'eau<br />

sento and splash Forte, as well as the only<br />

eau de parfum, the iconic L'ether.<br />

In this tiny, beautifully illuminated<br />

perfume shop, it’s all about scent.<br />

PHoTos courtesy of boutique costes<br />

88 MInD #06 89 MInD #06 / retAil trends

How To Use<br />

worDs AlexAndrA onderwAter<br />

IMAGes Alu<br />

PHoTos Victor durAn - zuek<br />

Life slides through different phases. The same goes for<br />

in-store communication and, moreover, for the way in<br />

which various types of merchandise are displayed. The<br />

dream of every retailer is a display solution that is easy<br />

to alter, to transform; something multifunctional and<br />

adaptable; a product that breathes an air of contemporary<br />

cool. Dream on? well, we believe that Slider is exactly<br />

what you have in mind . . .<br />

90 MInD #06 / how to use 91 MInD #06 / how to use


wALLs, GeneroUsLY TAKInG on GrAPHIC PAneLs, Box-LIKe UnITs, CLIP-ons,<br />

HAng BARS AnD A MYrIAD oF oTHer DIsPLAY ACCessorIes APProPrIATe For<br />

THe reTAIL envIronMenT In QUesTIon.<br />

A range of matching accessories has been<br />

developed to accompany Slider’s slender<br />

profile: Clips, Mirrors, Face-Outs and<br />

other cleverly designed tools are easy to<br />

insert into the system’s specially created<br />

channel.<br />

<strong>Co</strong>MMUnICATIon Is THe KeYworD, AnD A sMooTH exeCUTIon Is wHAT YoU CAn<br />

exPeCT wHen worKInG wITH THIs BAsIC-LooK DesIGn, wHICH FeATUres TrACKs<br />

MADe oF exTrUDeD ALUMInIUM.<br />

92 MInD #06 / how to use 93 MInD #06 / how to use<br />

With Slider, it’s not a question of what<br />

can be displayed but of what you wish<br />

to be displayed.

neeD A CHAnGe oF enerGY? DIFFerenT MerCHAnDIse DeMAnDs A DIFFerenT<br />

seTUP. ALTerATIons CAn Be MADe As oFTen As THe wInD swITCHes DIreCTIon,<br />

THAnKs To SLIDeR’s InnovATIve PATenTeD LoCK MeCHAnIsM, wHICH MAKes<br />


A ProverBIAL PIeCe oF CAKe.<br />

THe SLIDeR LAYerInG sTrATeGY ALLows To worK on 3 LAYers:<br />

FIrsT, ALIGn THe GrAPHIC PAneLs AnD <strong>Co</strong>MMUnICATe.<br />

THen MerCHAnDIse, roTATInG CABIneTs ALLow A QUICK CHAnGe oF seT-UPs AT<br />

AnY TIMe. AnD LAsT, DIsPLAY YoUr ProDUCTs BY MeAns oF DIFFerenT DIsPLAY-<br />

ACCessorIes.<br />

worK on one, Two or ALL THree LAYers AnD MAKe YoUr wALL UnIQUe!<br />

94 MInD #06 / how to use 95 MInD #06 / how to use

Ask The Expert<br />

‘Our windows<br />

are intended to boost<br />

consumption and to<br />

foster dreams’<br />

worDs shonquis moreno<br />

PHoTo courtesy of GAleries lAfAyette<br />

<strong>Paris</strong>’s legendary fashion emporium, the galeries<br />

Lafayette, opened in 1893 and proved an immediate hit with<br />

both ladies-who-lunch and working girls with less to spend,<br />

namely les midinettes, or ‘light lunchers’. The windows of<br />

the store still feature the lush attention to detail, quality<br />

and creativity that belie the complaint that such perfection<br />

simply does not exist any more. And galeries Lafayette’s<br />

Haussmann flagship is a destination as popular as the<br />

eiffel Tower. MinD skipped breakfast to meet up with<br />

Hélène Lafourcade, Lafayette’s creative director.<br />

Hélène Lafourcade heads a staff of 20 visual<br />

merchandisers, including identity and branding<br />

experts, who are responsible for dressing and showing<br />

off 63 Galeries Lafayette stores in France and around<br />

the world. The team generates 33 promotional and<br />

branding campaigns annually. The Haussmann store<br />

alone has 48 windows, which are changed every three<br />

to four weeks.<br />

Lafourcade was just as busy at school, where she<br />

studied both architecture and fashion. on graduating,<br />

she did stints at saint Laurent, <strong>Co</strong>urreges and Lanvin;<br />

helped create a visual identity for the etam Group;<br />

and served as marketing director for Armand Thierry.<br />

she moved to Galeries Lafayette in 2003, where she<br />

has been in charge of image and merchandising since<br />

– proving, week after week and window after window,<br />

that France has (serious) talent.<br />

[MiND] What is the role of window display<br />

in retail? Do you design windows for shoppers,<br />

window-shoppers or both?<br />

[Lafourcade] windows are the first line of<br />

communication for the store. They allow us to present<br />

our fashion inclinations to our customers. They are<br />

intended for the shoppers who buy, but also for those<br />

who dream while gazing into the windows, content<br />

in their admiration for what they see.<br />

What is the message you want to communicate?<br />

At Galeries Lafayette we combine art and fashion,<br />

and our windows express these two axes perennially,<br />

year after year, through our commercial programme –<br />

but always within the framework of the brand.<br />

‘we ALwAYs TeLL A sTorY ACross THe<br />

enTIre serIes oF DIsPLAY wInDows’<br />

Hélène Lafourcade<br />

How do you use what you learned about<br />

architecture and fashion design in your work?<br />

Indeed, I do have dual training as a designer and an<br />

architect. In my trade, one must possess this cultural<br />

competence in fashion and design in abundance.<br />

The two are complementary and make it possible<br />

to solve all the problems that the work presents:<br />

drawing a window, a concept store or a piece of<br />

furniture; suggesting trends; establishing colour<br />

schemes; styling mannequins.<br />

96 MInD #06 / Ask the expert 97 MInD #06 / Ask the expert<br />

Are images more important than stories<br />

in window design?<br />

we always tell a story across the entire series of<br />

display windows, as well as throughout the store’s<br />

interior. This story relates to a fashion trend that we<br />

introduce to our clients, a story that can be told with<br />

or without images; it all depends on the scenario.<br />

For instance, in our Christmas windows last year,<br />

which revolved around the theme ‘noël Gourmand’,<br />

we hosted a great feast that continued inside the<br />

store. running through all the windows was a banquet<br />

table that played on the notions of gluttony, profusion<br />

and generosity, concepts that can be applied to both<br />

fashion and food. This theme allowed us to delve<br />

deep into cross-selling, to mix various products<br />

and materials.<br />

‘LAsT CHrIsTMAs we HAD A BAnQUeT<br />

TABLe rUnnInG THroUGH ALL<br />

THe wInDows’<br />

Hélène Lafourcade<br />

Have advancing technology, online shopping and<br />

shifting consumer values changed your job in recent<br />

years?<br />

no, these things haven’t changed my work. we have<br />

simply added new technologies, such as interactivity,<br />

to our creative research. one new technology I used<br />

just this year, for example, is augmented reality.<br />

we put a film of an animated face on a stylized<br />

mannequin, which gave the impression that the<br />

mannequin was alive and speaking.<br />

Should retail windows convey a different<br />

message in a weak economic climate? Or are<br />

windows brimming with luxury items something that<br />

people in all sorts of circumstances can appreciate –<br />

like dreams?<br />

Galeries Lafayette has not changed the way in which<br />

it communicates, in spite of the financial crisis.

<strong>Co</strong>ntaCts<br />

ALU Headquarters<br />

via del <strong>Co</strong>mmercio 22<br />

36060 romano d'ezzelino (vI)<br />

Italy<br />

T: +39 0424 516 816<br />

e: aluitaly@alu.com<br />

w: www.alu.com<br />

For Uk, Germany, Austria,<br />

switserland, nordic and<br />

Baltic <strong>Co</strong>untries: contact ALU<br />

Headquarters.<br />

north & south America<br />

ALU Inc.<br />

138 west 25th street<br />

new York, new York 10001<br />

UsA<br />

T: +1 212 924 8713<br />

e: aluny@alu.com<br />

w: www.alu.com<br />

Australia & new Zealand<br />

Mei + Picchi<br />

Melbourne - Australia<br />

T: +61 39900 4200<br />

e: info@meipicchi.com<br />

w: www.meipicchi.com<br />

Benelux<br />

ALU Benelux<br />

Amsterdam - The netherlands<br />

T: +31 20 623 8000<br />

e: alubenelux@alu.com<br />

France<br />

ALU France<br />

<strong>Paris</strong> - France<br />

T: +33 (0)1 44 54 03 59<br />

e: alufrance@alu.com<br />

Greece & Cyprus<br />

Pramantioti s.A.<br />

Athens - Greece<br />

T: +30 210 515 3049<br />

e: stavroulapram@ath.<br />

forthnet.gr<br />

Gulf <strong>Co</strong>operation council<br />

Indesign Middle east<br />

Jeddah - saudi Arabia<br />

T: +966 2 683 0213<br />

e: Pablo@indesign.es<br />

e: nicolas@indesign.es<br />

Ireland<br />

systemplus Ltd.<br />

Dublin - Ireland<br />

T: +353 1 834 4121<br />

e: Michael@systemplus.ie<br />

w: www.systemplus.ie<br />

russia<br />

Torgkomplekt<br />

Moscow - russia<br />

T: +7 495 415 5001<br />

e: nina@torgkomplekt.ru<br />

w: www.torgkomplekt.ru<br />

spain & Portugal<br />

Indes <strong>Co</strong>nsulting & Fitting sl<br />

Barcelona - spain<br />

T: +34 93 465 5504<br />

e: maria@indesign.es<br />

w: www.indesign.es<br />

Turkey<br />

Terminal<br />

Istanbul - Turkey<br />

T: +90 216 557 8384<br />

e: info@terminaldesign.com.tr<br />

w: www.terminaldesign.com.tr<br />

addrEssEs<br />

<strong>Co</strong>nny Groenewegen:<br />

www.connygroenewegen.nl<br />

+31 20 663 04 77<br />

serpentine gallery:<br />

www.serpentinegallery.org<br />

+44 20 7402 6075<br />

Palmerandsons:<br />

www.palmerandsons.ca<br />

Dover street market:<br />

www.doverstreetmarket.com<br />

+44 20 7518 0680<br />

sixscents:<br />

www.six-scents.com<br />

nymphenburg:<br />

www.nymphenburg.com<br />

+49 89 179 197 0<br />

Kuntzel&deygas:<br />

www.kuntzeldeygas.com<br />

+33 1 42 55 43 94<br />

Arne quinze sQA:<br />

www.arnequinze.tv<br />

+32 9 222 99 93<br />

L’eclaireur:<br />

www.leclaireur.com<br />

La vache noire:<br />

www.la-vache-noire.com<br />

+33 149 294 291<br />

Billtornade:<br />

www.billtornade.com<br />

Christophe lemaire boutique:<br />

www.christophelemaire.com<br />

+33 1 44 78 00 09<br />

serge lutens:<br />

www.sergelutens.com<br />

resodesignband – di meo:<br />

www.resodesign.com<br />

+33 1 53 01 99 19<br />

Monki’s:<br />

www.monkiworld.com<br />

Printemps:<br />

www.printemps.com<br />

selfridges london :<br />

www.selfridges.com<br />

+44 0800 123 400<br />

Boutique <strong>Co</strong>stes:<br />

www.hotelcostes.com<br />

Hotel <strong>Co</strong>stes:<br />

www.hotelcostes.com<br />

Galeries Lafayette:<br />

www.galerieslafayette.com<br />

become a friend!<br />

MinD is now on Facebook<br />

98 MInD #06<br />

99<br />

C<br />

M<br />

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CM<br />

MY<br />

CY<br />

CMY<br />


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