A Study on Luxury through the Windows of Bergdorf Goodman
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(Background and Purpose) This study aimed to assess the traits of luxury space design through a case study of window displays at Bergdorf Goodman (BG) in New York City (NYC). First, we reviewed the historical changes in the conceptual definitions, theories, and socio-cultural implications of luxury. The historical review suggests that while luxury, characterized by excess beyond necessity, was associated with negative moral terms in earlier years, it later became positively perceived in terms of economic contribution. Second, to position our study in time and space dimensions, we investigated the historical development of window displays in the 5th Avenue area in NYC, which is clustered with luxury stores including BG. Window displays started on a full-scale in the mid-19th century, constantly changing with time from holiday images, to Hollywood homages, to theatrical metaphors, and to artistic inspirations. (Method) We relied on case studies to analyze systematically the distinctiveness of BG’s window design. Although all BG windows are widely referred, we focused particularly on its recent window displays from the last seven seasons. (Results) The case study revealed the following seven design traits: extremism, site specificity, verticality, defocusing products, theatrical flavor, artistic collaboration, and paradox management. BG takes extremism, rather than mediumism, in every design dimension, to embody the luxury principle of excess. BG tightly associates its displays with a specific site, namely, 5th Avenue, NYC, to be recognized as irreplaceable. BG prefers portrait frames to landscape ones to convey overwhelming effects with the tall height. BG does not highlight products or mannequins instrumentally; instead, it focuses on the entirety of the scene to induce genuine immersion in luxury experience. BG heavily uses themes and methods of theater production, especially proscenium structures, to convey dynamic and dramatic effects. BG frequently collaborates with leading artists to enhance their luxury status through a so-called contagion of status. BG manages paradox skillfully by striking a fine balance between two opposite design values, such as being simultaneously cutting edge and audience friendly, to avoid staying in the pure yet unreachable art category. (Conclusions) Social disinclination to luxury is due considerably to the misunderstanding of luxury’s true characteristics, which this study attempted to remedy. Our findings may serve as a stepping stone for the future exploration of luxury for both design scholars and practitioners. The study findings, however, have limited generalizability and sustainability in the face of rapid technological change. Given that the historical development of window displays has always been significantly affected by social and technological changes, the specific future of window displays will be known only in time.
Abstract
(Background and Purpose) This study aimed to assess the traits of luxury space design through a case study of window displays at Bergdorf Goodman (BG) in New York City (NYC). First, we reviewed the historical changes in the conceptual definitions, theories, and socio-cultural implications of luxury. The historical review suggests that while luxury, characterized by excess beyond necessity, was associated with negative moral terms in earlier years, it later became positively perceived in terms of economic contribution. Second, to position our study in time and space dimensions, we investigated the historical development of window displays in the 5th Avenue area in NYC, which is clustered with luxury stores including BG. Window displays started on a full-scale in the mid-19th century, constantly changing with time from holiday images, to Hollywood homages, to theatrical metaphors, and to artistic inspirations. (Method) We relied on case studies to analyze systematically the distinctiveness of BG’s window design. Although all BG windows are widely referred, we focused particularly on its recent window displays from the last seven seasons. (Results) The case study revealed the following seven design traits: extremism, site specificity, verticality, defocusing products, theatrical flavor, artistic collaboration, and paradox management. BG takes extremism, rather than mediumism, in every design dimension, to embody the luxury principle of excess. BG tightly associates its displays with a specific site, namely, 5th Avenue, NYC, to be recognized as irreplaceable. BG prefers portrait frames to landscape ones to convey overwhelming effects with the tall height. BG does not highlight products or mannequins instrumentally; instead, it focuses on the entirety of the scene to induce genuine immersion in luxury experience. BG heavily uses themes and methods of theater production, especially proscenium structures, to convey dynamic and dramatic effects. BG frequently collaborates with leading artists to enhance their luxury status through a so-called contagion of status. BG manages paradox skillfully by striking a fine balance between two opposite design values, such as being simultaneously cutting edge and audience friendly, to avoid staying in the pure yet unreachable art category. (Conclusions) Social disinclination to luxury is due considerably to the misunderstanding of luxury’s true characteristics, which this study attempted to remedy. Our findings may serve as a stepping stone for the future exploration of luxury for both design scholars and practitioners. The study findings, however, have limited generalizability and sustainability in the face of rapid technological change. Given that the historical development of window displays has always been significantly affected by social and technological changes, the specific future of window displays will be known only in time.
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