I started this post back in October ’07, I just revisited it. I feel the need to post it, now, not that now is a better time than it might have been nearly a year ago. It cries for editing, for changes, but it is a Remembery. Editing be damned, read it for what it is, friends–a blog entry–A Remembery by all the rules I put on such:
Eighteen years ago I went to Minneapolis to help open a brand new Saks Fifth Avenue. It was the anchor for Gaviidae Common Mall sitting at the base of the fantastic Cesar Pelli designed Wells Fargo Center (formerly Norwest Tower). This particular Saks was a showcase, the first full-line out-of-town store the company had built in several years. (Any Saks that isn’t the 5th Avenue store is known as an OTS.)
I had come to the company right on the tail-end of an era in visual merchandising where folks knowledgible and skilled in the techniques of display were disappearing. Though I can’t necessarily point the finger directly to it, this was the era of full-blown AIDS, and the visual merchandising field was decimated by it. (All arts felt the dire effect of it.) Can the epidemic be blamed for the change that retail has gone through in the last nearly 20 years? Visual merchandising is also an expensive proposition, at least in the way it was practiced at that time.
When I went to Minneapolis for the store opening, we unpacked some 80 mannequins, 40 for the various departments of the store interior, and another 40 or so–a duplicate contingent–for use in the windows (the Minneapolis store had nine street level windows, four on the Nicollet side, five on the Seventh Street side). At the time, depending on the manufacturer, mannequins ranged from $800 to $1200 each.
Sometime shortly after the opening of the Minneapolis store, attitudes toward visual merchandising shifted toward this more “merchandisey” slant. At some point in the last 20 years, visual merchandising moved from a highly stylized art form to a rote and ruley exercise: Placing merchandise on the sales floor, then changing clothes on headless forms to match the rack immediately to its side. Extracting nearly all creativity, for the customer and visual merchandiser alike. As new stores opened , custom mannequins were developed for Saks and there was a marked departure from “realistic” mannequins to a stylized form. Where a hair style was molded into the sculpture of the head, and where on occasion you’d find molded shoes instead of feet. Now, I see reasons for these changes.
AIDS had taken its toll on the “old boys” who knew what they were doing with wigs and styling. Then, in the case of the shoes, mannequins tended to ruin them, the feet unable to accomodate the miriad heel-heights. Flats and low-heeled shoes were almost always ruined by the need to prop the heel of the shoe up to meet the heel of the mannequin. Pumps fared a bit better since they usually didn’t need to be bent, still the shape of the mannequins foot might stretch the body of the shoe in some unnatural way. At the end of any given season, we’d often have a box of ruined shoes totalling several thousand dollars at retail.
What it boiled down to was this, fewer and fewer retailers were willing to “take” the loss, and less and less knowledge and skill was needed to “manage” the visual aspect of visual merchandising. As time passed, and the skills were no longer required, it soon came to pass that no one, or at the most very few, had the knowledge to share with those who came to the biz with a “burning desire” to “be creative.” (Newcomers would say, “It looks like y’all have so much fun!”) They’d soon became disenchanted–uninterested in carrying a ten-foot ladder around the aisles of the selling floor to hang sale signs from the ceiling. They’d quit and leave with no idea of the style and wit that once was central to visual merchandising.
If I sound bitter, I’m not really. Just sadly noting the passing of something that once lived in me. The Minneapolis Saks, as well as the entire Mall, underperformed. As my visual merchandising mentor and good friend, Dennis Richards (God rest his soul), used to say. “The Ladies who lunch in Detroit, lunch in Bill Blass, the Ladies who lunch in Minneapolis, lunch in Carole Little.” If I may be so bold to say, it seems Minneapolitans had little use for the really good stuff.
Now the beautiful space that was a showplace of a Saks Fifth Avenue, is an Off Fifth outlet that’s doing quite well. It offers “final” markdown merchandise from other Saks’ OTS, as well as overruns from manufacturers of high end designer goods. I imagine the most valuable artwork has been moved out of the store, but honestly there’s still some good stuff hanging on the walls of this now discount house. The fine finishes and surfaces are still there. Fine wall coverings. Groovy furniture. It all seems wrong and at odds in this land of discounted value.
Suddenly I’m feeling sad. It almost feels like grief.