University of Southern California Dissertations and Theses

Art collaborations in fashion brand spaces

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Art collaborations in fashion brand spaces

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Content Art Collaborations in Fashion Brand Spaces
by
Darlene Zhang
A Thesis Presented to the
FACULTY OF THE USC ROSKI SSHOOL OF ART AND DESIGN
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF ARTS
(CURATORIAL PRACTICES AND THE PUBLIC SPHERE)
May 2024
Copyright 2024 Darlene Zhang

ii
Acknowledgements
I extend my deepest gratitude to Professor Andre Campbell, whose guidance was instrumental in
structuring my thesis and enriching its content. His valuable insights and patient analysis of the
trajectory of my work have been immensely helpful.
I am also thankful to Professor Jenny Lin for providing extensive scholarly resources and
encouraging me to delve deeper into critical discussions.
My appreciation also goes out to all members of my thesis cohort, whose encouragement and
support have been steadfast throughout this journey.
Lastly, I am grateful to my former boss from my internship, who ignited my interest in art and
luxury goods. His mentorship and the opportunities to explore various fashion spaces have
profoundly deepened my understanding of the subject.

iii
Table of Contents
Acknowledgements..................................................................................................................................................ii
List of Figures...........................................................................................................................................................iv
Abstract.......................................................................................................................................................................vi
Chapter 1: Introduction........................................................................................................................................1
Background and research purpose................................................................................ 1
Research Methodology and Thesis Structure ............................................................... 2
Chapter 2: General Historical Context..........................................................................................................4
The Evolution of Fashion Retail Spaces....................................................................... 4
Art and fashion collaborations: history and Motivations ............................................. 5
Chapter 3: Window Displays as Art Interventions................................................................................ 10
Historical Perspective on Window Displays.............................................................. 10
The Impact of artistic collaborations on window display design ............................... 18
Chapter 4: Art Collaborations in Pop-up Stores.................................................................................... 26
The Rise of Pop-up Stores and their role in the Fashion Industry.............................. 26
The Development of Pop-Up Stores in China ............................................................ 30
Chapter 5: The Boundaries of Art and Fashion Brand Cooperations.......................................... 38
The Social Impact of Beijing SKP-S Mall ................................................................. 38
Conclusion.................................................................................................................. 43
Bibliography............................................................................................................................................................ 46

iv
List of Figures
Figure 1: Yayoi Kusama's polka dots theme in Louis Vuitton store,
(2009) ..........................................................................................................................................................6
Figure 2: Picture Of Macy Christmas Window On 34th Street – "Miracle On 34th
Street". Photo taken Thursday November 11, (2010) ................................................................................11
Figure 3: Darrin Martin's, installation shots of Objects unknown: Sounds familiar (2016) ......................13
Figure 4: A bustling juxtaposition of modernity and tradition on early 20th-century
Nanjing Road, Shanghai ............................................................................................................................14
Figure 5: 1960s-1970s Chinese fashion window display...........................................................................17
Figure 6: "Origin of the East" - A large-scale window series crafted by Shao Yang and
team for the Shanghai Oriental Department Store, 2019 ……………………………………….…….....19
Figure 7: "Hermès Window Collaboration, 2005" - A display designed by Hermès in
partnership with artist Jiang Qiong'er ........................................................................................................21
Figure 8: "Zhang Lei and Hermès Window Display, 2014" - A collaborative window
installation by artist Zhang Lei and Hermès, featuring the traditional Nanjing velvet
flower craft ................................................................................................................................................23
Figure 9: A window display at the Saks Fifth Avenue flagship store for Chinese New
Year, 2015 .................................................................................................................................................24
Figure 10: "Inside COMME des GARÇONS's Pop-Up Stores" - An interior view
showcasing the distinctive installations and decor of COMME des GARÇONS's
various pop-up shops .................................................................................................................................28
Figure 11: Jacquemus and Random Studio's 'Le Bleu' pop-up, 2022: Restroom
display at Selfridges, London .....................................................................................................................29
Figure 12: Jacquemus' 'Le Bleu' pop-up, 2022: Vending machine section at
Selfridges, London .....................................................................................................................................29
Figure 13: Li-Ning and Hajime Sorayama pop-up store, 2021, in Chongqing, China ..............................31
Figure 14: Interior of Li-Ning and Hajime Sorayama pop-up store, 2021, in Shanghai,
China ..........................................................................................................................................................33

v
Figure 15: Exterior of Li-Ning and Hajime Sorayama pop-up store, 2021, in Shanghai,
China ......................................................................................................................................................... 33
Figure 16: Prada's pop-up store at Wu Zhong Market, Shanghai, 2021, themed as a
vegetable market .........................................................................................................................................34
Figure 17: Interior of Prada's pop-up store at Wu Zhong Market, Shanghai, 2021,
featuring fruits and vegetables covered with Prada's tri-color print from the A/W 2021
series ...........................................................................................................................................................34
Figure 18: Prada packaging bags featuring the tri-color print pattern from the A/W
2021 series displayed at Wu Zhong Market, Shanghai, 2021 ....................................................................35
Figure 19: Various influencers and bloggers photographing at Wu Zhong Market, Shanghai,
2021 ............................................................................................................................................................35
Figure 20: Discarded vegetables after a photo session at Wu Zhong Market, Shanghai,
2021 ............................................................................................................................................................36
Figure 21: Interior view of SKP Mall, Beijing ...........................................................................................40
Figure 22: Golden Goose’s Street laundry-themed store interior at SKP-S, Beijing .................................41
Figure 23: Prada's camping-themed store interior at SKP-S,Beijing .........................................................41

vi
Abstract
This article delves into the intricate relationship between art and commerce within fashion retail
environments, highlighting the transformative role of art in enhancing both aesthetic appeal and
consumer interaction. The analysis is structured around three main categories: window displays,
pop-up stores, and large art installations within department stores. Each category is explored to
understand how art is utilized to create immersive and culturally enriched shopping experiences
that go beyond traditional commercial strategies. By examining case studies from globally
recognized fashion brands, the paper discusses how these artistic endeavors not only serve to
differentiate brands within a saturated market but also pose challenges related to cultural
authenticity and the potential for cultural appropriation. Through this exploration, the article
addresses critical questions about the balance between commercial success and cultural integrity,
ultimately assessing the impact of these art-commercial collaborations on consumer culture and
the commodification of art.

1
Chapter 1: Introduction
Background and Research Purpose
In the 21st century, the globalization has continued to propel the exchange of culture,
economy, and technology—often in asymmetrical ways—profoundly impacting the development
of the art and fashion industries. Design concepts and aesthetic perspectives from different
regions have permeated each other, bringing new aesthetic and functional paradigms to fashion
and fashion brand retail spaces. This globally interconnected backdrop has driven the continuous
expansion of the luxury market, giving rise to a new retail experience that blends haute couture
with high art. Such experiences not only aim to turn the shopping environment itself into a visual
delight but also seeks to emphasize the aesthetic enjoyment of the products sold. From
meticulously designed window displays to impressive art installations in shopping centers, these
artistic collaborations are more than just visual feasts—they are strategic redefinitions that
reshape the very nature of shopping. Western countries have long been pioneers in merging art
and fashion, with a rich history and extensive experience in integrating artistic elements into
retail spaces. From Paris's Galeries Lafayette to New York's Fifth Avenue, luxury brand stores
and department stores attract customers by introducing contemporary artworks, hosting art
exhibitions, and creating unique visual displays, elevating the shopping experience to a cultural
enjoyment. This practice not only enhances the brand image but also allows consumers to enjoy
the beauty of art while shopping. As time progresses, the integration of art in fashion retail
spaces has continuously evolved, and this narrative is no longer unique to the West; it has
become increasingly important in Asia as well, especially in China. Because of the rapid
economic development and the advancement of the open-door policy, the growing middle class

2
and the vibrant art scene in China have provided fertile ground for the merging of luxury fashion
brands with contemporary art. Emerging Chinese consumers seek not just the products but an
experience, a narrative that resonates with their identity and aspirations.
This thesis aims to explore the role of artistic collaborations in Asian fashion retail
spaces, particularly in China, and how they innovate consumer experiences and redefine the
fashion market. I will analyze the historical evolution of artistic interventions in fashion retail
spaces, examine the current trends in window displays, pop-up stores, and large retail
environments like SKP-S in Beijing. I will also assess the impact of these artistic collaborations
on Chinese consumer behavior and market outcomes, and explore their cultural significance
within the broader Asian aesthetic and commercial context. This research will reveal the
profound implications of the fusion of art and commerce, and how this blend shapes the
identities and desires of modern consumers.
Research Methodology and Thesis Structure
To navigate this inquiry, the research will employ a multifaceted methodology, beginning
with a series of case study analyses. These case studies will encompass various scales of
displays, including window displays, pop-up stores, and the expansive SKP-S shopping center,
each exemplifying different facets of art integration within the retail environment.
Complementing these practical explorations is a literature review that synthesizes scholarly
articles and cultural historical research, positioning the study within a broader academic context.
A comparative analysis will then juxtapose the modalities of integrating art into retail spaces
between Eastern and Western contexts, revealing cultural nuances.
The dissertation begins by discussing the evolution of fashion retail spaces, how art
began collaborating with commercial entities, and the implications of these collaborations for

3
consumers and fashion brands, thus providing a comprehensive historical backdrop.
Subsequently, the thesis will delve into three primary fashion retail spaces: window displays,
pop-up stores, and large-scale malls, pinpointing how each seeks to blend art with fashion. These
sections will include historical materials and case studies, offering an in-depth examination of
specific instances of art intervention in retail settings. The analysis will investigate their impacts
on Chinese consumers and the broader art and commerce market. The study concludes by
summarizing the findings and suggesting potential directions for future exploration.

4
Chapter 2: General Historical Context
The Evolution of Fashion Retail Spaces
Since 19th and 20th centuries fashion retail space has undergone fundamental
transformations, evolving from a mere transactional place to a platform for artistic expression.
This shift is closely linked to the evolution of consumer behavior, technological innovation, and
the process of globalization. At the end of the 19th century, fashion retail spaces primarily
focused on functionality, emphasizing the practicality of product display and sales. However,
with the emergence of department stores in major cities in Europe and America at the end of the
19th century, a more experience-oriented consumer environment began to take shape.1
In these
spaces, although the application of artistic elements was relatively basic, the introduction of
decorative architectural elements, interior wall and floor decorations, and lighting design played
a role in enhancing the environment and creating an atmosphere. This also resonated with
consumers' desire for an experience that goes beyond mere purchasing behavior. Simultaneously,
the importance of window design became increasingly prominent, evolving from simple product
displays to meticulously planned visual art. Windows were used to attract customers by engaging
in narrative storytelling while showcasing fashion trends. Moving into the 20th century, as
globalization and modernization accelerated, the fashion retail space underwent rapid changes.
Brands began to seek personalized and differentiated strategies, transforming retail spaces from
mere product showplaces to places where “brand identity” could be created, enhanced, and
reinforced. Entering the 21st century, the development of digital technology and the internet
brought new transformations as well. The rise of e-commerce, along with the application of
1 Marlise Schoeny, “The Art of Selling: A History of Visual Merchandising - Historic Costume & Textiles
Collection,” Historic Costume & Textiles Collection, (October 25, 2019), 1.

5
virtual reality and augmented reality technologies, marked a shift from physical to digital retail
spaces, offering consumers a more personalized and interactive shopping experience.2
In recent
years, with a growing societal focus on sustainability and social responsibility, retail spaces have
begun to integrate eco-friendly elements. At the same time, experiential retail has become a
trend, with retailers providing unique shopping experiences, such as themed events and art
exhibitions, to attract and retain customers.
Art and Fashion Collaborations: History and Motivations
The fusion of art and fashion brands is not a recent trend but has a rich history, dating
back to the early 20th century. At that time, Italian designer Elsa Schiaparelli collaborated with
surrealist artist Salvador Dalí to create unique custom pieces such as the telephone-shaped
compact (1935) and the Lobster Dress (1937).3 These products provided customers with
blatantly eccentric choices and also served as a source of inspiration for other modern designers.
Since then, the combination of art and fashion has been an ongoing dialogue, continually driving
innovation and development in both fields. Fashion, as an art form, has always been closely
connected with various art movements, learning from and borrowing elements from a multitude
of artistic practices. In contemporary times, the integration of art and fashion brand spaces is
particularly prominent. For instance, in 2009 Louis Vuitton themed its product design, window
displays, and stores around the iconic polka dot elements of Japanese artist Yayoi Kusama
(fig.1).
4 Some LV store façades are adorned with polka-dot installations, and the interiors are
2 Helen McCormick, et. al., "Fashion Retailing – Past, Present and Future," Textile Progress 46, no. 3 (2014): 227-
321.
3
Silvano Mendes and Nick Rees-Roberts, "New French Luxury: Art, Fashion and the Re-Invention of a National
Brand," 2 (2015): 60
4
Isabella Segalovich, "The Uncanny Valley of Louis Vuitton's Yayoi Kusama Collection," PRINT Magazine,
February 13, 2023, https://www.printmag.com/design-criticism/the-uncanny-valley-of-louis-vuittons-yayoi-kusamacollection/.

6
meticulously crafted to resemble Kusama's polka-dot universe. Works like pumpkin sculptures
are displayed in stores, not just in art galleries, and even giant installations resembling the artist
herself have become major attractions—for example, the large sculpture of the artist “painting”
the outside of Paris’ la Samaritaine. Kusama's visually impactful works have sparked extensive
online discussions and attracted significant traffic for LV. This collaboration not only enhanced
the brand's visual appeal but also offered consumers a way to incorporate art into their daily
lives. Countless such collaborations exist today, often incorporating the creation of unique,
limited-edition products that leverage the artist's influence and captivating visual works to boost
brand recognition and high-dollar sales. Especially in today's era of social media, artistic
collaborations often receive extensive attention and coverage, enabling the public to quickly
access information through various channels and start paying attention, thus making it a powerful
marketing tool.
Yet the motivation behind collaborations between art and fashion brands has continually
evolved over time. Initially, these partnerships were focused on craftsmanship and aesthetics —
artists and designers working together to create beautiful and lavish works. In the past, many
luxury fashion brands were family businesses, operating locally with a focus on core products
Figure 1：Yayoi Kusama's polka dots theme in Louis Vuitton store, 2009.

7
and traceable craft labor. However, nowadays, these brands are often managed by large global
conglomerates and are retail-focused, aiming to expand their brand scope and diversify product
lines.5 This shift signifies a move away from the exclusivity of rarity, even opening factories
around the world. The luxury brand Gucci, once a typical family business, was known for its
local operations in Florence, Italy, and its core products made of leather. Their exquisite
craftsmanship and unique designs were considered rare luxuries by locals. However, with the
liberalization of international trade and capital flows, Gucci faced severe development crises due
to its local limitations. In 1999, after being acquired by Kering Group, Gucci embarked on a new
chapter of globalization and group management. This transformation shifted Gucci's focus to
retail and brand expansion, enhancing its brand influence through the opening of global flagship
stores and entering new markets such as India, China and etc. To meet the growing market
demand, it began opening factories worldwide, which somewhat changed its products’ rarity.
Therefore, for an industry that is increasingly lacking in handcrafted artisanship, the introduction
of the artification process is very timely. Artification refers to the strategic incorporation of
artistic elements into product design and branding, which enhances the aesthetic value and
cultural significance of the products. The globalization of Gucci has both diluted and enriched its
brand image. By opening factories worldwide, Gucci has expanded its market reach, but at the
expense of the exclusivity associated with its handcrafted products. This expansion strategy,
however, has been counterbalanced by the brand's "artification" process. By incorporating art
into its brand narrative, Gucci enhances its brand differentiation and storytelling, crafting a
unique image that appeals to a culturally sophisticated clientele. Moreover, collaboration with
respected and famous artists or artworks can provide brands with greater exposure and cultural
5
Jean-Noël Kapferer, "The Artification of Luxury: From Artisans to Artists," Business Horizons 57 (2014),
doi:10.1016/j.bushor.2013.12.007.374

8
capital. This not only attracts more discerning and culturally sophisticated customers but also
lays the groundwork for reaching a broader public audience.
For centuries, both in the West and in China, art has primarily served the elite classes.
Especially around the 17th century, there was little distinction between artists and craftsmen.6
The more intricate, unique, and rare their creations were, the more they reflected the status and
privilege of the elite.7 However, with the rise of modernism and the transformation of artistic
concepts, artists began to focus on broader social groups and everyday life themes. At the same
time, the popularization of education and the improvement of economic conditions made art no
longer an unattainable symbol. Nowadays, "art can bring much-needed moral and aesthetic
recognition to luxury goods, non-commercial connotations, and paradoxically justify their high
prices."8 Against this backdrop, luxury goods are no longer viewed solely as the preserve of the
elite. Collaborations between luxury brands and artists, such as Louis Vuitton's partnership with
Yayoi Kusama, enrich these products with cultural and emotional depths, transforming them
from mere material assets into objects with significant cultural resonance. However, the
transformation of a Louis Vuitton bag into a Kusama-themed piece does not fundamentally alter
its nature as a consumer good. It merely cloaks it in an artistic veneer, enhancing its allure
without changing its inherent commercial essence. This scenario underscores the complexity of
the modern art market where art often becomes commodified. The motivations behind these art
and commerce collaborations are typically geared towards boosting brand image and market
appeal, rather than genuinely enhancing the commercial value of the products. In today's diverse
societal context, ordinary individuals may view purchasing luxury goods as investing in art,
6 Kapferer, "The Artification of Luxury,” 372.
7
Ibid., 372.
8
Ibid., 375.

9
ostensibly showcasing their refined taste and wealth status. Integrating art into luxury goods
often serves more to benefit the brand than the consumer, enhancing corporate prestige and
market desirability under the guise of cultural enrichment. Such collaborations may superficially
elevate a consumer's social status by leveraging the cultural capital associated with art, endorsing
a narrative of exclusivity and wealth. Moreover, infusing art into retail environments transforms
these spaces into extraordinary showcases—from layouts that mimic art galleries to immersive
installations. However, this transformation primarily drives consumer traffic and engagement,
aligning with the commercial goals of the brands. This situation raises the question: does it
genuinely empower consumers, or does it strategically manipulate their aspirations for status and
uniqueness through the allure of art-infused commercialism?

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Chapter 3: Window Displays as Art Interventions
Historical Perspective on Window Displays
The origins of window display design can be traced back to the late 18th and early 19th
centuries, initially serving the basic purpose of being a kind of visible product storage in various
stores.9 However, from the mid 19th century to the mid 20th century, these spaces evolved into
key areas for showcasing the latest fashion trends and designs. In the early stages, most store
owners did not prioritize the artistic arrangement of their merchandise, as the retail landscape
was dominated by wholesale business. As such, products were often haphazardly stacked on
simple wooden shelves, with little consideration for the consumer's psychology or behavior.10
Following the Industrial Revolution, technological advancements made large plate glass
windows economically feasible, marking a significant shift in retail display practices11
.
Department stores and various retail establishments began to extensively use windows and glass
display cases to exhibit their goods. Yet, many merchants still overlooked the potential of
windows as advertising spaces, either leaving them empty or crowding them with products,
devoid of any artistic sensibility. However, with the booming retail business of department
stores, merchants started to recognize the importance of product presentation, acknowledging the
role of window displays and print advertising in attracting customers.
A pivotal change occurred in 1895 when Arthur Fraser, employed by the Marshall Field's
Department Store, revolutionized the approach to window display with the principle of 'less is
more.' Fraser shifted the focus to highlighting the merchandise rather than cluttering the space,
9
Schoeny, “The Art of Selling,” 1.
10 Ibid., 1.
11 Ibid., 2.

11
thereby reducing chaos in the display and creating visually appealing window designs.12 This
approach propelled visual merchandising to new heights. Inspired by this concept, many New
York department stores such as Macy's, Bloomingdale's, and Saks Fifth Avenue began to
emphasize the artistry and creativity of their window displays. They would design limitededition windows based on seasons, holidays, or specific themes, using unique decorations,
lighting, and visual effects to create stories and scenes. Among them, Macy's has been known for
its themed Christmas window displays with strong narratives, such as "Miracle on 34th street"
and "The Magic of Christmas (fig.2)." At times, the unveiling of meticulously crafted Christmas
windows in the bustling department store has even become the most apparent sign of the holiday
season. To this day, Macy's is still renowned for its engaging storylines and unique decorations,
attracting thousands of viewers annually.
The 20th century marked the 'golden age' of window displays. This period witnessed
Surrealist artists like Dalí, Man Ray, and Marcel Duchamp exploring the use of mannequins and
window backgrounds, adding intricate and peculiar elements to their designs. In this context, the
12 Ibid., 2.
Figure 2:Picture Of Macy Christmas Window On 34th Street -
"Miracle On 34th Street". Photo taken Thursday November 11, 2010

12
application of mannequins experienced significant changes. Initially, mannequins were primarily
used for displaying clothing, but over time, they began to be used as tools to showcase fashion
trends and artistic creativity. Artists started to see mannequins as canvases for their creations,
incorporating artistic concepts into window designs through the dressing and arrangement of the
mannequins.13 Artist Salvador Dalí was commissioned in 1939 to design a window display for
the Bonwit Teller department store in New York (fig. 3.1). His creation, based on the complex
psychology of Narcissus, featured a bathtub covered in black Persian lambskin, filled with dark
water, and sprinkled with Narcissus flowers. Wax arms extending from the water held a mirror
pointing to a wax mannequin from the 1890s, covered only in feathers, wearing a blonde wig
crawling with fake insects, weeping blood-red tears.14 Dali's design reflected his Surrealist style,
creating an imaginative visual effect through the unique use of mannequins and background,
challenging the audience's perception and thinking. Although this display was quickly removed
due to complaints from customers at the time, it signified the innovation of window design and
the transformation of display forms. Unconsciously, it had gone beyond the original function of
aiding sales and entered the realm of art, opening the prelude to future collaborations between
department stores and artists.
This concept of window display gradually permeated the retail industry in Asia,
developing especially in port cities that served as hubs for trade and cultural exchange.
Particularly since the opening of the trade market in China from the late 19th to the early 20th
century, Shanghai experienced various cultural influences and urban transformations, leading to
the emergence of window displays in this period. However, due to the structural differences
13 Ibid., 14.
14 Open Culture, "When Salvador Dali Dressed and Demolished a Department Store Window in New York City,
1939," last modified November 2022, https://www.openculture.com/2022/11/when-salvador-dali-dressed-anddemolished-a-department-store-window-in-new-york-city-1939.html

13
between traditional Chinese architecture and the West, narrow streets and dense architectural
layouts limited the space and visual effects of window displays in the early stages.15
In fact, traditional Chinese 'Zhaohuang' designs, a combination of signage and awnings,
were distinctive and served as precursors to window displays (fig.3).
16 These Zhaohuang,
representing traditional commerce and store markers, were one of the representative forms of
traditional Chinese business customs. In China, storefronts traditionally favored simplicity and
utility, but these designs often carried rich cultural meanings. Signs and banners were
continuously improved and matured throughout the dynasties, presenting a variety of commercial
forms. For example, there were physical signages, where merchants would hang what they sold.
Fish stores often hung a large wooden fish model, and jewelry stores would hang large gold
hairpins. For shops selling liquids or service industries that could not hang tangible items,
pictorial signages appeared. These shops often hung items related to their products; oil shops
would hang a large oil bottle, and wine shops would hang empty wine pots. In addition, there
were text signs, mostly single characters or compound words. Pawnshops would use a large
15 Mǎsài, "Trifles in the Window:The details of window display design" (Beijing: China Light Industry Press, 2009),
62.
16 Ibid., 62.
Figure 3:Early 20th-century shop signs near Shanghai's Nanjing Road.

14
"pawn" (当) character as their sign, tea shops would hang a square wooden sign with the
character "tea" (茶) in one corner of the shop, allowing people to know the type of goods from a
distance. Compound words often consisted of four-character promotional phrases that were
catchy and easy to recite. Wine shops often used phrases like "aged old wine, the legacy of Li
Bai," shoe stores favored "soaring to the sky," and pharmacies would write "the legacy of
Shennong." There were even lantern signages, which were generally used for snack stalls in
night markets, night-time restaurants, pharmacies, etc., as the city's scale expanded, the number
of cities increased significantly, and commercial activities became more open, gradually forming
night markets of different scales.17
After the opening of Shanghai as a treaty port, Nanjing Road became the birthplace of
modern commerce, with the influx of foreign enterprises and department stores making this
street the frontier of the convergence of Western modern commercial culture and Chinese
traditional culture. This cultural fusion is particularly evident in the city's architectural style and
the development of the retail industry. The urban landscape of Shanghai at that time presented a
unique sense of fragmentation (fig.4). On one hand, Western-style buildings such as Gothic,
Baroque, and Art Nouveau architecture appeared in the International Settlement area, displaying
17 Liu Huan, "Shop Signs: Originally 'Liquor Flags,' Later Reflecting What Was Sold," Liaoning Daily, October 13,
2012, https://www.chinanews.com.cn/cul/2012/10-13/4245463.shtml.
Figure 4:A bustling juxtaposition of modernity and tradition
on early 20th-century Nanjing Road, Shanghai.

15
an atmosphere of modernization and internationalization; on the other hand, traditional Chinese
buildings such as garden-style courtyards, tile houses, and Shikumen remained in the old city
area, showcasing a deep historical and cultural heritage. This visual fragmentation reflected the
complexity and diversity of Shanghai society at that time and foreshadowed the beginning of
China's modernization process. In the retail industry, this sense of fragmentation was also
evident. On one hand, department stores that introduced Western retail concepts began to rise,
importing goods from abroad while also introducing advanced concepts such as product catalogs,
window display patterns, and display props, showcasing Western fashion trends and consumer
culture. On the other hand, traditional shops still retained signboard-style signage and simple
display methods, reflecting Chinese traditional commercial culture and consumption habits.
However, Chinese commercial activities traditionally focused more on word-of-mouth and
personal relationships than on visual marketing. Therefore, although signboards had a certain
visual appeal, their primary function was still to identify the shop and convey basic information,
rather than to display products or to attract customers.
Therefore, the novelty and attractiveness of window design still significantly influenced
the traditional business model in China at that time. The advent of window design not only
brought fashion trends but also signaled the infiltration of Western culture and the transformation
of Shanghai into a more open and diverse culture. This new form of window advertising
prompted many local small and medium-sized shops to start imitating and creating, gradually
forming a window design style with unique traditional aesthetic characteristics. For example, the
century-old brand Maochang Optical Company was the first to try using Windows as a
marketing platform. By installing glass mirrors on the inner walls of the window and using the
principle of optical reflection, they visually created the effect of layers of products, making the

16
relatively small shop appear to have infinite space.18 This innovative initiative attracted a lot of
customer attention at that time and reflected how some Chinese merchants adapted and
integrated local practices in response to the introduction of Western retail concepts and
technologies. Furthermore, this marked the gradual shift in Chinese retail space design from
purely functional to more visually appealing and customer-oriented, thereby promoting the
modernization of business models and consumer culture.
At the same time, this emerging consumer culture provided Chinese women with a new
social role to some extent, as “Department stores provided one of the only societally condoned
spaces for women to venture outside the home, a phenomenon that Laermans dubs 'the public
emancipation of women.”19 In the early 20th century, Shanghai was known as the "fashion
capital for women," with shops on Nanjing Road always displaying the latest Western trends,
constantly influencing the fashion aesthetics of Shanghai and even the whole country. These
windows often not only showcased products but also represented a lifestyle appeal, thereby
promoting women's consumer behavior. Women of that time loved to wear the new-style qipao
and so-called "Western dresses," even cutting their long hair or perming it as proof of rejecting
the dregs of feudalism. More and more women were no longer confined to domestic life and
even began to enter various entertainment venues, enjoying the city's prosperity and freedom.
Shopping became a way for women to express their individuality and pursue fashion, and it was
also one of the means for them to participate in social activities and personal expression.
Therefore, shopping gradually came to be seen as a leisure activity, with women becoming the
main participants in this activity. This change prompted shop owners to plan advertising
18
Mǎsài, "Trifles in the Window,” 74.
19
Fiona Maxwell, “All the window’s a stage: Theatricality and Show window display, 1897-1917,” Ezra's Archives
1 (n.d.): 1-18, accessed December 1, 2023, 10.

17
strategies based on stereotypes of women, thus "feminizing" shopping. Undeniably, this practice
reflected, to some extent, the social recognition of changes in women's roles and status.
However, it also perpetuated stereotypes that confined women to roles shaped by a maledominated society's expectations. Even now, shopping is still often associated with women, seen
as a luxury for the rich or a boring activity for "misguided women."20 In reality, women as the
main consumers of today's market, this is not only because these increasingly sophisticated and
exquisite window designs have a huge appeal to women, but also indicates that their social status
and economic power are continuously improving.
By the 1960s and 1970s, promotional windows could be seen in other large and mediumsized cities across China (fig.5). In this tumultuous era, product windows became tools for
political propaganda, displaying the works of political leaders, and thus, the commercial
advertising function of windows temporarily disappeared.21 Following the economic reform and
opening-up in 1978, interest in window decoration surged again, being adopted as a form to
attract retailers and pay homage to the growing consumerism. By the late 20th and early 21st
centuries, the function of window displays shifted from simple product showcasing to
20 Maxwell, “All the window’s a stage,” 11.
21 Mǎsài, "Trifles in the Window,” 75.
Figure 5:1960s-1970s Chinese fashion window display.

18
meticulously narrating the traditions and contemporary art of brands. Today, we have witnessed
a tremendous leap from these foundational practices to complex artistic collaborations.
Integrating artistic elements into window displays is not merely a continuation of aesthetic
evolution but represents another layer of cultural and commercial strategy. In contemporary
times, artistic collaborations have become an essential aspect of window display design,
attempting to blend the heritage of traditional Chinese visual culture with the dynamic creativity
of modern art, signifying a unique intersection of culture and commerce.
The Impact of artistic collaborations on window display design
The evolution of window displays in Asia, particularly in China, mirrors a broad
narrative of cultural and economic transformation. This progression from utilitarian windows to
the current bastions of fashion and design has not only become a vital channel of communication
between brands and consumers but also a key strategy for brands to stand out in a saturated
market via spectacle. It is noteworthy that the introduction of artistic collaborations has
fundamentally altered the concept of window display design. These collaborations have
transformed retail windows from mere showcases of products into spaces rich in narrative power,
attracting passersby’s attention, telling stories, and often blurring the lines between reality and
fantasy. The once clear boundary between art galleries and retail store windows has become
blurred, making it seem like a stroll through the city streets offers a glimpse into the currents and
trends of contemporary art. This shift reflects not only a new development in commercial
aesthetics but also the increasingly intimate relationship between modern consumer culture and
artistic expression.
Traditional window displays primarily focused on the physical display of products, with
innovations limited to basic decorations like crumpled and colored paper. For instance, some

19
windows used crumpled paper as a backdrop to highlight products, or fixed strips of paper
around the window edges, pulling them towards the center to form a square perspective, thereby
enhancing the product display effect.22 From a technological, aesthetic, and material standpoint,
although past window designs had their highlights, they still fall short in visual appeal compared
to modern designs. Contemporary windows often employ advanced lighting effects and
multimedia technology, transforming the display from static to dynamic and interactive through
changing lights, colors, and now integration of screens and time-based media. Moreover,
contemporary window designs emphasize constructing an overall visual impact, using spatial
layout and visual art techniques to tell stories and offer immersive experiences to viewers.23 In
these designs, while products are still visible, they are no longer the central element. Instead, the
artistic works and conveyed meanings within the windows better represent the brand's tone and
culture. Shao Yang, a pioneer in window and visual merchandising design in China, exemplified
this shift in his 2019 window display "Origin of the East" for the Shanghai Oriental Department
Store (fig.6). This artwork reinterprets traditional cultural symbols such as the phoenix, dragon,
carp, and crane in a modern artistic manner, ingeniously integrating them into the retail mall's
22 Ibid., 73.
23 Ibid., 160.
Figure 6:"Origin of the East" - A large-scale window series crafted by
Shao Yang and team for the Shanghai Oriental Department Store, 2019
.

20
window displays. Each of these symbols is highly revered in Chinese mythology, representing
auspiciousness and well-being, and each window narrative faithfully reflects these themes.24 It's
evident that the window design utilizes bold colors and intricate paper art, a medium that can be
traced back to traditional Chinese crafts, but here it is combined with modern materials to make
the entire piece look very vivid. The windows "Phoenix in Flight" and "Dragon Soaring in the
Sky" present China's auspicious totems with a three-dimensional visual effect, making these
creatures appear lifelike, as if they are about to break through the wall at any moment.
Meanwhile, "Like a Fish Returning to the Sea" and "As a Crane Soars a Thousand Miles" use a
more abstract and profound approach to narrate the harmony between nature and life,
emphasizing the Taoist philosophy of harmonious coexistence between humans and nature.
Additionally, the red and blue colors in the windows are particularly eye-catching, reminiscent of
the vibrancy and depth of traditional Chinese silk paintings and porcelain. The models dressed in
modern attire also seem to hint at a dialogue between the past and the present. This fusion of old
and new not only promotes a rich traditional culture but also demonstrates the potential
significance of traditional patterns in today's consumer culture. This is more than just a simple
display of goods; it's a feast of visual art that subtly immerses customers in a cultural experience.
It witnesses the continuous evolution of Chinese aesthetics, proving that cultural reverence and
avant-garde design can coexist and mutually enhance each other.
With the continuous growth of China's economy25 and the increase in per capita
consumption levels, an increasing number of international luxury brands are entering the Chinese
24 "Originating from the Orient, the Surge of Chinese Fashion Trends: China's Top Most Beautiful National Trend
Window Series Works," Sohu, published August 01, 2019, accessed Febl 13, 2024,
25 Since the implementation of the 'Reform and Opening-up' policy initiated by Deng Xiaoping in 1978, China's
economy has undergone substantial growth. This shift towards market-oriented reforms has led to a significant
increase in GDP and per capita income, fostering a robust middle class with increased purchasing power.
Consequently, the Chinese market has become highly attractive to international luxury brands seeking to capitalize
on this expanded consumer base.

21
market. These brands are not just introducing high-end products, but are also enhancing their
influence in the Chinese market through integration with art. In particular, these luxury brands,
by incorporating Chinese cultural elements into their window displays and collaborating with
local Chinese artists, are infusing themselves with a fresh cultural essence while also making
significant contributions to the promotion and international recognition of Chinese art.
Hermès, as an internationally renowned luxury brand, has always highlighted its window
displays as one of its most distinctive and appealing features. In integrating into the Chinese
market, Hermès not only adhered to the principle of 'When in Rome, do as the Romans do' but
also continuously sought out exceptional Chinese designers to blend traditional Chinese arts and
crafts with their brand aesthetic. In 2005, Hermès collaborated with Jiang Qiong'er, one of the
most influential contemporary artists in China, for a highly successful window display (fig.7).
Integrating China's unique cultural heritage, Jiang painted abstract dancers in ink and ingeniously
designed them in "three-dimensional ink" using fiberglass. Viewers passing by the window
would witness ink dancers seemingly coming to life as they changed their viewing angles.26 Ink
26 Tezign, "‘Shang Xia’ CEO and Artistic Director Jiang Qiong Er: Chosen by Hermès, She Uses ‘Shang Xia’ to
Interpret the Aesthetics of Life," October 29, 2018, accessed Feb 13, 2024,
https://mp.weixin.qq.com/s/k1mFGohdN9OzxEfBTez9Hw.
Figure 7:"Hermès Window Collaboration, 2005" - A display
designed by Hermès in partnership with artist Jiang Qiong'er.

22
painting, as one of the quintessences of traditional Chinese art, is known for emphasizing spirit,
rhythm, and artistic conception, often leaving a rich space for imagination. It is not just a
depiction of the theme but aims to capture the essence, "Qi" or vitality, and emotional resonance
of the scene or subject. The mere few strokes that reveal the posture of a gracefully dancing
three-dimensional figure demonstrate that in this window collaboration, the soul of traditional
ink art is preserved while achieving a more modern and abstract expression in a contemporary
context. Moreover, for Hermès, a brand known for its exquisite craftsmanship and artistry,
aligning with such a concept rich in cultural connotations and artistic excellence effectively
strengthens its image as a supplier of high-quality luxury goods with cultural significance. Even
if not all viewers understand the historical and cultural significance of ink painting, its exquisite
visual charm and the elegance and beauty it displays are enough to touch people. In a way, it
embodies the universality of certain art forms, which can convey emotions and narratives
without words. For those more familiar with Chinese culture, the display is a tribute to a precious
art form, presenting Chinese culture in a novel and exciting medium. Such artistic expression not
only expands the boundaries of ink art but also provides a new perspective for global audiences
to better understand and appreciate the development and evolution of traditional Chinese art in a
contemporary context.
The artist Zhang Lei excels in using traditional materials and methods to create pieces
that align with contemporary tastes, aiming to modernize Chinese traditional handicrafts. His
unique talent was recognized by Hermès, making him one of their go-to window designers.27
Every window design by Zhang Lei skillfully incorporates traditional craft elements, such as the
‘Nanjing velvet flower,’ which is a traditional handicraft from Nanjing, Jiangsu Province, China.
27 "Lei Zhang's Speech Transcript: Seeing the Power of Chinese Design Through Him," Sina Home, published June
11, 1028, accessed Feb 13, 2024,

23
This craft, which can be traced back to the Ming Dynasty and has a history of several hundred
years, is listed as a national intangible cultural heritage in China. Nanjing velvet flowers are
known for their exquisite delicacy and lifelike forms, traditionally used to make various
decorations, hair accessories, and hat ornaments, and are especially popular in weddings and
traditional festivals. The craft involves using specially treated colored velvet fabric and shaping
it into various natural forms like flowers and animals through techniques such as cutting,
carving, pinching, and gluing. Each velvet flower requires the artisan's superb skills and
patience, making the production process both an artistic creation and a pursuit of detail and
beauty.28
In his 2014 window design for Hermès, he used the Nanjing velvet flower craft to create
feathers pulled from silk scarves, a process that took three months to complete (fig.8). The colors
were processed into a black-and-white gradient, with more vibrant colors in the middle, and were
fixed vertically with two copper wires. The yellow butterflies were made using traditional
bamboo paper craft, where the long fibers of bamboo paper combined with pigments give a
rough appearance around the edges, adding texture to the entire design and becoming a popular
28 "Lei Zhang's Speech Transcript," Sina Home.
Figure 8:"Zhang Lei and Hermès Window Display, 2014" - A collaborative window installation
by artist Zhang Lei and Hermès, featuring the traditional Nanjing velvet flower craft.

24
installation in Hermès windows. The complex handicrafts displayed in the window express
appreciation and respect for traditional art forms. For viewers unfamiliar with the specific crafts,
the sheer beauty and exquisite craftsmanship still have universal appeal, sparking their curiosity
and admiration. This is valuable in itself, as it can draw attention to cultural art forms that they
might never have encountered otherwise. These collaborations, especially when respecting and
commemorating cultural heritage, can serve as bridges connecting the past with the present, the
East with the West. They can make Chinese traditional arts more accessible to a global audience,
thereby enhancing their status on the international stage.
In recent years, we have witnessed an increasing number of brands engaging in localized
marketing by embracing Chinese native festivals and customs. For instance, during the Chinese
New Year, they create a festive atmosphere in their window displays with red as the dominant
background color and traditional Chinese clothing on mannequins (fig.9). Sometimes, to tell a
cultural story, they might include zodiac elements in their annual window designs, yet these
invariably revolve around quintessential Chinese New Year symbols such as red hues and new
Figure 9:A window display at the Saks Fifth
Avenue flagship store for Chinese New Year, 2015.

25
year paintings. Although employing red backgrounds and traditional attire can invoke the
ambiance of the Chinese New Year, such superficial mimicry may fail to capture the festival's
true essence, such as the sentiments of family reunion and the aspirations for the new year that
are integral to Chinese cultural values. Similarly, zodiac elements might be rendered as cute
animal figures, yet this design approach might not convey the traditional wisdom and
philosophies associated with the zodiac. While these elements appear to celebrate Chinese
culture on the surface, they lack a deep understanding and respect for the symbolic cultural
values, slipping into the commodification and even appropriation of culture. This trend of
cultural appropriation necessitates a reevaluation of how art and commercial spaces intertwine.
Placing artworks or cultural symbols in retail settings should transcend mere commercial
objectives; these elements should serve as a conduit for conveying profound brand narratives and
creative visions. Therefore, their use must be thoughtful and respectful. The focus should go
beyond mere aesthetic appeal or commercial success to a genuine demonstration and respect for
cultural heritage. This approach requires a shift in perspective—from viewing cultural elements
as marketing tools to seeing them as integral parts of cultural dialogue and exchange, fostering
deeper and more meaningful connections with consumers.

26
Chapter 4: Art Collaborations in Pop-up Stores
The Rise of Pop-up Stores and their role in the Fashion Industry
In recent years, pop-up stores have become a popular, innovative, and flexible retail
format in the fashion industry. These temporary retail spaces allow brands to create unique,
immersive experiences for customers. These shops have become an indispensable part of the
fashion world, providing brands with opportunities to test new markets and create memorable
customer experiences. This form of trade has historical roots, dating back centuries to traveling
merchants who would suddenly appear with carts full of exotic goods like spices, carpets, and
fashion, bringing them to new markets in Europe. These merchants played a crucial role in
expanding trade to broader regions, creating unique markets for goods that were not regularly
available to most customers.29 This also led to the development of farmers' markets over the
years, offering opportunities for these traveling merchants and part-time entrepreneurs to sell a
variety of goods, from fresh seafood and seasonal agricultural products to clothing and
household items. These markets were usually located in developing or rural areas, providing a
relatively low-cost way for merchants to rent space in a new geographic area every day or week,
introducing new products and innovations to consumers.30
In early China, similar trading behavior was commonly known as "going to the market,"
which involved going to the market to do business, and the market referred to a form of
commodity trading activity that gathered periodically. It was widely present in rural towns and
villages across China and continues to this day. Similarly, markets were indispensable for these
relatively remote areas. Typically, the market would be held in the most suitable place within a
29
Hong Yu, et. al., "Chapter 1: History of Pop-Up Retail," in Pop-up Retail Strategies in an Omnichannel Context,
(Toronto: Ryerson University, 2018), accessed March 1, 2024, .
30 Yu, "Chapter 1: History of Pop-Up Retail."

27
certain range, as the distance between mountains in towns and villages could greatly extend the
distance to be traveled. The timing of the markets was mostly based on the traditional Chinese
lunar calendar. People would bring their handicrafts and crops to exchange with each other,
gaining money while also broadening their horizons. In a way, these local markets, through
regular social activities, solidified the local people's sense of shared time and place.31 Rather than
being a temporary, periodic trading activity, it was more like a microcosm of traditional Chinese
folk customs, eras, and culture.
Whether it's Chinese markets or European farmers' markets, over time, they have
transitioned from mere venues for trading goods to becoming hubs of social interaction and
engagement. This transformation is echoed in the contemporary rise of pop-up stores, which
represent a modern evolution of the concept of temporary markets. Today, pop-up stores not only
preserve the transient and flexible nature of traditional markets but also innovate in their form,
content, and objectives. Typically appearing in busy commercial areas or crowded places for a
short time, they attract consumers with unique themes, unified colors, strong visual impact, and
immersive shopping experiences. Most brand stores use pop-up stores to offer limited products
and customized services, creating urgency and scarcity to expand their marketing strategies32
.
Fashion brands, in particular, have made notable use of pop-up stores, with Japanese brand
COMME des GARÇONS opening the world's first pop-up store, "Guerrilla Store," in Berlin,
Germany, in 2004. This store, transformed from an old bookstore in Berlin, operated for a year
and achieved great success, leading to similar pop-up stores in other cities. These stores' decor
and design are usually minimalist and even rough, emphasizing an "anti-fashion" aesthetic that
31 Ma Guangting, "Market and Gathering: Representation of Two Temporal Orientations in Rural Life," Chinese
Folklore Network, February 16, 2008, https://www.chinesefolklore.org.cn/web/index.php?Page=2&NewsID=3017.
32 Karine Picot-Coupey, "Pop-up store as a Foreign Operation Mode (FOM) for retailers," International Journal of
Retail & Distribution Management 42 (2014): forthcoming,.

28
aligns with the brand's philosophy—breaking tradition, pursuing innovation, and individuality.33
Although the store design is simple, the displayed products are usually COMME des
GARÇONS' selected items, including clothing, accessories, and special collaboration series. The
way products are displayed is often creative, differing from the simple hanger display in ordinary
shops. Some items are placed on stacked, messy, box-style cabinets, hung on chairs on the wall,
or even displayed in completely raw cardboard boxes as "wardrobes (fig.10)." Overall, the
success of the Guerrilla Store has influenced the development of the fashion industry and retail,
opening new avenues for interaction between brands and consumers. Since then, pop-up stores
have proliferated in highly commercialized cities like London, New York, and Tokyo. Like
COMME des GARÇONS, pop-up stores escape the mainstream large department store system,
and even if some are located in remote suburbs, they still attract loyal brand fans.
Over time, pop-up stores have evolved from mere temporary shops to become a
significant trend in the fashion industry. Their unique, often visually striking setups also make
them popular spots for Instagram. For many fashion brands, the concept and purpose of pop-up
33 "Guerrilla Store by COMME des GARÇONS," Archimedes' Pool of Ideas, September 21, 2007,
https://archimedespool.wordpress.com/2007/09/21/guerrilla-store/.
Figure 10:"Inside COMME des GARÇONS's Pop-Up Stores" - An interior view
showcasing the distinctive installations and decor of COMME des GARÇONS's
various pop-up shops.

29
stores have gradually changed. They are no longer just spaces for limited-time sales but have
transformed into places similar to art galleries, emphasizing brand image display and innovative
consumer experiences. This shift is reflected in the design and planning of pop-up stores.
Fashion brands collaborate with artists, designers, and other industries to create spaces full of
creativity and artistic atmosphere, where all elements related to fashion and trend culture can be
sold.
Fashion brand Jacquemus, in collaboration with Random Studio, opened a pop-up store
called Le Bleu at Selfridges in London in 2022. This space, dominated by brilliant blue,
consisted of changing room installations, a bathroom-style retail space, and a 24-hour vending
machine (fig.11&fig.12). Random Studio combined visual, auditory, and olfactory experiences
with striking colors, sound installations, and commissioned scent patterns to create a nostalgic
summer vibe.34 The fashion, accessories, and home goods sold at Le Bleu were displayed in a
subtle and novel way. Some accessories were placed behind layers of changing room doors,
other garments were cleverly displayed on the edges of bathtubs, on washbasins, or hanging on
towel racks, with each carefully arranged installation telling a different story, as if customers
34 "Video: Jacquemus and Selfridges make a case for hyperphysical retailing," Frameweb, accessed March 1,2024,
https://frameweb.com/article/video/video-jacquemus-and-selfridges-make-a-case-for-hyperphysical-retailing.
Figure 12:Jacquemus and Random Studio's 'Le Bleu'
pop-up, 2022: Restroom display at Selfridges,
London.
Figure 11: Jacquemus' 'Le Bleu' pop-up, 2022:
Vending machine section at Selfridges, London.

30
were browsing a private space. In addition, Le Bleu introduced digital technology into the space,
allowing customers to use interactive screens to learn more about the products; scanning QR
codes could turn physical items into virtual content, even showing the production process of the
products. Such design attracted a large number of customers to visit, and Jacquemus also
encouraged people to take photos and share them on social media, while using social media tags
or QR codes to facilitate customers' quick access to the brand's online platform. Random Project
pointed out that when designing these spaces, they tried to emphasize the hyperphysical nature of
pop-up stores and retail installations that blur the boundaries of digital and in-person. They aim
to design spaces that are fully engaging and immersive in the physical moment, but also have a
presence on social media, where they continue to engage people.35 In addition to this, Le Bleu's
design reinterprets and artistically processes elements of everyday life, breaking down the
boundaries between luxury goods and daily life to some extent, bringing luxury goods into a
broader cultural and living context. It is also constantly adapting to the trends of the new media
era, showing its reinterpretation of traditional luxury concepts and exploration of future retail
experiences.
The Development of Pop-Up Stores in China
As luxury brands worldwide have been opening pop-up stores to explore new markets,
China has seen a surge in the development of pop-up stores in major cities like Shanghai,
Beijing, and Guangzhou since 2010. These pop-up stores have not only brought unprecedented
shopping experiences to Chinese consumers but also become important channels for brands to
spread their culture and concepts in the Chinese market. This novel marketing strategy has also
35 "Jacquemus and Selfridges," Frameweb.

31
provided new perspectives and strategies for the promotion of local Chinese brands and
traditional culture. For Chinese local brands, the rise of pop-up stores has provided a new
platform to showcase their brand characteristics and enhance their brand influence. Many
Chinese brands have started to use pop-up stores for marketing, occasionally collaborating with
different fields such as art, culture, and technology to create unique and charming shopping
experiences.
Especially in the post-pandemic era, when the physical economy has been severely
impacted, pop-up stores that can gather a large amount of traffic and benefits in a short period
have sprung up all over China. In 2021, the renowned Chinese sports brand Li-Ning collaborated
with Hajime Sorayama36 to create eye-catching pop-up stores in bustling malls in cities like
Chongqing and Shanghai (fig.13). These stores, themed around cyberpunk and avant-garde
technology represented by Hajime Sorayama, aimed to offer Chinese consumers an immersive
shopping experience. Especially notable was the pop-up store in Chongqing, where Li-Ning
divided the space into three sections: a regular display area, a limited display area, and an
interactive area, incorporating numerous technological elements such as blue and white LED
36 Hajime Sorayama is a Japanese illustrator famous for his "Sexy Robots" series, which blends hyperrealism with
futuristic fantasies. Born in 1947, Sorayama's art is notable for its erotic and mechanical depictions of the human
form.
Figure 13:Li-Ning and Hajime Sorayama pop-up store, 2021, in Chongqing, China.

32
strips, aluminum alloy mechanical-style display racks, and large electronic screens.37 On the
opening day, Li-Ning even invited local Chongqing rappers and famous basketball players to add
to the excitement, using electronic screens to simulate virtual basketball courts and occasionally
guide the audience to participate in interactive activities. As a result, the launch event was
bustling, with long queues of visitors. Despite this, there was a constant stream of people coming
to satisfy their curiosity during the short business hours. For the fashion brand Li-Ning, the
planning of this pop-up store was undoubtedly successful in commercial terms. However, in
terms of cultural integration and artistic expression, there are still some shortcomings compared
to the mature pop-up store model in the West, which is a common problem faced by most
Chinese brands today. For the pop-up store planned by Li-Ning, as a Chinese brand, it seems to
have intentionally incorporated Chinese traditional or local cultural and artistic elements into the
design. For example, the pop-up store in Shanghai was inspired by the structure of a Siheyuan,
even restoring traditional-style gates and bamboo decorations, attempting to showcase the charm
of traditional Chinese architecture. However, the overall design was painted in what is
considered a modern silver-gray color, and the interior used a large amount of colored LED
lighting, which to some extent weakened the original temperament of Chinese architecture,
causing the overall design to lose the grandeur of Chinese architecture and appear too cold and
somewhat incongruous (fig.14&fig.15). Secondly, the pop-up store itself is located inside a mall,
limited by the size and layout of the space, giving a very enclosed feeling. This contrasts with the
openness and fluidity emphasized by Chinese architecture, giving a sense of cultural
37 "Immersing in Future Technology: Li-Ning's 'Fog City Trend' Fashion Pop-Up Store at Chongqing Raffles City
Shopping Center," Marketing Event Case Library, accessed March 1, 2024, https://m.yievent.com/h-pd-2795.html.

33
superficiality and disconnection. Inadequate design level, short planning time, pursuit of shortterm profits, insufficient support from commercial entities, and issues with venue matching and
capacity are still problems that domestic brand design teams need to address. However, this
exploration is a valuable experience for Chinese fashion brands, helping them to become more
mature and perfected in the application of pop-up stores in the future.
With the proliferation of luxury brands opening pop-up stores in China to explore new
markets, a variety of forms have gradually evolved over time. They tend to prefer cross-border
collaborations, skillfully turning everyday life scenes into art, thus blending more naturally into
China's cultural background. This has not only influenced the perceptions of contemporary
Chinese young consumers but also triggered changes in their understanding of luxury goods. For
example, Prada collaborated with Shanghai's Wu Zhong Market in 2021 to create a pop-up store
themed around a vegetable market (fig. 16). The entire facade of the building was covered with
the iconic jacquard print wallpaper and a super large and eye-catching Prada logo. Even inside
the vegetable market and the packaging paper for various fruits and vegetables were covered
with Prada's 2021 A/W series tri-color print pattern (fig.17). The entire space's stalls were also
Figure 14:Interior of Li-Ning and Hajime
Sorayama pop-up store, 2021, in Shanghai,
China.
Figure 15:Exterior of Li-Ning and
Hajime Sorayama pop-up store,
2021, in Shanghai, China.

34
meticulously planned and redesigned, turning a bustling market into an art and fashion display
platform. Although all the fruits and vegetables underwent artistic and fashionable packaging,
the prices remained the same as usual. The only difference was that Prada provided limited
edition shopping bags for each stall, and every consumer could get one if they spent over 20
yuan during the market's operating hours, with three patterns to choose from.38 Notably, it was
precisely because of this that Wu Zhong Market saw an unprecedented surge in foot traffic in
just two weeks of operation. In addition to numerous internet celebrities and bloggers flocking to
the market, fashionable young people also came in droves. Some people posed with vegetables
wrapped in Prada packaging paper, others struck various poses at the entrance of the vegetable
38 "Vegetables with Prada, luxurious branding at a Shanghai wet market go viral," Global Times, October 11, 2021,
https://www.globaltimes.cn/page/202110/1235984.shtml.
Figure 16:Prada's pop-up store at Wu Zhong Market, Shanghai, 2021,
themed as a vegetable market.
Figure 17:Interior of Prada's pop-up store at Wu Zhong Market, Shanghai,
2021, featuring fruits and vegetables covered with Prada's tri-color print from
the A/W 2021 series.

35
market for photos, and some were simply there to get the limited Prada packaging bag after
purchasing 20 yuan worth of fruits and vegetables (fig.18&fig.19). This phenomenon of
popularity left many nearby residents who usually come to buy vegetables and stall owners
feeling puzzled and helpless. They said they had never seen so many delicately made-up boys
and girls hugging eggplants and kissing cabbages in the vegetable market; even many young
people were only asking if buying this would get them a packaging bag, completely ignoring the
fresh and delicious fruits and vegetables on the stalls; even more astonishingly, due to the
limited-time and limited-quantity nature of the brand packaging bags, there were even secondary
transactions in the market, with the selling price getting higher and higher each time. The most
thought-provoking scene in this event was a young woman holding a bunch of celery wrapped in
Prada packaging posing in the staircase passage of the vegetable market (fig.20). After taking
beautiful photos, she turned around and left the vegetable market, throwing the celery, which had
already "completed its filming mission," directly into the trash can.39
It seems that in today's
society, some consumers value the social media display value of items more than their actual use
value or cultural significance. In their view, this is the most direct way to highlight their fashion
39 "Vegetables with Prada," Global Times.
Figure 19:Prada packaging bags featuring the tri-color
print pattern from the A/W 2021 series displayed at
Wu Zhong Market, Shanghai, 2021.
Figure 18:Various influencers and bloggers
photographing at Wu Zhong Market,
Shanghai, 2021.

36
taste and social status: gaining recognition and admiration from others by showcasing luxury
brand products. Unlike Western consumers, most Asian consumers buy luxury goods not to
stand out but to avoid being seen as inferior in society. Therefore, for them, luxury goods often
become a necessity to maintain face.40 Because luxury brands represent more than just the
products themselves, they are symbols of the elite class, representing a unique taste and high-end
lifestyle. In the past 20 years, with the acceleration of urbanization and reforms in social
economy and education, China has seen a surge in the middle class seeking a higher quality of
life.41 Luxury brands face the challenge of addressing this demand wave, and the rise of pop-up
stores in the Chinese market effectively meets the needs of different consumer strata. Pop-up
stores provide a solution for luxury brands to maintain their high-end image while attracting and
satisfying potential consumer groups. These stores often collaborate with artists or well-known
IPs, offering a broader price range and more sub-line products. For the average middle class who
can't afford top-tier luxury products but still want to use them as social capital, pop-up stores are
a great opportunity. The addition of art and the limited-time scarcity of luxury goods make them
40 Kapferer, "The Artification of Luxury”,372
41 Helen Wang and Lisa Wei, The Chinese Dream: The Rise of the World's Largest Middle Class and What It Means
to You (New York: CreateSpace Independent Publishing Platform, 2010),85,.
Figure 20:Discarded vegetables after a photo
session at Wu Zhong Market, Shanghai, 2021.

37
ideal for showcasing social status. Therefore, even just a Prada packaging bag can offer the
average middle class a way to enjoy the luxury experience and satisfaction at a lower cost.

38
Chapter 5: The Boundaries of Art and Fashion Brand Cooperations
The Intersection of Art and Luxury: The Social Impact of Beijing SKP-S Mall
Whether it's exquisite window displays or eye-catching pop-up stores, both have subtly
propelled the development of consumerism in China. This combination of innovative visual arts
and marketing strategies further enhances the shopping experience, making consumption a
cultural and social activity. In the past, most traditional shopping malls in China mainly existed
to meet people's daily shopping needs. However, with the impact of e-commerce and the
pandemic, the physical economy has faced unprecedented challenges, and the appeal of
traditional malls has weakened. To adapt to this trend, lifestyle shopping centers and experiential
retail have emerged.42
In this context, the emergence of Beijing SKP-S mall represents a significant innovation,
reshaping China's immersive shopping experience. Unlike other shopping centers in the Chinese
market, it is more like an exhibition space than a mall. SKP-S department store, created in
collaboration between Beijing SKP and Korean brand Gentle Monster, is a high-end themed mall
full of imagination. The mall's theme is "digitally" simulating the "future," with Mars as an
element, presenting human curiosity about the future in a dramatic form. SKP-S integrates many
fashion and trendy high-end luxury brands with the mall's theme, transforming ordinary
commercial spaces into places with a strong artistic atmosphere through the artistic reshaping of
space and display, as well as regular theme changes.43
In addition, the mall's first-floor art
experimental space showcases the latest art installations and brand pop-up stores every year, with
"Future Farm" being the first thematic chapter unveiled. There are also various art installations
42 WenYing Claire Shih, "A Business Model of Luxury Brands and Contemporary Art: A Case Study of Art Mall in
China," Luxury 8, no. 2 (2021): 183-184
43 Dan-Ni Li, Art Luxury (Changchun: Jilin Fine Arts Publishing House, January 2024), 140.

39
in the public areas of other floors, such as sculptures by Chinese artist Xu Zhen and dynamic
penguin works by Israeli digital installation artist Daniel Rozin. While the various teams invested
significant effort into this creative commercial space, offering a glimpse of the new possibilities
for blending art and commerce, the actual results in terms of both artistic and commercial aspects
were less than satisfactory.
Compared to the neighboring SKP mall, SKP-S has not attracted as much foot traffic as
expected. Most shops are empty, and the few people scattered in the public areas are often
elderly people taking their grandchildren for a walk, seemingly using some dynamic art
installations as tools to entertain children. For a large immersive mall that integrates window
design, pop-up stores, and public art, the scene that clearly contradicts the original intention of
SKP-S prompts one to ponder whether there is a certain limit and degree to the combination of
art and fashion.
Although the success of the combination of art and fashion brands does not depend on the
volume of the participating crowd, it still reveals that most Chinese consumers are still in the
adaptation stage to the art-ified large spaces. Both SKP and SKP-S target customers above the
middle class in China, and the fashion brands covered inside the malls are more or less the same.
However, their implemented artistic commercial strategies are not the same, one conservative
and the other aggressive. For SKP mall, the existence of the mall itself is a symbol of identity
and status (fig.21). The artistic elements in the mall often only appear in the window designs of
various brands and occasional pop-up stores, and the stores inside mostly focus more on artistic
designs such as space, color, and lighting. Here, artistic elements serve more as a decoration and
embellishment, providing visual pleasure for consumers without overly interfering with the

40
display and sales of the products themselves. In this case, the added value of art is mainly
reflected in enhancing the image of the mall and brands, enhancing the shopping experience of
consumers, and creating a unique cultural atmosphere. As for SKP-S, whether it's the
architecture itself or the various art installations inside the mall, the complex and exquisite
window designs and brand pop-up stores all convey a message that is not about product sales,
but cultural narration. The window designs in the mall have no connection with the sales and
promotion of products but are extensions of narratives about the future and cyberpunk, based on
the theme of "Mars exploration" of the mall. Also, pop-up stores like Prada's camping theme and
Golden Goose's street laundry theme all reveal a strong narrative thrust (fig.22&fig.23). In this
case, the product becomes the most inconspicuous part of the narrative. Even if the original
intention of establishing the mall was to stimulate consumption through the introduction of art,
the result turned out to be counterproductive, often leading to the mall being ignored. This
phenomenon indicates that the problem lies not only in the adjustment of commercial strategies
but also in broader social issues in China, such as art education, guidance of social values, and
cultural popularization.
Figure 21:Interior view of SKP Mall, Beijing.

41
On one hand, for most Chinese people, the appreciation and consumption of art may not
be widespread enough, fundamentally due to the lack of art education in contemporary Chinese
society. Looking back at thousands of years of Chinese history, it is not difficult to see that the
Chinese have always had a unique pursuit of beauty. From the diverse shapes of bronzeware
during the Shang and Zhou dynasties; to the elegance of Tang dynasty white porcelain and
underglaze-colored porcelain; to the exquisite and simple Ming and Qing furniture; and to the
various ancient buildings with carved beams and painted rafters. Even in ancient times, Chinese
painting and calligraphy were subjects of popular education and were important pathways to
officialdom—and thus, incorporated elements of social class heirarchy.44
However, in modern China, due to historical reasons, such as the invasion of foreign
powers, art education has become severely disconnected from traditional Chinese culture.
Especially after the Opium Wars and the First Sino-Japanese War, the Chinese nation faced the
danger of national extinction, and the mentality of Chinese intellectuals underwent significant
changes due to the conflict between Chinese and Western cultures. They gained a direct
understanding of the backwardness of feudal culture and the advanced nature of capitalist new
44 Jiang Chenxin, "Aesthetic Education for a Republican China," History of Humanities 5, no. 2 (2020): 333-352,
accessed December 1, 2023, 334,.
Figure 22:Golden Goose's street laundrythemed store interior at SKP-S, Beijing.
Figure 23:Prada's camping-themed store
interior at SKP-S, Beijing.

42
culture. Under such circumstances, the reformists, led by Cai Yuanpei, proposed to "abolish the
imperial examinations and promote modern schools," and China began to adopt a Westernoriented education model.45 The turbulent times and the influx of Western culture accelerated
China's entry into modernization, but at the same time, it led to the failure to properly inherit and
develop the nation's culture and art.
Furthermore, pragmatism became the dominant social value in China after the founding
of the People's Republic, especially during the early stages of economic recovery and national
construction. From the 1950s to the 1960s, China implemented a series of economic plans, such
as the "Great Leap Forward" and the "Great Steelmaking Campaign," aimed at rapidly increasing
industrial capacity and the overall level of the national economy. In this context, the main focus
of society was on economic development and material production, with art and culture being
relatively marginalized, and the people's needs and appreciation for spiritual culture being
secondary. The Cultural Revolution of the 1970s had a profound impact on China's cultural and
artistic fields. During this period, many traditional cultural and artistic forms were criticized and
attacked as the "Four Olds" (old ideas, old culture, old customs, old habits). A large number of
cultural relics, books, and artworks were destroyed, and many artists and intellectuals were
persecuted. Such radical political movements severely damaged China's cultural traditions and
art education, causing the development of aesthetic education to stagnate. Even after the end of
the Cultural Revolution, with the advancement of reform and opening up, Chinese society began
to gradually recover and pay attention to the development of culture and art. However, due to
these historical reasons, traditional frugality, the value of practicality above all, and the longterm neglect of art leading to misunderstanding are still evident among some consumers.
45 Jiang, "Aesthetic Education," 341.

43
Therefore, in contemporary Chinese society, most people may still find it difficult to accept art
as a consumer good or highly artistic spaces as shopping venues.
Conclusion
The establishment of SKP-S also indicates that contemporary China is beginning to
recognize the importance of art education. While the current art market is still developing in
comparison to the mature Western art market, there is a societal desire for art to gradually
become a part of people's daily lives, transforming people from mere observers to participants,
owners, and experiencers. Over the years, numerous Western luxury brands have entered the
Chinese market in an art-infused form, clearly driven by profit motives rather than a dedication
to cultural heritage or art promotion. However, inadvertently, such moves have introduced new
forms of artistic expression and business models to China, spurring reflection on cultural identity
and confidence. Especially against the backdrop of relatively slow development in Chinese art,
artfully designed windows, pop-up stores, and environments like SKP-S have become effective
means to disseminate aesthetics and art. Artistic displays in these fashion spaces have
demystified art, bringing it down from its pedestal to integrate it within daily life.46 By
embedding art into everyday settings, such displays have lowered the barrier to art engagement,
reminding the public of the omnipresence of art and fostering an integration of art with life.
Many once perceived art as the preserve of museums and galleries, but as art has blended into
commercial spaces, particularly through luxury brand displays and pop-up stores, the public is
beginning to appreciate the diversity of art beyond traditional exhibitions. This change has
quietly broken-down artistic boundaries, enabling more people to appreciate and understand art.
46 Kapferer, "The Artification of Luxury”,372

44
There was a time when Chinese culture's development faced hurdles, with a tendency to embrace
Western cultural elements while neglecting traditional Chinese aesthetics. Yet, as times have
progressed and national cultural confidence has returned, luxury brands entering China have
begun to adapt, incorporating traditional cultural elements into their commercial designs. As
these symbols are reimagined within modern frameworks and displayed prominently in public
spaces like store windows, they act as bridges between traditional culture and modern life. They
deftly suggest that tradition can coexist with modernity, that cultural symbols can evolve while
retaining their core meanings. This merger of luxury with art also reflects China's growing
economic strength and cultural confidence. In this way, art-infused fashion spaces have become
a significant window into understanding Chinese society and cultural development.
Yet human and cultural phenomena are not unidirectional; they can catalyze cultural
confidence and innovation or lead to negative homogenization. The strong presence of Western
luxury brands can reshape the aesthetic perceptions of Chinese consumers, fueling a fervent
pursuit among many youths for the so-called superiority associated with Western luxury.
Therefore, while embracing such business strategies, we must be vigilant against the potential of
art's over-commercialization to diminish its social value and impact on national culture, art, and
value systems. After all, the popularization of art consumption is not equivalent to art's true
democratization. The union of art with commerce should not solely pursue short-term
commercial benefits but should profoundly impact and enrich the cultural life of the masses. This
means collaborations should not only visually attract but also resonate thoughtfully and
emotionally with consumers, guiding them to understand and appreciate the deeper value of art.
Ultimately, the success of fashion brand and art collaborations may be judged by their
contribution to cultural development and enhancing people's understanding of art. Only when

45
such cooperation respects and promotes cultural diversity, inspires innovative thinking, elevates
societal aesthetics, and positively affects everyday life can we deem it a true success. The
confluence of art and commerce, like a bridge, connects past to future, tradition to modernity,
East to West, achieving a harmonious blend of culture and commerce.

46
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Asset Metadata

Creator Zhang, Hang (Darlene) (author)

Core Title Art collaborations in fashion brand spaces

School Roski School of Art and Design

Degree Master of Arts

Degree Program Curatorial Practices and the Public Sphere

Degree Conferral Date 2024-05

Publication Date 05/21/2024

Defense Date 04/30/2024

Publisher Los Angeles, California (original), University of Southern California (original), University of Southern California. Libraries (digital)

Tag art,Asia,Beijing SKP,China,cultural capital,fashion space,luxury,OAI-PMH Harvest,pop-up store,window display

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