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BUY DESIGN Stanley Marcus on the Architecture of Merchandising

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BUY DESIGN Stanley Marcus on the Architecture of Merchandising CITE 28 I a l l I HE llmly live BUY DESIGN Stanley Marcus on the Architecture of Merchandising Barbara Koerble At 9 1 , Stanley Marcus remains the and that it was a much better backbone quintessential example of upscale for | merchandise display I-""* American retail know-how. Alter assum- As the senior Marcus's health ing control of' his lather's successful spe- declined, his son oversaw additions and cialty retail establishment at the age of renovations CO the store in 19.11, 194 I, 44, Marcus honed an innate flair for and 1951 that gradually transformed it showmanship, utilizing clever promotion- into a more contemporary expression, at al tactics to bring Neiman Marcus into least on the interior. The 1933 expansion the national and international spotlight. was designed by George Dahl, The other Neiman's went beyond simple advertising expansions and the first suburban branch copy to undertake such lavish store pro- store — the Preston Center store ( I 952) motions as the extravagant Christmas — were designed by Dallas architects catalogue, featuring such offerings as his- Roscoe DeWitt and Arch Swank, with and-hers camels, Becchcraft planes, and New York interior designer Eleanor l.e 4 mummy cases, which has become a Maire. These early commissions estab- national media event.1 At the same time, lished the conditions for Le Maire's future Marcus sought to underscore the store's collaborations with other Neiman Marcus carefully cultivated image of elegance, architects. refinement, and discerning taste through DeWitt became embroiled in the con- architecture and interior design, commis- troversial aborted house design that sioning a series of notable architects Marcus commissioned from Frank I.loyd including Philip Johnson, Kevin Roche. Wright, After Marcus asked DeWitt to Gyo Obata, John Carl Warnecke, and function as the local consulting architect, Edward Larrabee Barnes to design Wright accused the Dallas architect in a Stonier Morim at the moll entrgnct to the NoilhPork Neiman Monui itore, <a. If66. branches around the country. scathing letter of "undermining" him as A summary of Marcus's philosophy the relationship between Wright and accompanies an exhibit in the original Marcus deteriorated. In one of the more Richard Neutra and William I csca/.e, and most important retail design of the downtown Dallas store: "All Neiman humorous exchanges, Marcus complained l.ecaze was selected. The Magnolia century." Marcus stores are designed by well- to Wright that the closets in the house Lounge, completed in 19.id, was the first By the time Stanley Marcus encoun- known architects to be spacious and aes- were too small. Wright retorted to the International Style building in Texas and tered her in the mid-19.10s, l.e Maire had thetically pleasing. Merchandise is never president of Neiman Marcus, "Well, you an anomaly among Paul Gret's Art Deco a well-established office in New York. allowed to overwhelm customers. shouldn't have so many clothes!" When fair buildings. Although interiors for major banks would Neiman Marcus doesn't just stock goods. the initial bids came in at four times bud- One of the few details that Stanley become a staple of her later practice It presents them with taste, authority, get, Marcus fired the famous architect. Marcus is unable to recall is exactly when (Skidmore, Owings is; Merrill's and a sense ol permanence. Fine paint- "Not a pleasant experience," Marcus or how he first met Eleanor l.e Maire. As Manufacturers Trust Company on Fifth ings, sculptures, and living plants are remembers, "Hut I got a Ph.D. in architec- he puts it: "It seemed to me that she was Avenue was the first), Stanley Marcus was integrated into the display of merchan- ture just as a client. I learned a lot from part of my life forever. She was a one of her earliest anil most loyal clients; dise as well as into each store's decor. Mr. Wright — learned a lor about him. tremendous source of inspiration — sin- their collaboration spanned 5s years and The goal is to stimulate customers, while Unfortunately I never got a house from helped establish principles that I've never lasted up to her death in 1970. Le Maire affording them a sense of well-being."- him." In the end, DeWitt designed the forgotten." Le Maire graduated from had an excellent understanding of the house and l.e Maire did the interiors. Following his graduation from Parsons School of Design in New York in retailer's needs. She expressed her credo "The resulting house was nowhere near as I larvard in 1925, Marcus went with his 1920 and studied as well at the Columbia in an exhortation to other designers that great a house as Mr. Wright would have father to Europe and in Paris saw the University School of Architecture and the appeared in a 1964 issue of Interior done, but a lot more comfortable," Exposition hilrriuitKiii.tif tics Arts University of California at Berkeley. Her Design: "You will focus interest in the Marcus says [see Donald Barthclme on Dicoratifs et Industrials Modernes, initial success came quickly, when she store, without distraction, on the mer- Wright, page 9 of this issuc|. which gave its name to the design move- completely redesigned the interior plan, chandise you have to present. Back- 1 grounds must be kept as backgrounds; the ment known as Art Dceo. Marcus con- Marcus rook on the role of architec- furnishing, and lighting of Bullock's foreground belongs to merchandise. You siders this a seminal experience: "I had tural consultant in the mid-19.10s, when Wilshire department store in Los Angeles are not the star in this production — t h e been suspecting that there was a revolu- an executive with the Magnolia Petroleum in 1929, after being on the store's staff client's merchandise is. Your plan, design, tion going on in architecture, but 1 didn't Company asked him to help select an only a short time. Forty years later, color treatment, lighting — all these, it know a damn thing about architecture. architect for the company's building at interiors recalled the Wilshire store as "a they are right, will do that. Good use ol That exhibition was like a bombshell the Texas Centennial Imposition. revolutionary interior in its openness, space, a hit of air, correct use of materi- coming at a time when I was very impres- Marcus's friend, the American industrial airiness, accessibility to daylight, unifica- als, lighting and color, all together, can sionable and tending toward contempo- designer I lenry Dreyfuss, suggested a tion with the landscape, and its clear and create a scene, a mood, a warmth, which rary design, and that sealed it. lounge building where people could rest vivid colors — colors then unknown in will be just right for the merchandise and Gradually, I educated my father that and offered the names tif several contem- commercial interiors."" Marcus describes most inviting to the public."" contemporary design was here to stay porary architects. Marcus interviewed Bullock's Wilshire store as "the single CITE tliiili' live I a I I 15 H 29 suits feel comfortable. The design of the example — we fought kiosks, and for octagonal building features skylit octago- twenty years, we won, but eventually nal stairwells, two surmounted by towers kiosks got into the mall. But Gerry is one that mark the entrances. A three-story of the most delightful developers I know, skylit atrium court with hanging gardens with a real understanding and respect for I contains glass-enclosed elevator cages that good architectural design." Marcus is far i offer panoramic views of the store." (One less effusive about Cyo Ohata, the archi- feature common to all Neiman Marcus tect for the Houston store: "i think * stores, except the original Dallas store, is Ohata was intent upon his career and I a skylit escalator atrium.) Circulation the importance of the building to his Neiman Marcus, Dallas, grand sraircoie la ihe meuanine, 1930. Neiman Manns, downtown Dallas, Eleanor U Maire As solicits, areas are paved with the same material career rather than the importance of the The original siorc-, bailt in 1914, was expanded and redecorated interior designers; DeWill (, Swank, architects (1953). The in 1916 (above) under Ihe direction of Stanley Marcus, Sr. expansion and redecoralion under the direction of Stanley throughout to unify all of the levels. The building to our career." Obata's design is Marcus, Jr., included this tuchtd-owov escalator. Bal Harbour store was the last that Le more monumental than most Neiman Le Maire spurred Marcus's commit- designed the Neiman's at NorthPark for Maire worked on; she died before it Marcus facades but was criticized as a ment to contemporary architecture and developer and art collector Raymond was completed. hand-me-down version of Le Corbusier's 1 helped guide his plans for a major expan- Nasher, who also engaged Lawrence The first Neiman Marcus store in La Tourette. ' sion program. "1 made a decision, encour- I latprin as landscape architect and Houston was downtown where The I ollowing the ! louston (ialleria store, aged by her, not to produce a prototype Hand] & Hamilton (Omniplan) as pro- Fashion had been before going out of opened in 1969, John Carl Wamecke store and reproduce it all over," he says. ject architects for the rest of the shopping business. For a number of reasons the designed a series of Neiman Marcus "She thought this was an opportunity to complex. Neiman Marcus was integrated arrangement was unsatisfactory, and branches, including stores in Atlanta capitalize on diversity instead of standard- into an attractive, spacious ensemble of Marcus prepared to open a suburban (1972), St.
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