DISPLAYING FASHION: THE SCENOGRAPHY OF FASHION IN RETAIL AND MUSEUMS by Parker John Campbell O’Connor Bachelor of Arts Honours, Queen’s University, 2017 A MRP presented to Ryerson University in partial fulfillment of the requirements for the degree of Master of Arts in the program of Fashion Toronto, Ontario, Canada, 2019 © Parker John Campbell O’Connor 2019 AUTHOR'S DECLARATION FOR ELECTRONIC SUBMISSION OF A MRP I hereby declare that I am the sole author of this MRP. This is a true copy of the MRP, including any required final revisions. I authorize Ryerson University to lend this MRP to other institutions or individuals for the purpose of scholarly research. I further authorize Ryerson University to reproduce this MRP by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. I understand that my MRP may be made electronically available to the public. ii Abstract DISPLAYING FASHION: THE SCENOGRAPHY OF FASHION IN RETAIL AND MUSEUMS by Parker O’Connor Master of Arts, School of Fashion, Ryerson University 2019 Fashion retailers and fashion exhibitions are at a pivotal moment in 2019 as both accommodate changes including the decrease of in-person shopping and the increased visitorship of fashion exhibitions. At the heart of both spaces, however, is the display of fashion –whether simple or grandiose. This project looks further at the similarities of displaying fashion in both spaces, with possible consequences and potential futures for each space. It brings together extensive literature and field visits to nearly 100 different spaces, with a creative installation of a third type of space integrating both museums and retailers as a possible solution for the future. Keywords: fashion retail; fashion exhibitions; fashion museology; exhibition design; retail design; experience economy iii Acknowledgements This project could not have been completed without the amazing support of many. I would like to first endlessly thank my parents for their unwavering support in all of my endeavours. As well, all of my family and friends who have encouraged me and helped me along the path. I also appreciative of my supervisor Dr. Alison Matthews David for her continual guidance, encouragement, knowledge, and support through the entire process. As well, special thanks to Grahame Lynch, my second reader, for his inspiration and confidence in me. Finally, thank you to all my tremendous colleagues (and friends) in the MA Fashion program—I have learned so much and been inspired by all of you over the past two years. iv Table of Contents Page Author’s Declaration ...................................................................................................................... ii Abstract ......................................................................................................................................... iii Acknowledgments......................................................................................................................... iv Table of Contents ............................................................................................................................ v List of Figures ............................................................................................................................... vi List of Appendices ....................................................................................................................... vii Chapter 1: Introduction ................................................................................................................... 1 Chapter 2: Literature Review .......................................................................................................... 5 Museology ......................................................................................................................... 5 Culture and Commerce ................................................................................................... 13 Retail ............................................................................................................................... 14 Chapter 3: Methodology ................................................................................................................19 Chapter 4: Discussion ................................................................................................................... 26 Similarities ...................................................................................................................... 26 Differences ...................................................................................................................... 33 Consequences .................................................................................................................. 35 Chapter 5: Conclusion................................................................................................................... 40 Figures........................................................................................................................................... 44 Appendices .................................................................................................................................... 62 Bibliography ................................................................................................................................. 72 v List of Figures Figure Page 1 Digital collage ................................................................................................................ 44 2 Exterior installation ........................................................................................................ 44 3 Installation with title tall ................................................................................................ 45 4 West wall installation ..................................................................................................... 45 5 East wall installation ...................................................................................................... 46 6 Interior installation ......................................................................................................... 46 7 Counter and front installation......................................................................................... 47 8 Alcove installation ......................................................................................................... 47 9 Framed collage I ............................................................................................................. 48 10 Framed collage II ........................................................................................................... 48 11 Large framed collage...................................................................................................... 49 12 Padding a mannequin ..................................................................................................... 49 13 Heavenly Bodies mannequin .......................................................................................... 50 14 Judy style mannequins ................................................................................................... 50 15 Invisible mannequins ..................................................................................................... 51 16 Hanger display ............................................................................................................... 51 17 Flat-lay display ............................................................................................................... 52 18 Shoe display ................................................................................................................... 52 19 Minimalist display (MoMA) .......................................................................................... 53 20 Swimming pool display ................................................................................................. 53 21 Train travel display ........................................................................................................ 54 22 Minimalist display (V&A) ............................................................................................. 54 23 Celine store interior ........................................................................................................ 55 24 Retail lounge .................................................................................................................. 55 25 The New Yorker comic ................................................................................................... 56 26 Retail coffee bar ............................................................................................................. 56 27 Retail restaurant ............................................................................................................. 57 28 2D and 3D display .......................................................................................................... 57 29 Object with sketch display ............................................................................................. 58 30 Interactive touch display ................................................................................................ 58 31 Interactive craftsperson .................................................................................................. 59 32 Interactive embodying ...................................................................................................