design:retail - March 2015 - (Page 34)

how'd they do that? 034 Sculpting Art T HE PERFECT POSE, the right fashion, the imaginative display-is that the magic that makes a mannequin come to life? Or is it the artist behind the form? Sculptors, such as Lloyd Squiers, who has been with Silvestri California for more than 16 years, breathe life into mannequin design and look for ways to continue to elevate the art of visual merchandising. Like any design project, the process begins by understanding the parameters, identifying the details, such as the dimensions, pose and attitude. Then, the artistic process begins. The team sets up an armature-a rigid and flexible skeletal representation of the body-and positions it into the desired pose. Next, they layer water-based clay to shape the form. MARCH 2015 DESIGNRETAILONLINE.COM "Shaping the mannequin can be a one- to two-week process of getting the clay just right," Squiers says. Squiers finds clay to be a great medium for bringing the mannequin shape to life. He uses stiff metal "ribs," which are flat, flexible stainless steel tools, to help manipulate the clay and then creates a finishing touch using a soft, flexible rubber "rib." "Clay is flexible and allows you to work and then take a step back to see if we love it or hate it," he explains. This process can include collaboration with the client, sharing photos and reviewing the progress to make sure it is headed in the right direction. Once the piece is finished, a crew creates a waste mold out of fiberglass. This first casting is a prototype, which allows the sculptor to work through details, such as making sure the fittings are properly inset or that the clothes are draping correctly. It is an important part of the process as things change dramatically from the clay to fiberglass form. Once the prototype is done, the team creates a production mold and then completes the production cast in the selected material-polyurethane, plastic, fiberglass, etc. The cleaner the production mold is, the less work that has to be done through the production process. Each mannequin and pose can create different challenges, but it is a challenge that Squiers enjoys. "I like the more unique projects that are out of the ordinary, not the traditional mannequin faces," he says. "I am always interested in the alternatives. What else can a mannequin be? What else can we do with it?" - Jenny Schrank Photos by OLGA YARMAK http://www.DESIGNRETAILONLINE.COM

Table of Contents for the Digital Edition of design:retail - March 2015

Editor’s Note
Show Talk
On Trend
We Love This!
Designer Picks
Innovation
Postcard
Before & After
How’d They Do That?
Have You Heard?
Perspectives
Visual Eye
Searching for Steve Jobs
Markopoulos Award 2015
GlobalShop 2015: The Ultimate Show Guide
Las Vegas Retail A look at
McMillanDoolittle
PIRCH
WH|BM
T2
Verizon
Hedonism
Design Leaders Listing
Products
Backstory

design:retail - March 2015

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