the 'design' behind consumerism

While reading, Au Bonheur des Dames, one can clearly see the relationship that is made between consumerism and the ‘design’ that sells it. Zola sets up an immediate parallel between the window display and its effect on the consumer. Mouret, “the finest display artist in Paris”, can be seen as the architect behind the department store and ultimately the reason the store attracts its customers. Mouret’s use of bold colors and flashy advertising attracts consumers to his project (the department store). Zola then reveals the opposing position of Hutin, another display artist whose approach is less overt. Hutin, whom belonged to the classical school, employs symmetry and harmony in his displays. This binary reveals Mouret’s intentions and sets him up as the Frank Gehry of window designs. The window display can thus be seen as a piece of the façade, which attracts consumers and ultimately fails or succeeds in bringing its customers in. The display even begins to set the stage for the interior. Through the eyes of one customer the department store parallels “a whole city, with its monuments, squares and streets.” The window now becomes a tool to provoke the consumer and it is through the artist’s vision that this is done so effectively. This technique is still employed in our 21st century malls and shows how the window display is a very effective tool in advertising its goods from the façade.