浅析上海20世纪90年代橱窗展示设计形式及其特征  

A brief analysis of the design forms and characteristics of window display in Shanghai in the 1990s

作　　者：刘金萍 董春欣 Liu Jinping;Dong Chunxin(Shanghai Academy of Fine Arts,Shanghai University,Shanghai 200000)

机构地区：[1]上海大学上海美术学院,上海200000

出　　处：《流行色》2022年第3期35-37,共3页Fashion Color

摘　　要：橱窗是一个城市最为绚丽的风景线,同时,它也是一座城市的名片。橱窗是一个城市和国家经济和生产力发展的反映,它是我们社会经济发展的窗口。橱窗展示设计也是一种营销策略,是一个无声的推销员,特别是对线下实体的商店起到了至关重要的视觉营销效果。上海作为我国发展相对比较快速的城市,它的橱窗展示设计的发展也相对来说领先国内其他城市,并且在海派文化的熏染下,上海的橱窗设计也展现了自身的特点与优势。本文主要以陆兆华为山地自行车设计的“有的放矢”橱窗展示设计等案例讲述上海20世纪90年代的橱窗展示设计的发展情况。The window is the most splendid landscape of a city,and at the same time,it is also the business card of a city.The window is the response of a city and country's economic and productive development,and it is the window of our social and economic development.Window display design is also a marketing strategy.It is a silent salesman,especially for offline physical stores,which plays a vital role in visual marketing.As a relatively fast-developing city in my country,Shanghai's window display design is also relatively ahead of other domestic cities,and under the influence of Shanghai-style culture,Shanghai's window design also shows its own characteristics and advantages.This article mainly describes the development of Shanghai's window display design in the 1990s with the case of Lu Zhaohua's"targeted"window display design for mountain bikes.

关 键 词：橱窗展示设计 20世纪90年代 海派文化 

分 类 号：F42[经济管理—产业经济]