Exploring the changing commercial landscape of Whiteley's

Sophia Charap

Whiteley's shopping centre was one of the first department stores in London and has witnessed many shifts in consumer shopping habits as well as a transformation of the commercial landscape. This essay will explore how the architecture of Whiteley’s has changed to accommodate its continually changing social position within London and how it has tried to appeal to new attitudes and habits of consumption throughout time. The significance of the opening of the nearby Westfield Shepherd's Bush is examined and identified as a significant factor in the decline of Whiteley's, which eventually closed after a period of gradual decline in 2018. The proposed redevelopment of the shopping centre and its surrounding area is also considered, and through an examination of the architectural plans a shift in focus is observed, towards a new target clientele as well as a change in how the space will be used. 

In 2018 Whiteley’s shopping centre was closed for redevelopment and the architectural firm Foster & Partners released their designs for the building’s impending transformation. A Grade II listed building, the former shopping destination was one of the first department stores in London. With a history of over 100 years, the centre has been witness to changing patterns in consumer behaviour, as well as an evolving view about what the function and purpose of such a building can be. In this essay I will explore how the architecture of Whiteley’s has changed to accommodate its continually changing social position within London and how it has tried to appeal to new attitudes and habits of consumption throughout time. I will consider why the previously celebrated and popular shopping destination became a “very pale shadow of its former self” (Lane:2019), and how the proposed redevelopment reveals changing attitudes and priorities regarding shopping. In line with modern scholarly approaches towards the discussion of architecture within anthropology, I will consider the life of the building as an “ongoing and formative process of consumption” (Maudlin&Vellinga:2014:1) and consider its material history as well as its social standing throughout time.

History of Whiteley’s

After visiting the 1851 Great Exhibition in Crystal Palace (National Archives), Victorian entrepreneur William Whiteley was inspired to establish an emporium-like building whereby multiple stores and businesses offering a range of goods and services would be contained within one building; the department store. He began by opening a “Fancy Goods shop” (Whiteley’s Development site) on Westbourne Grove, before quickly expanding by purchasing adjacent shops to his initial site. By 1875 he had “an unbroken row of shops” (National Archives) along Westbourne Grove that started to spill over onto the neighbouring Queen’s Road. Whiteley himself was extremely unpopular and many incidents, including several mysteriously-started fires/arson attacks (one of which has been cited as the largest fire in London after the Great Fire of 1666), are recorded following his growth in prominence, leading up to his dramatic murder in 1907 at one of his stores. The shooting was executed by a man claiming to be Whiteley’s illegitimate son, who shot himself after killing the retail businessman. This brought an air of notoriety to the name of Whiteley, but the company’s success was unmarred and the influence of his shops continued to grow.

His two sons continued the expansion of his business and in 1911 a new lavish building designed by architects John Belcher and John James Joass was opened to the public. The opulent Edwardian department store was the first of its kind and featured a majestic colonnade and domed roof that established it as an iconic building of West London, epitomizing luxurious notions of leisure and wealth; boasting both a rooftop golf course and fully functioning theatre (Astons 2016). In George Bernard Shaw’s acclaimed play Pygmalion, Whiteley’s is named as the shop of choice for the dignified and ‘proper’ ladies’ purchase of clothes, an indicator as to how engrained within the social fabric Whiteley’s became during the early 20th century. As with other emerging department stores built during the turn of the 19th to 20th century, the building was designed to appeal to the newly emerging middle classes who had benefitted from the profits of the industrial revolution, with a particular focus on appealing to women, whose increased buying power would ensure a reliable flow of income for the departments housed within the building (Glancey: BBC Culture).

Whiteley’s continued to prosper throughout the early 1900s and received much acclaim internationally as well as within the UK (it is even an urban legend that Adolf Hitler had admired Whiteley’s iconic structure and central location to such an extent that he had selected it as a possible headquarters for the Nazis had the invasion of Great Britain succeeded during the Second World War.). As described by Sonia Ashmore, by the second world war department stores had become “important elements of the physical landscape” of London being both of “economic significance and iconic status, playing key roles in the wider commercial and social life of the metropolis” (Ashmore: 2006:2). However, during the war the department store fell victim to extensive bombing during the Blitz and much of its original architecture was destroyed. 

Following the war, Whiteley’s, along with many other such stores in London had to deal with the challenges of post-war living, with shortages of goods, damage to the economy and slumps in consumer purchasing - as well as physical damage to buildings and personnel - all taking their toll on the businesses. Throughout these years, Whiteley’s was converted into offices and ownership of the building changed hands many times. By the 1980s the department store was owned by the United Drapers Stores Group, and after a few years of unprofitability and low customer numbers, Whiteley’s closed in 1981 to be undergo a major transformation in becoming a new and improved shopping centre boasting 300,000 square feet of selling space. The new building incorporated architectural elements from its original design and remained Edwardian in character and style whilst incorporating more contemporary features that met modern consumer demand, including a multiplex cinema and trendy restaurants. The new shopping centre experienced mediocre success, but its popularity began to gradually wane. After almost a decade of low footfall and plummeting sales, Whiteley’s was finally closed in 2018. The shopping centre, along with much of its surrounding area, was scheduled to undergo a dramatic regeneration project, due to open in 2022.

History of Shopping Buildings

By the 1920s department stores had become a feature of modern metropolises and “helped to set the scale of the modern streetscape” (Ashmore: 2006:44), with their multiple stories and variety of products and services on offer to the public. They were testament to shifting attitudes towards leisure and enjoyment, offering a place of experience for shoppers as well as enabling the purchase of goods. Their symbolic importance as places of leisure and as hubs of social activity was a crucial aspect in their success, with an early focus on theatricality and lavish displays to attract consumer attention paving the way for the future of modern advertising and methods of consumption. Ashmore uses the phrase “temples of aspiration” to describe these early department stores (Ashmore:2006:45), and this is fitting as they promoted and advertised a way of life and a behaviour of consumption as well as the items on sale in the windows.

As the 20th century progressed, the idea of consumers playing an active role in the construction and maintenance of social life within a society began to emerge, with shoppers no longer seen to play a passive role in the shaping of public life (Ashmore:2006:47). The emergence of shopping centres as buildings for civic engagement and as playing key roles in bringing communities together and acting as hubs of social involvement was developed further. As explained by Holland, the act of consumption became a “key mediating phenomena” (Holland: 1976:158) between the individual and the social structures they found themselves in, whereby individual citizenship became somewhat mediated through the interactions with public buildings such as shopping centres.

As time progressed and competition between other emerging public leisure facilities have expanded in scope and nature, shopping centres are met with the challenge of attracting customers and ensuring that people spend time and money in their buildings. Although the fundamental purpose of these centres is to “provide a showcase for manufacturers to sell their wares” (Coleman: 2006:3) they also have become places expected to offer comfort, security, entertainment and convenience for the shoppers. As articulated by the British Council of Shopping Centres, people have increasingly short attention spans (British Council of Shopping Centres Report: 2002:9), and as such, shopping environments need to seek to retain as much interest as possible to maximise their profits and continue being popular destinations for many people. Daniel Miller describes shopping in terms of ritual and stresses the devotional aspect of consumption (Miller:1998:9), focusing on the act of shopping itself and the processional nature of repeatedly entering a separated building for a recurring act that is gratifying and fulfilling for the individual. The increased globalization that cities are privy to also impacts the nature and motivations for shopping centres, as they have increasingly become tourist destinations and seek to attract new and unfamiliar customers. Thus there is a demand for an exciting and unique shopping experience that is memorable whilst also fulfilling the consumerist needs of the shopping centre’s visitors.

Whiteley’s Shopping Centre

When discussing the architecture of Whiteley’s it is important to consider the argument that “the mall is an instrumental space, where commercial success depends on nothing being left to chance, from escalator design to entrances, temperature, lighting, music, mirrors, cleanliness and, of course, the floorplan” (Goss, 1993: 32). I will consider the architectural features of Whiteley’s shopping centre and reflect on the importance of iconicity in the design of the building and what the reasons for particular design choices could have been within the context of a changing consumer landscape (as discussed previously).

A key aspect of the design of Whiteley’s was the prominence of its displays of its historicity. Close to the location of the shopping centre stands a clock that doubles as a signpost to direct passers-by towards the area’s shopping landmark. The font and style are conspicuously old-fashioned in contrast with the contemporary setting, carrying an air of sophistication and establishing an historical legacy and permanence to the building. It proclaims its importance within the local area and capitalises on the associations of luxury that antiquated aesthetics can often bring.

The entire façade was made to resemble that of the original 1920s building as much as possible, with the inclusion of some original features; large columns and tall glass windows with iron frames retain their Victorian architectural styles. As outlined by Leslie Sklair, “recognition of the outline of a building, especially in a skyline, is one of the great signifiers of iconicity” (Sklair: 2010:143). And as such the retention of the large dome at the top of the building could be seen to maintain the familiarity with the building for locals whilst also establishing it as an integral part of London through its historical verification. The dome also has a functional purpose, as it acts as a light-well, allowing natural light to permeate the buildings enclosed interior. Light, within the shopping context is extremely important, as it is an “explicit energiser of the retail experience” (Crone:1991:58) that can be used to encourage shoppers to travel to higher floors as well as maximise the illusion of space so as not to create a claustrophobic and enclosed environment.

The exit facing onto Porchester Terrace and Queensway features an open circular atrium-like space that visitors must cross to enter through the doors into the building. In accordance with Daniel Miller’s Theory of Shopping, this could be seen to create a ritualistic threshold which establishes the shopping centre as separate and distinct from the neighbouring streets. As explained by Ian Woodward, shoppers would be “entertained by the subtle and dramatic elements of architectural spectacle” such as floor tiling patterns, (Woodward: 1998:51) thus creating visual intrigue as well as enticing passers-by to enter the establishment. The classicism evident in this entrance is another example of the desire to establish the iconicity of the building and to evoke connotations of luxury and historical permanence in the architecture.

Another element of the exterior architecture that was restored and maintained from the original building are the sculptures along the side of the building by Paul Gasq entitled Summer and Winter. These bronze figures are found either side of the Queensway entrance to the shopping centre and flank the large wooden doors. The choice of subject can be seen to illustrate that the shopping centre operates and functions in all seasons, providing goods and services all year round and catering to a range of needs from the customers. It also would have asserted the building as a cultural institution in the Victorian times, whilst today serving to raise the esteem of the shopping centre and hark back to its cultural heritage.

Within the building itself, the layout is organised around a central winding staircase that again was a feature of the original building. The staircase itself is very grand and elegant with intricate metalwork and a bold monochromatic scheme. Positioned underneath the domed roof, these stairs were constantly illuminated, emphasising their circular form and establishing their dramatic presence. All entrances to the supermarket led to this central opening, and it was the site of a rotating schedule of temporary activities and stalls that would increase customer engagement and encourage visitors to spend longer within the shopping centre. These included fish pedicures, massage chairs and notably for many local children, ‘Jumpzone’- a bungee/trampolining experience for children.

Where the Victorian golf course had once a been, a large outdoor car park was built, which opened directly onto the top floor of the shopping centre, encouraging visitors to walk through more of the building and ensure the top floors were able to attract shopper attention and increase circulation within the space. The large cinema within the shopping centre was another key aspect in ensuring visitors reached the top of the building and again established the centre as an important building within the community and space for leisure and recreation. As described by Jennifer Smit and Kirsty Máté “shopping centre interiors provide uncanny opportunities for public participation that can be seen to point to new concepts of citizenship”, (Smit&Máté:2015:96) which is reflected in the desire to establish space for social recreational interactions. The inclusion of a variety of restaurants as well as children’s rides within the shopping space created a child-friendly and relaxed environment for leisurely recreation.

Where the Victorian golf course had once a been, a large outdoor car park was built, which opened directly onto the top floor of the shopping centre, encouraging visitors to walk through more of the building and ensure the top floors were able to attract shopper attention and increase circulation within the space. The large cinema within the shopping centre was another key aspect in ensuring visitors reached the top of the building and again established the centre as an important building within the community and space for leisure and recreation. As described by Jennifer Smit and Kirsty Máté “shopping centre interiors provide uncanny opportunities for public participation that can be seen to point to new concepts of citizenship”, (Smit&Máté:2015:96) which is reflected in the desire to establish space for social recreational interactions. The inclusion of a variety of restaurants as well as children’s rides within the shopping space created a child-friendly and relaxed environment for leisurely recreation.

The closure of Whiteley’s

Despite efforts to draw in new demographics of shoppers and appeal to a changing consumer landscape, (such as the incorporation of a full-body VR Experience area in 2018), the footfall in Whiteley’s reduced to such an amount that it had to be closed. I will discuss how one key factor would lead to the downfall of Whiteley’s as a shopping centre and ultimately shape its future.

The opening of Westfield London in nearby Shepherd’s Bush in 2008 was extremely significant and would not only affect Whiteley’s decline but could also be seen to transform the future of shopping centres in London. The Shepherd’s Bush site has been described as a “gravitational force” by Scott Colman (Colman:2016:61) and attracts millions of visitors annually from all walks of life. With purpose-built transport networks and covering 240,000 square metres whilst boasting a whole range of shops from high-end luxury brands such as Burberry and Gucci to more affordable brands. Over 300 stores cover a large variety of industries including food, fashion, technology, car rental and entertainment to name a few, stretching out over 43 acres and nine different post codes in West London. Whiteley’s on the other hand mainly housed mid-range high street shops that often had many other locations as well as smaller, independent stores. Although in its hey-day Whiteley’s was famous for the variety and multiplicity of its stores, Westfield surpassed what it had to offer and drew away many customers as well as appealing to a much wider customer-base that could easily access it through its several transport connections. Westfield has become much more engrained and established within London in contrast to Whiteley’s, which  no longer fulfilled the philosophy of the shopping centre playing an integrated role in everyday life.

The monumentality of Westfield dwarfs Whiteley’s but it is also the novelty of its design and significant architectural differences that have encouraged the disintegration of Whiteley’s and the expansion of Westfield. Costing £1.6 billion to develop, Westfield boasts impressive design elements such as the “digitally-enhanced undulating roof, bold patterns, modulated surfaces, and richly coloured accents” (Colman:2016:65), as well as the creation of distinct zones which include a high-end retail area entitled ‘The Village’, a food court and extensive cinema/entertainment area. On their website, Westfield refer to the Shepherd’s Bush building as the ‘Centre’, which seems fitting given Colman’s argument that “the term ‘shopping centre’ is no longer sufficient to describe …over three-hundred stores, four department stores, seventy restaurants, two hotels, a gym, an office building, meeting rooms, a fourteen-screen cinema, bowling alley, ‘kid’s club,’ and the UK’s largest casino.” (Colman:2016:65) The focus on leisure and recreation with a constantly rotating calendar of events as well as bars, fountains and miscellaneous public spaces integrated within the shopping complex “offer a sense of expanse so that the consumer feels he or she is having a different kind of experience to the norm” (Miles:2012:224). When considered contrastingly, the range of opportunities and attention-grabbing features of Whiteley’s pale in comparison to this ‘cathedral of consumption’.

In contrast to the glossy and futuristic design of Westfield, Whiteley’s appeared even more dated and old-fashioned, harking back to an ever-distant history and past that shoppers were already familiar with and even bored by. Despite attempts to capitalise on the historical significance of the building through displays littered through the once popular shopping centre, footfall dropped dramatically as fewer people chose to pass through the now somewhat dingy and petite shopping centre.

The Redevelopment

The modernisation project of Whiteley’s to meet the demands of the 21st century did encounter some criticism with more than 1000 people signing a petition against the refurbishment, however, to appeal to the contemporary consumer essential modifications needed to be made to prevent Whiteley’s and the surrounding area fading into unvisited oblivion. I will consider how the redevelopment proposes to change the commercial landscape of Whiteley’s.

The refurbishment seeks to “restore Whiteley’s once again to its rightful position at the heart of Bayswater” (Whiteley’s Development) and will include the transformation of both Whiteley’s and its surrounding area. Whilst retaining the listed historical façade, all floors bar the ground floor will be converted into luxury flats, whilst the floor on street level will feature new shops and cafes that are more suited to contemporary consumer demand than those previously contained within the shopping centre. A notable development will be the creation of a Courtyard that can be accessed directly from the street that will feature outdoor seating and boutique-like shops. New leisure facilities including a new subterranean cinema in the basement will be on offer as well as the construction of a nearby hotel to “not only to bring Whiteley’s itself to life, but also to provide new customers and visitors to the shops along Queensway and in the local area” (Whiteley’s development). The transformatory housing developments within the local area will look to draw people into the area and can be seen as an attempt to encourage new and wealthy citizens into the shopping centre’s locality.

Jean-Paul Thibaud has written about the importance and centrality of ambiance in “endowing an environment with a certain character, a specific mood, an emotional and existential value” (Thibaud: 2015:41). The proposed refurbishment would completely transform the ambiance of Whiteley’s, with a luxurious and high-end finish aiming to appeal to the wealthy locals of Holland Park and Notting Hill. Through the creation of an enclosed street removed from the noise and bustle of the main street, creates a private-feeling public space that seems separate and distinct from noisy London beyond the enclosed area. There is a sense of communality through the sharing of the private space and a sense of comfort and security is evoked by creating an enclosed area. The openness of access to the courtyard will not disrupt the flow of movement as the old building did, establishing a sense of freedom and choice on behalf of the consumer. The prevalence of glass and curved forms in the design proposals show a desire to modernise the aesthetic of Whiteley’s. In accordance with Thibaud’s  writings , a conscious effort has been made to “neutralise the perception of passing time and the existence of a city outsidse” (Thibaud: 2015: 43) whilst also integrating the various components discussed above to create a rejuvenated and sophisticated “tonality” of the environment.

The creation of green open space seems to be in line with recent focus group research that indicates that “the public has a dislike for enclosed, internalised shopping environments and would prefer to go shopping in more natural environments where there is daylight, a feeling of contact with the outside and something unique or particular about that town or city” (Coleman: 2006:4). The desire to appeal to this sensibility is evident. As green space within an ever-expanding city becomes more contested and scarce, the inclusion of the external within a shopping context has become more common, and more desirable to an increasingly environmentally-conscious public. It also appeals to local working professionals for lunch breaks, a demographic that the former Whiteley’s did not cater to. Through the utilisation of only the lower floors for retail space, the shops feel more boutique-like and akin to shopping arcades in Chelsea, Knightsbridge and Soho. As it cannot compete in terms of scale with Westfield London and other London shopping complexes, the development seeks to establish a classier and more exclusive feeling consumer environment, appealing to a selective public who may feel uncomfortable or unsatisfied by the mega-complex of Westfield.

Conclusion

As attitudes towards consumption and demands within retail mutate and evolve, Whiteley’s has morphed over time. The shopping centre seeks to rebrand and work towards establishing a larger customer base and heightening popularity within its local area. The importance of the building’s historic significance has been a consistently central element to the building’s design, which will be balanced carefully with a revised combination of leisure and retail opportunities that are more in tune with contemporary shoppers. Fundamental changes in the architecture of Whiteley’s are required to compete with other businesses in modern London, most notably to counter the negative affects the opening of Westfield had in earlier years. By changing the architecture (and by extension the ambiance), the new Whiteley’s will hark back to its historical origins and aim to provide a landscape of retail and leisure that feels luxurious, exclusive and unique whilst also modernising and adjusting itself to suit a 21st century consumer landscape.

References

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