**Poster for the opening of the new Loeb department store building in 1929 (Detail).** Swiss National Museum

The art of the window display at Bern’s Loeb

The ‘Loeb-Egge’, as the locals call the corner on which Loeb department store stands, is still Bern’s main meeting point – even though the telephone booth from where people used to call to say they’d be late coming home was removed in 2007. Nonetheless, Loeb’s colourful window displays are still there to help pass the time while waiting.

Nadja Ackermann

Nadja Ackermann is a scientific archivist responsible for company archives in the Burgerbibliothek Bern.

The industrial revolution spawned a new social class in Europe, which emerged in the mid-19th century: the middle class or ‘bourgeoisie’. They were upwardly mobile with money to burn. The department store was invented to cater to this burgeoning consumer class. These “cathédrales du commerce moderne” to quote Victor Hugo, offered all types of goods under one roof. Initially the preserve of major cities like Paris or London, department stores shook up the retail business by taking significant market share from smaller shops. They revolutionised sales methods by introducing fixed prices and the right to return items. Department stores also advertised their wares through advertising and shop window displays.

Although window displays were nothing new, having featured in building plans in the early 18th century, they tended to be crammed with merchandise or used simply to let in light to what were often dark, corridor-like premises. It was not until the 1920s that shop window design started to be seen as a promotional tool. Breaking up the facade, using very narrow supporting structures and producing sashless, large glass panels were all easily done in the industrial age. That enabled retailers to extend their displays to the higher floors, as Bernese department store Loeb wasted no time in doing.

The history of Loeb department store in Bern

From 1867, David Loeb from Freiburg im Breisgau traded wool, thread and various other items in Bern. In 1881, he and his brothers started a shop in Spitalgasse, which David and his wife Fanny took over in 1891. In 1899 they turned it into Bern’s first modern department store. Loeb was familiar with international trends in building these large-scale retail formats, including the new organisational structures and architecture. Hence Loeb’s interior with wall-to-wall retail space spread over three floors containing many items that had not been seen in Bern before. The exterior was also rather unusual for that time: the window displays in Spitalgasse covered the first and second floors, having previously been restricted to the arcade. The new look did not go down well at all in Bern, where it was disparagingly referred to as ‘Zahnlücke’ (gap tooth). For the next extension in 1913, Loeb thus opted to bring back the modern renaissance design, which endures to this day on Spitalgasse.

Spitalgasse with Loeb department store, known locally as ‘Zahnlücke’, between 1905 and 1910. The multi-storey window displays are impossible to miss. — **Spitalgasse with Loeb department store, known locally as u003cemu003e‘Zahnlücke’u003c/emu003e, between 1905 and 1910. The multi-storey window displays are impossible to miss.** Burgerbibliothek Bern

**Loeb department store after the 1913 redesign. The controversial window-display front was scaled back.** Burgerbibliothek Bern

Loeb window displays in the 20th century

The scaled-back version of the Loeb window displays in the arcade still attracted the crowds. Their design became almost legendary and enjoyed extensive press coverage, especially in the second half of the 20th century. Curator Harald Szeemann even praised the store as a “Schaufensterprinzen” (window display royalty) and the Loeb window display team was awarded the canton of Bern cultural prize in 1982.

**Even in the 1940s, the Loeb window displays stood out. From women’s fashion, 1940…** Swiss National Museum

**…to records, 1940.** Swiss National Museum

From 1960 to 1993, Peter Knuchel (1928–2012) was in charge of Loeb’s shop window design. Over 30 years, Knuchel came up with conventional displays of the store’s wares; he also oversaw many culturally and politically themed exhibitions. In 1975, for example, Loeb covered the history of the theatre with an exhibition called ‘The whole world is a stage’. The venture was a success and prompted a follow-up campaign, which came two years later on the history of film. In the same year, the Loeb windows also showcased the seven members of the Federal Council.

**‘The seven federal councillors’ window display, 1975.** Peter Knuchel

Knuchel worked with many external parties, for example in 1969 he commissioned Bernese creative artists and in 1971 he worked with female celebrities from Bern including Liselotte Pulver and Ursula Andress. History was another exhibition subject: the ‘Window displays over time’ exhibition included a look ahead to the future when three shop window dummies six metres long and weighing over 200 kilos were placed at ‘Loeb-Egge’ corner.

**‘Window displays over time’, 1972.rnrnu0026nbsp;** Peter Knuchel

The public often played their part in the displays. In 1979, full-page advertisements complete with an application form announced that Loeb would clear attics and cellars for a week free of charge. The items thus collected were presented as ‘…Attics and cellars in Loeb’. The following year, Loeb started the ‘Loeb is collecting for Dählhölzli zoo’ collection drive. Following the ten-day campaign, Loeb was able to present the zoo with a cheque for 16,850 Swiss francs from the direct sale of the collected items.

**‘Loeb is collecting for Dählhölzli zoo’, 1980.** Peter Knuchel

Front page of the Loeb catalogue, summer 1951 — Burgerbibliothek Bern

Loeb department store enlisted the services of artists including Emil Cardinaux, Alois Carigiet, Franco Barberis, Herbert Leupin, Donald Brun and Hans Thöni to design posters and front pages of catalogues. The catalogues from 1902 to 1977 are available digitally at the Burgerbibliothek.

Going international: Loeb as a window to other worlds

In 1917, patriotic circles called for the first ‘Switzerland week’. To appeal to consumers’ sense of national responsibility against the backdrop of the First World War, various shops only displayed domestic goods in their windows for two weeks every year. On the fiftieth anniversary of this initiative, Loeb came up with a ‘50 years of Switzerland week’ theme while skilled practitioners from all parts of the country demonstrated the manufacture or application of their products in different departments.

However, the window displays were not exclusively a conduit for patriotism or spiritual defence of the nation. Passers-by were also on occasion invited to dream of faraway places. The window displays were an important part of the Loeb country weeks, which were held twice annually on average and often included a visit from the ambassador of whichever country was being featured. In 1967, the window displays and the street where the shop is located went full-on British as part of the ‘Britain at Loeb’ campaign. British bobbies directed traffic and a bagpipe player kept the public entertained at ‘Loeb-Egge’ corner.

Bobbies directing the busy traffic by ‘Loeb-Egge’. Part of the ‘Britain at Loeb’ campaign, 1967. — **Bobbies directing the busy traffic by u003cemu003e‘Loeb-Egge’u003c/emu003e. Part of the ‘Britain at Loeb’ campaign, 1967.** Peter Knuchel

**‘Britain at Loeb’, light installation on the facade, 1967.** Peter Knuchel

The other country week in 1967 provided insights into Finnish culture, in particular their Nordic design. Over the years, the geographic scope widened: in 1986 it was Mexico’s turn and in 1988 Brazilian flair visited Bern.

There was a commercial rationale behind showcasing other countries: the idea was to make people think about new holiday destinations as vacations became more widespread after the Second World War. People were able to access information about the country in question from tourist organisations on site. And if they lacked the funds to go away, they could always look at the ‘Loeb-Egge’ window displays and lose themselves in a daydream for free.

More of: 20th / 21st century Economy Fashion

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