Meunier Technology Beauty’s first concept flagship store is located in Baoan District, Shenzhen, China. The project invited China’s top-tier design company DOMANI to lead its space design. The design strategy is in line with Shenzhen’s ‘Culture+N’ new industry policy, and it also tries to plant a certain design academic discussion in the commercial space: its creative connection as well as experience between the two dimensions of ‘feminism’ and ‘space’.
Contemporary women are an amazing phenomenon-level collective consumption in the field of technological beauty. The extreme attention and maintenance of appearance is not pure consumerism, but in essence, it is the prevalence of contemporary feminism, from anti-male power to anti-patriarchy then return to gender type observation and self-release. The evolution of the concept of feminism has so far released the ‘gender custom’ that lies above gender and has entered the self-recognition of gender essentially. People face the differences in physiology, demand social balance, and respect the freedom of genetic traits. And the female group has been in a liberation movement for nearly 200 years from proposing equality and equal rights to economic independence and then to freedom of consumption.
From the second half of the 19th century to the early 20th century, the liberal Feminism was similar to the European industrial Revolution. Scholars advocated equal political power for equal work and equal pay for both sexes, and regarded the disadvantaged position of women in the labor market as a result of the unequal social status of men and women. The conceptual characteristics of this stage emphasize the sociality of women.
In 1792, Early British feminist Mary Wollstonecraft’s ‘The Defense of Women’s Rights’ was published. In her book, she emphasized that in addition to being a good wife and mother, a woman should also be regarded as an independent person and should have personal rights.
From the 1960s to the 1980s, the Radical Feminism found that although the first stage of the movement had achieved great success, the status of women who had equal economic and political rights had not been fundamentally improved in social life. So, people turn their attention to family composition. Scholars regarded family labor with no exchange value and no remuneration as class oppression, and later developed this view into extreme ‘sexual exploitation’ and ‘sexual bondage’. At this stage, the concept of feminism requires the elimination of the traditional family model and emphasizes the opposition between men and women. There are huge historical controversies between the extreme radical claims and the “sexual liberation movement” at this stage.
1949年 法国著名存在主义女作家 西蒙·波伏娃的 《第二性》正式出版。她用大量哲学、心理学、人类学、历史和文学等事实材料证明：女性自由的障碍不是其生理条件，而是政治和法律的限制造成的。她的最广为人知的观点就是：女人并不是生就的，而宁可说是逐渐形成的。波伏娃的《第二性》成为女权主义的理论经典。
In 1949, the famous French existentialist female writer Simon Beauvoir’s ‘Second Sex’ was officially published. She used a lot of philosophical, psychology, anthropology, history and literature to prove that the obstacles to women’s freedom are not caused by their physical conditions, but caused by political and legal restrictions. Her most well-known view is that women are not born, but rather evolved. Beauvoir’s ‘Second Sex’ has become a theoretical classic of feminism.
In 1970, American radical feminist Kate Millett published the book ‘Sexual Politics’, which revealed the political connotation of sexual issues from a new perspective and analyzed the gender power relationship in literary studies. It has become an extremely important work in the history of feminist theory.
当代后结构派女性主义（post-structuralist feminism）：为解决激进女性主义与性解放运动带来的严重社会后果，女性主义者开始反省并倾向在认同传统家庭模式的基础上进行女性个体化解放。此阶段学者将研究重点回归至性别的生理性与社会性的二元分界，强调女性作为一个群体的多元化，及个体角色的自我认同。该阶段重要观念贡献是解放了两性传统的性别话语，如男性应当如何或女性应当如何， 并行延展出新潮派丝绒女性主义（Fluffy feminism）。
Contemporary post-structuralist feminism: In order to solve the serious social consequences caused by radical feminism and the sexual liberation movement, feminists have begun to reflect and tend to carry out the individualized liberation of women on the basis of recognizing with the traditional family pattern. At this stage, scholars returned the research focus to the binary boundary between the physiological and social genders, emphasizing the diversity of women as a group and the self-identity of individual roles. An important conceptual contribution at this stage is to liberate the traditional gender discourse of both sexes, such as how men should be or how women should be, and also to extend the new trend ——Fluffy feminism.
In 2009, Judith Butler was one of the most famous contemporary postmodern thinkers. Her works, such as ‘Undoing Gender’, re-examined her own perspectives on gender performance, that is, from traditional feminism based on enlightenment modernity to post-feminism focusing on differences and deconstructing identity.
The exterior and interior of a group of phenomena have always been a huge and absolute link between the past and the future. There is no need to dwell at narrow and foolish discussions about whether beauty should be pursued or whether it is morally appropriate. The amazing economic data behind this means that generations of feminist ideas have evolved into the pervasive female identity of today even if it’s a huge self-building exercise that starts with mere appearance.
Meunier’s spatial creation is based on observation and feedback of this phenomenon. Exploring the boundaries of female traits through the establishment of layers of contradictions between material relations and spatial forms, and creating a dramatic commercial space experience through the form collision of bright and dark as well as strong and soft. Through the tough and calm appearance style and emotional concept, the perceptual concept of space attempts to describe the inherent complexity of the intertwining of human physical gender and social gender.
China’s medical cosmetology business has achieved considerable growth in the market size in the last 5 years, with a compound growth rate of 40%, and the medical cosmetology market in 2020 will reach RMB 464 billion.
In terms of the global female phenomenon, the self-release of women in China’s first- and second-tier cities is undoubtedly a light of high entropy. They appear to be more ethereal and unpredictable, and the inner is often more and more tough and calm. There is a dramatic and fascinating contrast between their appearance and the inside. This specific inner quality makes today’s female aesthetics a universal sense of rebellion and contradiction. Just as the cement texture of the main space does not point to coarse grains, on the contrary, the cement texture is adjusted with skin-like fineness and precision, while still presenting the calmness of gray tone on the whole. The glass and mirror steel reflective surface on the top emphasize the lightness and clarity of the rise. Two completely different or even contradictory textures bridge the framework and drama of the overall space.
The deconstructed brass texture guest desk at the entrance has an amazing sense of levitation, and the technology presented by micro-carving in precious metal millimeters reflects the greatest possibility. The brand LOGO chooses the cement texture that matches the color of the space, but the embedded position suddenly shows a hint of precious metal luster, and the convergence is precious enough to make the visitors’ eyes stop for a long time.
The space form, which is very different from traditional beauty places, tries to combine two contradictions: extreme thickness and lightness with extreme strength and softness. The space explains that the presentation of contemporary women’s appearance and inner relation with the contradiction of space and the sense of drama.
The main hospitality area is almost a private art gallery. The collection-level contemporary sculpture installations and furniture are all configured from the top contemporary art exhibition design brand A&V in China. The main installation series is called ‘ bright night and gentle dismemberment’. Visitors may calm in contemporary abstract expressionism device situation and enjoy the fragrance of a cup of good coffee in a smattering of knowledge.
The mixed pouring technology combined with the staggered interspersed of deconstructed precast concrete slabs constitute a visitor consultation table. The table top is matched with the 6-degree chair transparent version made by A&V 2019. It is originally a panel seat based on architectural logic and female sitting posture design. The neat lines form an ergonomic seating surface, backrest and overall force structure through different angles, and it has an unexpected comfort. The copper wave bench is a high-end product made by A&V in 2020. Through 3-5mm different thickness connection and precise mold bending technology, it is organized into an installation bench that can be used by multiple people at the same time in terms of deconstruction and stability, and can be freely customized in terms of length and number of seats.
‘ Bright night and gentle dismemberment ‘ series of installations also come from the creation of the experimental art exhibition studio A&V in 2019. The concrete pouring technology is used to construct abstract bionic body blocks, and the softness formed by arcs and warps as well as the hardness of materials constitute a group of contradictory ideological expression bodies. It is a metaphor for women’s inner firmness and toughness as well as delicate and soft in outer expression. The partial damage corresponds to the sense of scars in the historical evaluation of feminism. The device will be permanently collected by Meunier in the project as a solitary piece.
Aisles and public spaces are separated from the public area of the office building through clear glass partitions, and the relationship boundary between different places is established while maintaining the maximum visual aspect of the space. Since the guest room area is a completely enclosed private area, the public area is given a certain degree of visibility as a transition zone. Through this external visibility, it establishes the trust of visitors and consumers in the operation technology of the place.
The key to the interior of the guest room is the ‘feel of water’. When consumers open their eyes in a space with gentle and quiet light, the corrugated steel structure on the top forms an illusion-like waterscape through complex refraction and reflection, which makes people willing to stay in the middle of a certain moment of blur, spontaneously through the imagination of rippling water.
The dressing table with multiple functions provides consumers with formal wear and rest after the service. The full-length formal mirrors behind the front body are rigidly connected to the dressing table through the metal structure. The dressing table has the water circulation function with its own water tank, so that the functional module can solve the problem in the space where hard installation of upper and lower water to provide extremely convenient water with a complete series of high color rendering lighting system. The device is currently being specially developed by A&V for Meunier.
‘You look for a woman, but you find a soul , You have been played by tricks.’
项目地点：中国 · 深圳
协作设计：Ona Lin 林晓含、Candy Wang 王晓君等，DOMANI 东仓建设
传媒管理：Coco Lee 李云云，DOMANI 东仓建设
Name：Bright Night and Gentle Dismemberment – Meunier Tech Beauty Shenzhen Concept Store
Interior Design：余霖，DOMANI 东仓建设
Cooperative Design：Ona Lin 林晓含、Candy Wang 王晓君等，DOMANI 东仓建设
Media Management：Coco Lee 李云云，DOMANI 东仓建设
Construction Side：Zhong Yi Construction Group
Main material supply：Shuangyu Architectural Art Engineering Co., Ltd.