This article reassesses the window displays created at Simpson’s, Piccadilly, from April 1936 until early 1937 by the Bauhaus master, László Moholy-Nagy. Although art historian and biographer, Krisztina Passuth, gave Moholy-Nagy the credit for bringing new display methods to Britain, my research reveals that modern methods of display were practised well before his arrival. His designs appear removed from the professional standard of British window display, which was influenced by the fundamentals taught at the Schule Reimann in Berlin during the 1920s. To understand the discrepancy between the German influence on British display and the work of an émigré Bauhaus master in Britain, I will first consider German window reform in the 1910s and its development and influence on British display from the latter half of the 1920s. Secondly, I will examine Moholy-Nagy’s period at Simpson’s and his approach to display. Thirdly, I will attempt tounderstand why Moholy-Nagy was seemingly naïve about the modern display methods used in Britain in the mid-1930s and why Simpson’s displays were so removed from the standard of display professionals. This article is part of my doctoral research on the professionalisation of window display in Britain from 1919 to 1939.

中文翻译：

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包豪斯与橱窗展示业务——莫霍利-纳吉在伦敦橱窗展示中的努力

本文重新评估了包豪斯大师 László Moholy-Nagy 从 1936 年 4 月到 1937 年初在皮卡迪利大街辛普森创建的橱窗展示。尽管艺术史学家和传记作家克里斯蒂娜·帕苏斯（Krisztina Passuth）称赞莫霍利-纳吉（Moholy-Nagy）为英国带来了新的展示方式，但我的研究表明，现代展示方式早在他到来之前就已被采用。他的设计似乎脱离了英国橱窗展示的专业标准，而后者受到了 1920 年代柏林 Schule Reimann 教授的基础知识的影响。为了理解德国对英国展示的影响与英国一位移民包豪斯大师的作品之间的差异，我将首先考虑 1910 年代德国的橱窗改革及其对 1920 年代后半期英国展示的发展和影响。其次，我将研究莫霍利-纳吉在辛普森的时期以及他的展示方式。第三，我将尝试理解为什么 Moholy-Nagy 对 1930 年代中期英国使用的现代显示方法似乎很幼稚，以及为什么 Simpson 的显示器如此脱离显示专业人士的标准。本文是我对 1919 年至 1939 年英国橱窗展示专业化的博士研究的一部分。