 
        from FUGUE FOR AN OCTOBER AGE                            BOUTIQUE 3 
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        tous, innocent or simply left to chance.  It  must, above all, do  a
        precise  selling job, which means that not only the building but the
        entire  merchandising  program  have  a  crisp, demographically  con-
        trolled  identity, all  of  the  way from the shade of mortar in the
        exterior brickwork to the hangers in the dressing room and  the  gra-
        phics  on  the  billheads.   Actually, commercial design is far more
        closely related to advertising art than it  is  to  architecture: it
        must  be  upbeat and trendy; it must be manipulative without seeming
        so and the gut appeal must be not to the viewer as he or she  actual-
        ly is but to what the viewer fantasizes himself or herself to be.









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