Randhurst. In its early years it was an appealing sight, regardless of the time of year. At Christmastime that appeal was magnified in many ways. A glittering new shopping center it was, the world’s largest…where we lucky Northwest Suburbanites got fresh new gift ideas from sparkling new stores…where we found gifts galore from token to treasure…all under one roof, in 72-degree comfort.
When November rolled around, though, things took on a new air of excitement. Each Christmas purchase we made there, for example, was affixed with the gleaming “Randhurst Seal” - an evergreen-shaped foil sticker-thingy sporting the center’s winsome triangular logo, to glisten on our gifts as a symbol of our good taste and thoughtfulness.
And there were special events in abundance. What with school choir performances, ice skating shows (on temporary portable rinks), celebrity appearances, and a homestand by Jolly Old St. Nick himself, a trip to Randhurst became a must on everyone’s Christmas list in our corner of the world. Topping it off were the decorations – Christmas trees big and small, beautiful lights, animated displays and poinsettias in profusion, all of which combined to produce a magical effect.
Realizing that this holiday magic was by no means limited to Randhurst or the other ‘historically significant’ malls, of course. To be sure, “attention to detail” was the watchword for many of the early enclosed shopping centers, partly from a desire to compete favorably with the pomp and circumstance of the downtown department stores and their classic display windows. The victory of the suburban “branch stores” over their downtown flagships wasn’t yet complete, but by the mid-60’s the music had started playing and the end credits were about to roll.
As nice as many modern-day retail Christmas displays and events are today, and some are fantastic, there’s just something about the Christmas shopping experience of decades past that stands out. No doubt a major reason for this is our tendency to view this time of year through “nostalgia glasses”, to make endless comparisons with Christmas past. It’s an ingrained part of the American holiday experience. (One thing I know for certain – that department store gift boxes used to be a lot nicer than the flimsy things given out today. Don’t need my nostalgia glasses to see that.)
I suspect at least some of it may be due of the passing of an era – in this case, the era of the great display houses. For decades, the retail holiday decor business was dominated by a handful of firms whose origins dated back to the early years of the 20th century. These companies combined a theatrical flair with old-world craftsmanship to create charming and memorable scenes that became a vital part of a store’s image, year in and year out.
Most prominent among these firms was the Bliss Display Corporation of New York City. Founded by Lord & Taylor display designer James Albert Bliss in 1929, the Bliss company built elaborate displays for most of the key New York department stores – Macy’s (including this 1959 stunner), Gimbels, Abraham & Straus, Lord & Taylor and Bloomingdale’s, along with Philadelphia’s legendary John Wanamaker stores. Bliss’ reach extended well beyond the eastern seaboard, including work for St. Louis-based Stix, Baer and Fuller (I guess New Yorkers would consider St. Louis “the sticks”, right? Ok, I’ll stop that now.), among many others. A fascinating profile of the Bliss company and some of the other major display makers can be found in the book “Holidays on Display” by William L. Bird, Jr., a perennial coffee-table book at our house at Christmastime.
But Chicago had its own Duke of Display. The Silvestri Art Manufacturing Company was founded in 1901 by George Silvestri in 1901 and operated by his son, George Jr., during the exciting years of the 1950’s and 60’s. Silvestri’s plant was located at 1147 West Ohio Street, just blocks away from the best restaurant that ever existed - the late, great Como Inn. (As voted by me, that is. Whenever our family ate out for a special occasion and the choice was mine to make, that’s where we went.) The Silvestri company made a wide range of decorations, including “the white reindeer tethered to State st. lampposts”, as the Chicago Tribune put in one of a near-annual series of articles on the “fascinating” firm, the lighted trees and wreaths at O’Hare Airport ($15,420 worth in 1966 alone), and scores of elaborate, animated holiday window sets for such Chicago luminaries (pun not intended, but I’ll take it) as Marshall Field & Company, Wieboldts, Goldblatts and Carson Pirie Scott, including several years’ worth of jaw-dropping faux-European storefronts for the latter.
Silvestri had an interesting sideline that profoundly influenced Christmas decorating in general, both commercially and at home. In the mid-1950’s, they introduced the Italian miniature Christmas light to the American public, importing them and selling them in department and discount stores under the Silvestri name. Prior to that time, most indoor or outdoor lights available were the big honkin’ “C-7 style” GE or Noma lights. (Don’t misunderstand me. I still love ‘em.) The new lights, jewel-like and much smaller, proved to be such big sellers that the Italian government bestowed a special award upon Mr. Silvestri in 1957. Until the advent of LED lighting (Maybe my eyes will get used to those things one of these days.), they were what most of us thought of as Christmas lights, though more than a few folks still call them “Italian lights” (made in China for eons now, of course) and packaging still often refers to them as “mini lights”.
I’m not sure if the Randhurst decorations pictured above were Silvestri products, but because of their extensive work for Carson Pirie Scott, it’s a strong possibility. Carsons, of course, was “first among equals” in the Randhurst Corporation partnership, with the lesser among equals being Wieboldts (another Silvestri customer, as mentioned) and The Fair/Montgomery Ward. It’s safe to assume they had lots of influence in the matter.
The photos above were taken at Randhurst between 1962 (its first Christmas season) and 1965, and appear here courtesy of the Mount Prospect Historical Society. Greg Peerbolte, the society’s executive director, wrote a great book about Randhurst that was published this past spring (and is selling very well, I’m told) and can be ordered directly from the society. If you’re interested in shopping center history (and who isn’t, I beg?) or grew up in the area and want to reminisce, you’ll enjoy it thoroughly.
The scenes give a nice feel for the festivities, including the throngs lined up to meet Santa in front of Kresge’s (dig the Aztec-sun background and the space-age outfits of his teenybopper “helpers”). And yes, the impeccably dressed man in the suit, tie and pocket square is none other than actor Cesar Romero, in between his role in the movie “Ocean’s 11” (the Sinatra original, not the Clooney remake with 400 sequels) and his iconic role as The Joker in the 1966-68 Batman TV series. In the early 1960’s, Romero was the traveling “Ambassador of Fashion” for Petrocelli’s, a line of men’s suits.
There’s an indoor skating show, starring two ladies trying to defy nature and become twins, a fairly scary skating hippopotamus (I hesitated to include this photo for fear of a “New Zoo Revue” flashback. I may delete it yet.), and an angelically-robed children’s choir in front of The Fair’s interior entrance. (Check out the backwards “n’s” on the ‘Open Tonight’ banner in back. Cute.)
Several general views follow, depicting various areas of Randhurst bedecked in Christmas finery. At least one year (1963), they featured a set of 11 “traditional” downtown store-style display windows, constructed as free-standing dioramas, one of which is pictured above in photo number 12. Lastly, the landmark Randhurst water tower is converted to a special “holiday hot-air balloon”, years before The 5th Dimension made such things fashionable.
Below, two Christmas-related ads from the early days – a newspaper ad from 1962 (the source for my hyperbolic first paragraphs – I’d love to find one of those Randhurst “Christmas seals”!) and an interesting trade ad from a late 1963 issue of Display World, offering that year’s Christmas dioramas for sale after completion of the holiday run. It was commonplace in those days for big-name department stores or shopping centers to sell their used Christmas displays to smaller-market counterparts as every year something new was needed and the displays were far too costly to toss. The old “direct from Broadway” concept, although in this case it was “direct from Mount Prospect”.
Here’s hoping your Christmas shopping is almost done!
Christmas in downtown Lancaster, Pennsylvania, sometime in the late 40’s or early 50’s. The charming Santa decoration says both “Merry Christmas” and “Season’s Greetings”, so everyone is covered. Colorful garland hangs across the storefronts on either side. The building itself easily dates to the earliest years of the 1900’s if not before, and undoubtedly housed other businesses prior to J.C. Penney’s tenure. 
First up is a great pan shot of the Broadway-Crenshaw Center, opened in late 1947 in southwest Los Angeles and sporting subtleties of color one wouldn’t imagine based on the many period black and white photos that exist of the place. Interestingly, the facades seen here facing the parking lot were virtually duplicated on the opposite side of the shopping center, which lined the sidewalk along Crenshaw Boulevard.
The Von’s (apostrophe long since dropped) supermarket at Crenshaw Center was not designed by Mr. Gardner, but by another L.A.-based architectural heavyweight, Stiles Clements. Mr. Clements had already done a great deal of work for Ralphs, one of Von’s main competitors, with designs ranging from exquisite Spanish-styled markets to some of the most striking streamlined buildings ever seen in retail. In later years, Clements played a key role in refining Sears’ distinctive “West Coast look”.
Then, a brief glimpse of an early fifties Safeway store from an unidentified location. (I first assumed it was the nearby 39th and Crenshaw location that opened in 1952, but an opening day photo in the Los Angeles Times proved otherwise.) This store is typical of those Safeway was opening in many locations at that time, before the yellow-pyloned exteriors of the mid-fifties and the Marina family of designs launched at decade’s end. With over 10,000 feet of selling space, these stores must have seemed immense compared to the small, white-painted masonry units the company favored (note the first photo here) just a few years earlier.
The legendary Westwood Village Ralphs market appears next, a subject already covered in some depth here. Many thanks to “vieilles_annonces” (check out her astounding collection of vintage slides and magazine articles here) for use of the photo above. It predates the film clip by more than a decade, but offers a wonderful color view of the approach into town on Westwood Boulevard. Among other iconic structures are the Ralphs store to the right, Westwood’s unique Sears store in the middle, and the A&P (only the spire is visible) to the left. 
After that comes the sleek, curved facade of the Owl Rexall Drug at the corner of Beverly and La Cienega Boulevards (near the border of West Hollywood and Beverly Hills), which opened in the fall of 1947 and is shown here in a publicity photo taken shortly thereafter. The huge, ultramodern drugstore was only the (curved) tip of the iceberg in this case, as it was attached to the new world headquarters of United-Rexall Drug Inc., which relocated there from Boston. The move was the brainchild of company president Justin Dart, a dashing, enigmatic former Walgreen executive (and former Walgreen son-in-law) who came to United in 1941 and wasted no time casting the company in his own image. Indeed, the firm would eventually be known as Dart Industries, with interests that ranged far beyond drugstores.
Another drugstore icon immediately follows. We see the Thrifty Drug location at the corner of Rodeo Road and La Brea Avenue in the Baldwin Hills area of Los Angeles, just a mile and a half from Crenshaw Center. By this time Thrifty, a fixture of the L.A. retail scene for decades, was well underway with a program to open larger stores in shopping center settings versus the traditional smaller streetfront units, although the latter type still made up the bulk of Thrifty’s then 100-plus stores.
Last is an interesting curiosity - the Big Owl Market, or as the sign reads, “The Market of Tomorrow”. This venture by Owl Drug (United-Rexall) was a very early, largely forgotten attempt at a supermarket-drugstore combination, a format that would catch on big in the following decade, and indeed remains the template for the industry today.
