Architecture in Fashion

rchitecture

f a s h i o n

ISSUE 1

from the editor

Welcome to the world of Architecture in Fashion‌ Architecture in Fashion explores the connection between the fashion and architecture fields. We will highlight the fashion designers and architects who bring their inspiration to the global fashion industry.

There are several common links between fashion and architecture design. Although the construction and the materials are very different, they are both sculptural. Despite a difference in function, the aesthetic is similar. Also, they are both highly expressive, using specific shapes, patterns, colors and textures to evoke emotion in people.

Gabrielle Bonheur Chanel once famously said: “style follows life.� This is more true today than ever before, as life is becoming more fast-paced. In order to stay fresh, style must be more informed and have international appeal.

We are grateful for the opportunity to bring some inspiration and new ideas to readers, and encourage them to pursue their dreams. We also look forward to seeing more architecture influence in fashion designs in our daily life.

Ginger Qian / Publisher and Editor-in-Chief

3

CONTENTS ". ng

ab

se l

N/

DA BY U SO

iew

rv Ove

e d th e t rea h/T

I

CHR

eth Gar

e hin of C

Pug

/ RNI A M

O hris C “ l e

as a

y

bod

uya

e

stag

ap d Sh

n ts, a n i r rs, P

olo hC t i ay W

A zo / lpo

e in orc F r a

De

s/ mu

ue

q Jac

y Isse

ash he F

it o spir

to ues

ake Miy

y pla

ntin / Co M ison

ga /

ia enc Bal

nce

h

lp

scu

h wit

de ara p n

M

la /

ie arg

as ini f

ral."

i ce w

Dan

al tori Edi

tu itec h c l Ar

Stil

: ang er W

nd

lexa th A

ME

RO OCH

N

MO

LIST A M INI

/M

Z ue /

log

Dia

d

adi

H aha

n

es i

re us a

io Ser

rfe nte u o he C

t

Fa the

G r in e t n i l/W

rey n nta i e h

ct t

ote y pr

el ctiv

try?

us ind

n e shio e eff a f w he can of t rré e How g / o Fe ita D r c E e n h ra OP anf / Gi

IGN

ART

ES &D

lo Dia

gue

vin / Ga

Gao

l

ura

ult le c

gib

ia

tor Edi

?

stry

du n In

shio

su it Is

How

.​

ign

s l de tura

hio

Ma

st “La

e

ra of f

out

es f th

The

ds Lan

t

gul

Sin

cap

ion

Pl

es

FASHION

CHRISOU BY DAN

Overview of Chinese label “Chris Ouyang” “ We do not explicitly think about the target customer, but we do what feels right for us, and hopefully this is appreciated by others,” said Chris Ouyang, emerging chinese fashion designer. “We believe fashion is more of a way of expressing someone’s individuality rather than just a simple way of covering body, so just do what you like and chose what you want is our philosophy.”

Ouyang is a Nanjing-based designer, who was born in 1990 and held his first show at the age of 16. After that, Wei Tian, who is the fashion director of Harper’s Bazaar China, discovered him, and then, Ouyang started to cooperate with Wei Tian at fashion illustration.

From 2011 to 2013 his works have been publishing at Cosmopolitan, Harper’s Bazaar, Men’s Health, Men’s Uno and so

on. In 2013, Ouyang graduated from Jiangnan University with a degree in fashion design, and his graduation projects were shown on channel CCTV2. His namesake brand CHRISOU BY DAN was established in the same year.

His lasted collection, he said, is about the precocious girl, girl's spiritual world is rich and sensitive, intertwined stripes of plaid and variety of fold can reflect their inner varied. His clothes are characterized by the mass of bright color. He blends those sculptural silhouettes with exquisite cutting, and textiles patterned fabric.

“I’m 25 years old, and I had no plan for my collection when it started. To me, free is more important. The only thing I will do is to stay true and spontaneous.”

Ouyang said.

​

Photo by CHRISOU BY DAN STUDIO

6

Photo Credit: THE IMPRESSION LLC.,

FASHION

Gareth Pugh

Treated the Body As A Stage Gareth Pugh's presentation at the latest London Fashion Week held last weekend lef t the audience enthralled by the sheer creativity and unique collections presented. The first model on stage, Klaus Nomi, donned a hat that looked like a flying saucer and a spiky crown over the shoulders. Pugh was not short of his campy artistic sense of style – Klaus Nomi’s dress featured a fantastical combination of gold regal grandeur and black.

The London Fashion Review was not without some jaw-dropping designs by Pugh. He displayed an eclectic mix of chunky biker boots, all black, and which could easily go with different colors of the dress. With the color of the races matching that of the dress, the combination looked fantastic. This design of the dress was also quite simple, which clearly makes it easy to wear in different occasions.

The monochrome designs were quite

enthralling and revealed Pugh’s creativity in delivering unique designs. The striking designs were the highlight of the catwalk during the London Fashion Week. The dress on the right features unique “spider web” design with stripes radiating from the lower back to the front. ​ The black and white stripes for the headdress represent the sunburst. This is especially clear on the headdress with black and white stripes matching the top.

The stiff color of the top is designed to reveal a part of the models bosom to the midsection. ​ ugh’s epic presentations have dominated P the fashion industry for over a decade, especially in France where he used to stage most of the designs. After a decade in Paris, Pugh opted for London and is surely rocking the fashion industry in the new haven. ​

Photo by Gio Staiano

11

FASHION

MARNI

Play With Colors, Prints, and Shapes Marni fashion show at S/S 2017 Milan Fashion Week was an experiment bringing sleepwear to readyto-wear runway. One can finally look good leaving their house while sleepwalking. The showcase of Marni’s collections happened to be on the final day of Milan Fashion Week.

black dresses were presented. This was a clear indicator of Castiglioni creative force and the ability to develop new designs for her customers. The black dresses look like contemporary sculptures, with uniquely designed horizontal slits. These horizontal slits were large and tubular, which made them appear like paper lanterns. Some of the dresses had For designer Consuelo Castiglioni being last boxy-cut pieces that were quite appealing. actually implies being first. The first to bring the casual appeal of sleepwear into a luxury status. The Marni’s collection of dresses stole the show with highlight of the collections was paper-like cotton breathtaking designs such as billowy sleeves, suits donned in a variety of muted colors. The suits asymmetric pleats, and drawstring dresses. Marni’s had characteristic wallpaper prints and oversized dress collections gave hints of borrowed designs pouf pockets attached to specially designed belts. from classical Greek sculptures, infused to produce It reminded me of someone wearing both the bed, beautiful pleats and other designs. A matchless the mattress, and the coverings all at once. assortment of colors was evident – ranging from chocolate, mint, white, bleached yellow, and The opening of the show was spectacular, with a raspberry. mix of different looks such as pants, tops, coats, skirts, and many other shapes and sizes. Marni It is always difficult to the last one showing, running collection exhibited creative designs with a hint of into the risk that the runway might display looks we architectural planes and embedded with innovative potentially have seen before elsewhere. However, decorations that left much breathless.

Castiglioni uses playful silhouettes and graphic, artistic prints to refined experimental look with this At the close of the show, some uniquely designed collection.

18

Photo by Yannis Vlamos

FASHION

Delpozo

A Singular Force in the Fashion Landscape The Delpozo’s spring runway show in New York has exemplified the great talent of the mind behind the show, Josep Font. The Delpozo girls, as some called them, adorned beautiful dresses sewn in designs never seen before.

The dresses and coats varied in their proportions – contrary to conventional designs, these dresses and coats had swells, dives, curves, arcs, and other unique shapes that mesmerized the huge audience that turned up. That was not all, Delpozo girls adorned large chandelier-like earrings made of spangle. The earrings drooping down their earlobes added a bit of decorum to their dressing.

Some of the earrings match the dresses, while others are made to contrast or reflect one or more of the colors of the items worn.

The dresses were made in a myriad of designs,

and with various embellishments on them.

The opening dress was made of silky lame, had printed floral designs, and with pleating on the waist. In addition to these, the dress had tealength hemline. Some of the designs had unique transparent features.

For instance, there was a model with a layered skirt, and with a transparent outer sheer. Some dresses were tinged with gold, giving them an ultimate look. Font draws inspiration from Joaquin Sorolla, a Spanish Impressionist, and Soo Sunny Park, a contemporary artist.

Delpozo’s designs are what one may refer to as contemporary designs, with no tinge of vintage fashion in them. The designs are just awesome, and a reflection of what creativity entails in the fashion industry.

Photo by Luca Tombolini

25

Jacquemus The Spirit of the South of France Paris Fashion Week offers fashion enthusiasts a rare glimpse into some of French’s finest designs. Designer Simon Porte Jacquemus presented one of PFW’s most Spanish collections. Drawing inspiration from the times when Spain was one of the world’s largest empires.

The designs reflected various ancient Spanish identities such as the bohemian, the cook, the grandfather, and the shepherd. Some of the tops had V-shaped necklines that covered the upper half of the model’s body. Wide-brimmed straw hats accentuated the models’ looks by adding an ethnic touch.

The collection had a different assortment of colors ranging from white, beige, and palette of black. Jacquemus made use of a wide range of materials to make the collection wearable– cotton, white lace, and wool are just some of the fabric that was presented.

High waist trousers with ruffles mostly dominated the show.

Trousers had unique designs in that some utilized extraPhoto by Kim Weston Arnold

long trouser designs, and mostly being a high waist. Some trousers had unique cropped clam-digger-style designs.

From rounded to poufed-out shoulders, many separates looked as if they walked through time and straight to PFW. The structured top features a plunging neckline with neck tie detail, front yoke, and structured drop shoulder pleated long sleeves.

The skirts had a unique touch of Spaniard designs – they had impressive pleats that added to collection’s great allure.

This asymmetric skirt features a fitted high-rise waist, overly pleated structured bodice, and asymmetric hemline.

Models walked out with a neutral look, the softest, muted, and simply gorgeous makeup and wore the hair in a lazy casual ponytail. They put a santon straw hat which is rendered in straw and features a black band and wide brim.

Sometimes old is new again, and in this case, Jacquemus designs appeared timeless, but with upgrades for contemporary use.

Issey MiyakE Continues to play with sculptural design

FASHION

Designer Yoshiyuk i Miyamae uses geometry, printing and fringe elements for the Issey Miyake 2016 early spring vacation series Lookbook, which is full of fantasy and visual illusion. He also adds classic artistic pleats of the brand to the collections for an eye catching fantasy theme.

Miyamae as one of a greatest of fashion designers of our era.

For choosing fabrics, Issey Miyake has used wide variety of materials, Such as Japanese rice paper, white cotton, knitted cotton and linen to create a variety of texture effects.

Break ing apar t, reform, and then combined to form fantastic structure.

This way of design is an innovative model that is based on Oriental garments, reflecting the philosophy of Japanese gentle nature and life on text streams.

Miyamae created a deconstructive style for clothing deign. Sculpted design continues to come into play for experimental pattern cutting this season. The silhouette is based on squares and rectangles that drape to create origami folds. Consequently, designer use origami pleats create Th e m o s t s u cce s s f u l i n i t i at i ve o f a whole new unique silhouette to Miyamae's design is "innovation". produce sculpted effects.

David Cameo, who is the Museum of ​ Decorative Arts director in Paris, praised

Photo by Kim Weston Arnold/ Indigitalimages.com

37

FASHION

​Maison Margiela ​MINI FASHION PARADE Maison Margiela’s F/W 2016 Haute Couture was yet another breathtaking offering that grazed Paris fashion industry. The collection featured aspects of modern urban streetwear, with a tinge of French revolutionary fashion sense. As such, the collection featured various items such as the tricorne hat and a military greatcoat. ​ The tricorne hat is commonly worn at military parades, and for John Galliano, this was his own mini fashion parade.

T​ his show drew parallels between the contemporary streetwear in Paris today, and the fashion sense experienced over the course of French history. Galliano’s previous collections also go contrary to traditions in terms of what most individuals may consider as “wearable designs.” Galliano is a controversial artisan who questions tradition with unique designs. Some of the garments at the Maison Margiela’s F/W 2016 Haute Couture show clearly depicted Galliano’s play with hard romanticism.

For instance, the opening design featured an orange

Mackintosh, which surprisingly was worn “upside down,” with sleeves hanging down below the waistline. It is common for Galliano to produce designs that question the very traditionalistic view we expect from every-day fashion. But this is haute couture, and it is art. And art supposes to change our perspective. ​ O ver the recent past, Galliano has ex tended his experimental mission to twisting swags of fabric, wrapping, and draping, with one-of-a-kind designs, never seen elsewhere. Thus, it is clear that this collection had two defining themes: French history fashion sense and renegade collections. ​ alliano’s French revolutionary inspiration emanates G from the career-long bonding he had with the French revolutionary period. His first notable design inspired by French revolutionary history was in Les Incroyables, where he showcased his graduation collection in 1984. The history keeps repeating itself.

Photo by Marcus Tondo

42

Photo by Jan Welters

FASHION

Balenciaga “Last Dance with Alexander Wang: Still Architectural."

As one of the most influential fashion brands, Balenciaga won the admiration of fashion industry because of its sense of structure and pioneer design. Spring 2016 was Alexander Wang's last show for Balenciaga.

The menswear collection showcases pieces that borrow from militar y uniforms, using the trenches coats alongside with plenty of button-ups and sharp polo shirts. The design for the stacked pockets on his garments is based on sculpted designs, which use bricks to create an architectural style.

Though the majority of garments were in monochromatic tone, there were

reptile and tie-dye prints that made the collection more vivid. Architectural monuments in Brazil, which designed by the famous Brazilian architect Oscar Niemeyer, inspired this collection.

The 2016 spring collection Runway show was one of the designer’s most impressive. The structured silhouette, military-style combat boots, and black and green hues’ were an improvement a d e p a r t u re f ro m l a s t ye a r ’s. A l l elements become so fashionable in Alexander Wang's hands, and with a simple and neat suit jacket, tough and luxurious urban man images presented perfectly.

Photo by Courtesy of Balenciaga

50

MONOCHOME MINIMALIST A single-minded palette pushes you to experiment with fabric, shape and proportion.

Photographer by Bailey Harada- Stone

Crossover leather sandals ZARA Leather top, Silk trousers, necklace COS

Sneakers ZARA Dress, necklace COS

Top, Trousers, shoes ZARA Styling by Yuening Wang, Cecilia Zhang & Ginger Qian Make up by Marsha Litvinova Hair by Curtis Shepherd Model Whitney Heleker @Scout

photo by Brigitte Lacombe

Zaha Hadid London based architect who consistently pushes the boundaries of architecture and urban design.

FEATUREs

Zaha Hadid, the founder of Zaha Hadid Architects.

This woman, is an architect who is from London and has a strong voice in architecture field.Zaha was awarded the Pritzker Architecture Prize in 2004 and is internationally known for her built, theoretical and academic work. Each of her projects builds on over thirty years of exploration and research in the interrelated fields of urbanism, architecture and design.Zaha's earliest memory of architecture was perhaps six years old, was of her aunt building a house in Mosul in the north of Iraq.

In her childhood, she travelled with her family every summer, and her parents made sure that she went to every important building and museum in each city. She still remember going as a child to see the Great Mosque in Cordoba when she was seven years old, and that was the most stunning space in her memory.

When did you become interested in Architecture design?

I wanted to explore new ideas so I went to the American University in Beirut where I became interested in geometry while studying mathematics. I realized there was a connection with the logic of maths to architecture.

I then moved to London to attend the Architectural Association (AA) School of Architecture. There was such a buzz in the school at the time. Everyone was on the brink of doing something new - I will never forget that. The students and the staff at the AA School at that time have been seminal to the past 30 years of global architecture. ​ Could you talk about your personal life? How has it influenced your views on architecture design?

I had a nice childhood in Iraq with a ver y liberal background. My parents gave me a secular modern upbringing and for such enlightened open-mindedness

64

and selfless support, my mother and father were definitely an inspiration.

I think both my parents were interested in architecture in an indirect way.The architect was a close friend of my father’s and he used to come to our house with the drawings and models. I remember seeing the model in our living room and I think it triggered something, as I was intrigued by it. Of course there are lots of other truly great spaces but this building left a really tremendous impact on me.​ When I was growing up in Iraq, there was an unbroken belief in progress and a great sense of optimism. If you look back to the 1960s, it was a moment of nationbuilding, there was a lot of emphasis on architecture, not only in the Arab world but also in South America and Asia. The ideas of progress and innovation of this era were critical to my development, and this ideology was important to me and my work.

What are important skills, or characteristics for architect to be successful?

Never give up! I've achieved some success - and I am extremely grateful - but it’s always been a very long struggle. You can’t always get everything right, every time – but you have to keep trying.

Architecture is a very tough profession - every architect you talk to, no matter man or woman has it very, very difficult. I think it is very important to have the commitment to persevere, and to have a strong belief in yourself. As a woman, you need the confidence that you can carry on and take new steps every time. So I believe in hard work; it gives you that layer of confidence. I’ve always believed in my work and know that it will carry me through any difficult situation.

How do you get inspiration?

My ideas come from observation: of the site, of nature, of people in the city. One ambition is to try to create a spatial experience. What is different today from previous times is that we are no longer ruled by the scale of the stonemason. We can be far more ambitious! Science and nature have also been an inspiration: landscape, biology, all living things. People do ask 'why are there no

straight lines, why no 90 degrees in your work?' This is because life is not made in a grid. If you think of a natural landscape, it’s not even and regular – but people go to these places and think it’s very natural, very relaxing. I think that one can do that in architecture.

What is your favorite design style?

I really like the Brutalist, post 1960s buildings on the South Bank, London - the Hayward Gallery, the National Theatre, all that area. It’s one of the few examples of post-sixties work remaining in London - it’s actually some of the best examples of architecture in London.

These Brutalist projects appear to be of their time, and yet they are essentially timeless. The 1960s were a remarkable moment of social reform. The ideas of change, liberation and freedom were critical.

Now, people think public buildings should be more embellished, but these were times when people did tough projects. It is pure – its beauty is in its austerity.

There are no additions to make it polite or cute. It is what it is. This architecture has fallen out of favour – and much of it has been demolished or left to decay - but it actually includes some of our best buildings. Many Brutalist projects around the world have suffered neglect; yet sensitive renovation reveals a profound lightness and spatial generosity.

65

FEATUREs Nova Shoe by Zaha Hadid for United Nude

Do you think there are connec tions b et ween architecture and fashion?

We greatly enjoy our product fashion collaborations– they are of great importance to us. The pieces are quicker to execute than the architecture and inspire creativity.

These collaborations also provide an opportunity to express our ideas through different scales and through different media - and we see it as part of a continuous process of our on-going design investigation. It’s a two way process – we apply our architectural research and experimentation to these designs – but we also learn a great deal from the process of collaborating with others in different fields. There is a lot of fluidity now between art, architecture and fashion—a lot more cross-pollination in the disciplines. But this isn’t about competition; it’s about collaboration and what these practices and processes can contribute to one another. It is essential to find key collaborators to work on new discoveries and push them into the mainstream.

These fashion projects convey the mood of the day, of the moment—like music, literature, and art: whereas architecture is a very long process from the start of a project to its completion. There is the perception of architecture as different because it is a more immersive experience.

How do you handle stress?

My friends and family are most important to me. Time doesn’t stop when you’re working to meet a deadline - and the intensity of working under such pressure can

create great things - but you must never neglect your friends and family. They will always be your greatest support.

What is your current project?

We are currently working on some very exciting projects around the world including train stations in Naples and Riyadh; the Grand Theatre in Rabat; the new Iraqi Parliament, the Sleuk Rith Institute in Cambodia and residential projects in Australia, Asia, New York and Miami.

In terms of form, I find each of the projects equally rewarding – though there is a big difference in the scale and process. All are very different and present unique challenges – and as such, I’m equally interested in all of them.

What do you think are the current and future trends in architecture design?

The rapid developments that computing has brought to architecture are incredible and 3D printing is certainly opening many new possibilities for the construction industry. Our designs demand continual progress in the development of construction technology, and the industry continues to respond by providing ever more sophisticated tools and materials. There is a strong reciprocal relationship whereby our more avant-garde designs encourage the development of new design technologies and construction techniques - and those new developments in turn inspire us to push the design envelope ever further. Great things come from this method of working!

67

IT'S ABOUT: Inspiration Creativity Talent Ideas Innovation Passion Confidence Business Originality Integrity Experience Respect Reputation credit: CFDA

OP-ED

​ OW SERIOUS ARE THE COUNTERFEIT ISSUES H IN THE FASHION INDUSTRY? T​ he fashion industry is one of the most dynamic industries in the world that has evolved significantly over the last few years. Right from the word go, the human being has been wearing clothes, and this has brought about designs and fashions. The first human being, Adam used leaves to cover his body and later on human moved to using skin clothes. Fashion is of wide range ranging from hair, style, shoes to purses. Globally, fashion is widely associated with ladies since they have the strongest taste when it comes to dressing. Cultural influences are high when people consider economic aspect of the fashion industry. Fashion is also influenced by the age of the clients, location, and body size.

Despite fashion becoming one of the cherished industries of all times, some wicked people do not care about the efforts of others and sabotage their efforts by bringing fake goods into the market. Fake goods in today’s market worldwide are on the rise accounting

for 2.5% of the global trade. Our quality standards corporation and business authorities should ensure that these fake goods are abolished and taken out of the market. Counterfeits are killing fashion industry. ​ Business consultants believe that counterfeit fashion commodities cost European brand of 9.7%of their total sales. In the olden days, fashion criminals would go to Paris fashion with the sole motive of sketching those designs and sell those reproductions in France and other countries of the world. The fashion industry is ever changing day in day out, and this makes it a target for counterfeiters. The effects of fake goods are far much greater is developed countries than in the developing states. European countries are widely known for manufacturing highly desirable branded goods, and this makes it the most seek out target and victim of counterfeiting.

Naomi Campbell photographed by Mario Sorrenti in New York City

69

Paris is one of the most renowned fashion cities in the world. Most of the designers have identified China as the largest producer of counterfeits in the world. Most of the Chinese companies are famous of infringing intellectual property rights of other businesses. ​ eople have different opinions when it comes to effects P of counterfeits. Some think it is a criminal act that should be identified as theft. This group of people argues that fashion design and creative is personal assets and stealing such an asset, it will cripple the original designer and kill his or her morale. On the other hand, there are

those experts that think counterfeits have a positive impact in the industry through forcing the brand to improve to surpass the counterfeits. ​ Clearly, designers cannot develop their brands when most of their profits generated through designing go in the hands of fakers. Money is one of the factors of motivation, and if our designers cannot be fully motivated through a proper return, I am afraid fashion industry will not be creative as we expect it to be. ​S imulation has significant economic effects in the fashion industry worldwide today. Market experts

Image credit: The Dieline believe that counterfeits of apparel and accessories lead to a loss of an estimate of 26.3 billion Euros. This costs around 363000 jobs globally across retail, manufacturing and wholesale sectors. These losses have bigger adverse effects let alone in the fashion industry. If such losses lead to the loss which then leads to less production, this means that fashion industry will buy few raw materials, and the chain goes on. Counterfeits can make a bad economy.

E​ very other person needs to look attractive and attractive when in a crowd of individuals. With fashion, we all fulfill our own desires to look good. To make that our designers continue to make classic and presentable work, we need to come together and help fight counterfeits. By deciding not to buy counterfeits regardless of how cheap they are, we will win this tough battle and help our industries to grow. A human being cannot live without fashion; it is part of our lives and each day we need new designs. To have a gorgeous collection of designs and fashion, we need original designers and not counterfeiters. ​

winter in grAy Sytyling by Joyce Gao Photography by Roberto Gaxiola Make-up by Svetlana Styling assistant by Wendy Ren Model Kevyn

Sweater H&M Leather skirt Zara Necklace H&M Socks stylist own Black Sandal Forever 21

Dress Designer - Karen Socks stylist own Boots Aldo

Top, Coat, Pants, Hat Zara Necklace stylist own Boots Aldo

Top, Cardigan, Shorts Zara
 Necklace H&M Socks, Shoes, Bracelet stylist own

Hat stylist own Shirt, Coat, Pants Zara Rings H&M Boots Aldo

Painting by Shufen chen

How can we effectively protect the intangible cultural heritage of the fashion industry?

China is a vast country with 56 nationalities, with each boasting its long history, splendid cultural heritage and unique national costumes.

85

OP-ED

​ ashion industry is facing many challenges in protecting intangible F cultural heritage. The most important one is people have limited awareness of the protection of the community, which can add difficulties in our work.​Fashion industry is facing many challenges in protecting intangible cultural heritage. The most important one is people have limited awareness of the protection of the community, which can add difficulties in our work.​Fashion industry is facing many challenges in protecting intangible cultural heritage. The most important one is people have limited awareness of the protection of the community, which can add difficulties in our work.

N

ational costumes can reflect social features and customs in different periods and the national consciousness, spirit, character and thinking the pattern of the certain ethnic group. I think costumes are important carriers of the material and non-material culture of ethnic minorities.

The intangible cultural heritage amounts to practice, performance, pattern of manifestation, knowledge system and skills and related tools, crafts and cultural arena of cultural heritage for particular gro u p s o f p e o p l e a n d s o m e t i m e s individuals.

I believe, the intangible cultural heritage seems to be non-material; it cannot be separated from materials. For example, a custom has the design, pattern, color and accessories belong to the material culture, which is tangible. However, the traditional handwork such as spinning, tailoring, making and embroidering belongs to non-material culture, which is intangible. The cultural aspect of a national costume is the folk information.

With the rapid development of social development, national cultures of remote areas are also undergoing changes, rapidly or slowly. If the national culture is not well protected, it may lose

86

some valuable vitality.

The protection of national costumes should be implemented in two aspects.

First one is static protection, it means protecting and preserving national costumes by establishing data banks, exhibition halls and museums. Static protection uses modern technology to record the past and the current state of the costume culture in the form of photos and CDs. In this way, people can still see the relevant resources of costumes, which have disappeared.

Static protection plays an important role in protecting national costumes.

S e c o n d l y, d y n a m i c p r o t e c t i o n i s protec ting the ac tive state of the heritage. I t means protec ting and passing on the costume culture. As the society develops, the cultural heritage also changes and makes progress. As the society develops, our cultural heritage also changes and makes progress. In the background of social development, the culture of national costume should fit the modern life and civilization and innovate while making changes. For example, the costume of Yi nationality has changed a lot since the 1990s. The headwear

changed to be colorful from the previous black and to be more diverse. The fabric also changed fundamentally to be more gorgeous. These changes have led to the combination of traditional features of the national costume and the breath of modern times. That is to say, people of Yi nationality promoted their costume while successfully preser ving the traditional features.

S​ ince the 1980s, cities have undergone a massive modern transformation, with the result of destroying much valuable material and intangible cultural heritage that is partly caused by the weak awareness of protection of the community. We should improve the aesthetic taste and the moral quality of our people. The aim of education on intangible cultural heritage includes: through education, people can correctly understand the cultural difference between different nationalities, the impact of intangible cultural heritage o n C h i n a , i nte gr i t y, d i ve r s i t y a n d complementarity of Chinese culture, and on their own culture. We should cultivate the positive attitudes to protect intangible culture spontaneously and voluntarily and the habit of protecting intangible culture properly.

The culture of the national costume is a bright pearl in our treasure house, the emblem of our nation and an important carrier of traditional culture. It delivers information on politics, economy, culture, religious and aesthetics of different nationalities in different historical periods.

It also reflects the history of the reproduction and migrations of all nationalities. Protecting national costumes means holding tight our history, which is closely bound up with us. It seems to me that we should improve our moral qualities to develop and pass on the intangible culture.

ART & DESIGN

DESIGNER STORY

GIANFRANCO FERRÉ WHO WAS A FASHION DESIGNER AlSO AS KNOWN AS “The Architect of Fashion”

88

ART & DESIGN

C

ritics have crowned the genius of fashion design, Gianfranco Ferré, who had perfectly draws the outline of clothes. His exquisite handcraft matches with the tailoring of geometric patterns, which is one of the noticeable features of the men’s wear designed by him.

In the beginning of his design career, he mainly designed for teenagers and socialites and it was not until 1982 that he started to design men’s wear. This designer with a mustache said his own style was often becomes the source of inspiration to design men’s wear.

Ferré was born into a class family on August 15,1944.

After graduating from high school, he was admitted to the Milan Polytechnic Institute, and obtained a bachelor in architecture. As his interest in fashionable dress grew, he started to design jewelry and clothes because he thought this could satisfy his enthusiasm while earning money for him. Inspired by the editors of famous fashion magazines in Italy, he began to design clothes. Then he went to India and extensively study textiles there. In India, he adopted Easterners’ concept of simplicity and established the view that the aim of good design was purity.

In 1978, Ferré established his namesake company Gianfranco Ferré. The clothes of Gianfranco Ferré e m b o d i e d e l e g a nt a n d a i m i n g to s e e k t h e harmonious unity of innovation and tradition lifestyle of modern times. Ferre was awarded L'Occhio d'Oro for six times, which represents the best designer of Italy.

T h e m o s t i m p o r t a n t fe a t u re s o f GIANFRANCO FERRÉ are quality, u n i q u e n e s s , a n d l u x u r y. H i s collection display powerful and femininity, and also, exquisite tailoring with clear outline, great fabric, and bright colors. The design is simple yet eye catching and shows the blending of classical and modern style.

90

T

​ he booming trend of minimalism and simplicity in the 1990s made GIANFRANCO FERRÉ produce fewer accessories. However, GIANFRANCO FERRÉ would still design several simple great bracelets and necklaces to highlight the theme of the simple clothes. The sunglasses designed

by Ferré reflected GIANFRANCO FERRÉ’s concept of the architectural framework in a more direct way. With wide structure and good quality, the sunglasses perfectly matched sharp-featured people. ​ ith the background of architecture, Ferré stayed for a period in India.

W This experience has given Ferre a sense of sculpture and the exotic feature. As the art director of Christian Dior from 1989 and 1996, his achievements were witnessed by all people around him. After being devoted to his brand, he designed clothes with a noticeable architectural style.

Ferré died on July 17,2007 in Milano, he had a great passion for fashion design, and contribute a lot to the fashion industry.

91

FEATURES

A Dialogue with Gavin Gao: THE Academy of Art university Landscape Architecture graduate student DISCUSS HIS PASSION AND INSPIRATION

Gavin Gao was interested in the spatial relationships in three-dimensional formats when he was young. "Architecture, Landscape Architecture, and Interior design are all close to our daily life, so I decided to study architecture when I first entered the college," he said. He likes drawing, and have studied drawing for more than 20 years, and he also is interested in traveling. In his spare time, he travels to different places to see different kinds of scenery, talk to different people and listen to different kinds of stories using his pen and sketchbook. He likes to document these stories for inspiration; because he thinks good design projects always come from personal experience and everyday life.

When I asked him how to get inspiration, he said," By not only just focusing on the major field but also pay attention to the details of life and finding their connections. Keep drawing sketches and developing the idea, and you will find the inspiration."

Gao has tried lots of different kinds of design styles such as classic, modern, future, and natural, but he is still too young and has not designed enough projects, so he does not have a favorite yet. When he feels pressure, drawing can help him calm down. Gao also likes to go to some places alone, such as the countryside or seaside without any disturbance. "​Architecture, interior design, especially landscape architecture, do not satisfy the basic demand for people. They need to solve some problems for all human beings, such as reducing the urban heat island effect, being more energy-efficient, improving environment quality by using new technology, materials, and design techniques," he said.

Drawing is not only a hobby for him, but also a significant rendering technique in design. Although nowadays, the computer is becoming a common tool in design, he still adheres to using free hand drawing to express his design idea. In his opinion, drawing is full of more personality and emotions than digital programs.

His current project is to re-design Buchanan Street in Japantown, San Francisco, and he is trying to create a new, modern, safe neighborhood for citizens to participate in, relax and enjoy.

92

"Being good at observing life, at summing up the data and experience, and also, participating in the practice instead of fantasizing, are important skills and characteristics for an interior designer to be successful."

FEATURES

Gao thinks there are a variety of connections between interior and fashion design. Different environments have different atmospheres, and a different atmosphere conveys different feelings and emotions.

"For fashion design, or even other art, you put them in different conditions, and you may get different effects," Gao said. " Our job is to create the special, unique and unparalleled space for fashion, combining architecture and fashion as a whole."

97

issue one creditS

Cover Image Tasya Kudryk Photographer Bailey Harada- Stone Roberto Gaxiola Stylist Joyce Gao Wendy Ren Yuening Wang Cecilia Zhang Ginger Qian Make up Marsha Litvinova Svetlana Hair Curtis Shepherd

This magazine provides an overall look of the combination of fashion and architecture; focus on fashion trends, beauty, culture and runway reviews. We hope to encourage and guide readers to try new things and pursue their dreams.

We are looking forward to exploring the commonality between fashion & architecture fields. The features of this magazine would showcase architecture design elements in fashion, and vice versa, to inspire readers that want a unique style.

GINGER QIAN

Architecture in Fashion http://archinfashion.weebly.com/