T R E N
p o AUT UM N/WIN TER 1 6/17
R
D
r t
F i g 1. M ar n i A / W 1 6 /1 7 b a c k s ta g e a t Mi l a n F a s h io n We e k
MENSWEAR
P R I N T & GR A PH I C VM& IN-STORE
DUA L U S AGE OUTSIDE IN DISTORTED STRUCTURE R E F L E C T I VE E M P T Y S PA C E M O N O C H R O M E GE O M E T R Y LI K E KA N Y E SO HUNG UP RULED COLLISION
dua l u sag e Inspired by the philosophy of minimalism, which is about stripping back the unnecessary.
a d a p t at i o n
Creating multi-functional outcomes, which are able to fluidly adapt to their surroundings, whether it be for health benefits or to suit the ever changing environment.
Fig 4. Polar Stuf f - Blue Steel Napsack
F i g 2 . & 3 . Em e l + A r is we a ra bl e t ech n o lo g y (2 0 1 6 )
fa s h i o n - t e c h
“World’s fir s t s m a r t c oa t s t ha t inco rporate pa t e nt e d i nf r a -r e d a n d bat t ery-opera ted technol ogy to he a t t he wearer a t va rying de gr e e s of wa r m t h.” - (Co n l on , S . Vogue 2 0 1 6 )
Fig 5. T he Shif t Sneaker - the smar t sur f ace sneaker w ith a design you contr ol (2016)
Th e first we a ra ble ca m e ra th a t ca n fly founde d by a Sta nford p h y sics re se a rch e r a nd a Goog le e ngine e ring le a d. - ( fly nixie .com )
F i g 6 . Ni xie Dr one Watch ( 2015)
TWILIGHT REACH
GREY METAL
MULTIFUNCTIONAL A perfect combination of technology and design, the iBackPack has multiple functions such as a Bluetooth audio system, a charging device and Wi-Fi hotspot. (indiegogo)
F ig 7 . M u lt i- f un cti on al iB ackPa ck in clu din g Wi- Fi ho tspo t ad ver tis ement
PROGRAMMED MIST
AMBER ADAPTATION
AUROUS SEPIA
influences Hussein Ch alayan’s dissolving coats at Paris Fashion Week showcased possibilities of garments adapting to your surroundings as well as the Sharif Ha-House designed by Next Office, for employers that work in Iran’s erratic temperature.
Fig 8. Space 10 Logo Fig 9. Shows a table that could charge your phone with free power (2016) Fig 10. Hu sse in Ch al ayan fetes d is s olv in g coa t s at P ar is Fash ion week SS16 Fi g 11. S ha rif i -Ha ho us e ( 201 4 )
a d a p t at i o n
Space 10 is a space for exploration and inspiration rooted in the idea of exciting possibilities in tec h and fashion that can better everyday life.
F i g. 13 Appl e i Ph o ne 7: Co ncept and s peci fi cat i o ns des i gned by Yas s er F arah i . Mul t i -funct i o nal : co m bi ni n g all yo ur needs i n o ne dev i ce.
F ig . 1 2 S hutt e r s i n Au s t r a l i a de s i g n e d b y Arch i t ect Tyl er Sh o rt . A d a p ting to s u r r o u n di n g s : Au to m a t i c s u n -t rack i ng l o uvers .
minimalism Minimallism influences multi-functional products that adapt to surroundings by essentially de-cluttering. This trend implements a stripped back mind-set, which is all about the use of empty space. Fewer products that create more of an impact allow the consumer to focus on the specifics.
F i g . 14. Ano , D. (2013) G al l ery o f p h o to graph er’s Week endh o us e / Sh i n Oh o ri
outside in Molecular-shaped structures juxtaposed with the organic flow of nature. Scientific scaffolds and geo metrical forms generate a new relationship between technology and the open air environment.
SCIENTIFIC S CA F FO L D S
g e o m e t r i ca l fo r m s F ig 15. A pho to gra ph of Na t i ve S hoe s F all/Winter 2016 print c a m pa i gn a t S eek Tra de Show, B e r l i n. F ig 16. A pho to gra ph of H e i m pl a n e t ’s s t and at Seek Tra de S how, B e r l i n . F ig 17. The Golden R a t i o d i a gr a m .
CRYSTALLISED ROCK
ATOMIC CLOUD
Fig 18. A pho togr a ph of Na tive Sho es F a l l / Wi n t e r 2016 print campa i gn a t Seek Tra de Show, B e r l i n. Fig 19. M a veric ks Te n t from H eim plan e t .
NEUTRAL EXTRACTION
DECAYED MASS
BOTANICAL GARDEN
ar c h i t ec t u ra l Fi g 22 . ‘A s c ul p t u r al wh i t e st e el sp i r a l st a ir c as e wi t h woo den treads th a t co nn e c t t h e t wo level s.’ ( Te r vo o r t , M )
F i g 2 0 . S h owi n g g eo m et r i cal st r u ct ur e c o m b i n ed wi t h n at u r e i n Cen t er P arc s . F i g 2 1 . P ai m i o Ch ai r b y A l var Aal to , 1 9 3 0 ’s. ‘Al so k n own as t h e S c r o l l Ch ai r , t h i s f u r n i t u r e p i ece was desi g n ed b y Hu g o Hen r i k A l var Aal to du r i n g t h e sam e t i m e t h e P ai m i o S an ato r i u m was c o n st r u ct ed. ’ (al ex i sc an , 2 0 1 2 )
influences F i g 2 3 . S how s a sec t i o n o f t h e Mo n t r eal B i o sp h er e
‘B y r e- c r eat i n g n at u r al ec o l o g i es so t h at t h ey can be st u di ed, t h e Mo n t r eal B i o sp h ere highlights the role o f ar ch i t ect u r e i n cr eat i n g cl i m at i cally an d g eo g r ap h i cal ly def i n ed ec o syst ems . T h e bu i l di n g ’s t ech n i c al syst em s p r esen t a m o del fo r f u t u r e u r b an i n f r ast r u c t u r es.’ (Q u i n n , 2 0 1 1 )
Fig 24. I nter ior of Salvador Dali Museum in St. Peter sbur g, Fl or ida Fig 25. I nter ior of Stuar t Weitzman stor e in Rome, 2006. Fig 26. Voussoir cloud installation by San Fr ancisco f ir m I wam otoS cot t ar chitectur e
Fig 2 7 . D i gi t a l F a b r i c a t i on a nd Pa r am et r i c A r c hi t e c t ur e by Ma t t e r Desi g n .
distorted structure o p t i ca l i l lu s i o n s F i g 3 0 . Marn i AW 1 6 /1 7
Blurring typography with a nostalgic 90’s aesthetic to overlay optical illusions that create a digitally distorted structure, bending surrealism with abstraction.
F i g 3 1 . Pal ace Lo o k b o o k : I n tern ati o n al Pal ace H o o di e (2015)
di g i ta l
F i g 2 8 . M anip ulated Palac e Ska tebo a r ds Lo go
Fig 29. Palac e L ucien Cla r ke Decks
F i g 3 2 . N AK I D H O U S E – S XS W 2 0 1 6 by D u s ti n H o l l ywo o d
Fi g 3 4. Gli tc he d H e lvet ica by Ma u r o D e D o n at is (20 16 ) Fi g 3 5. Iss ey Mi yake S S 16 r e ady -to -wear Fi g 3 6. SS1 6 Co l lab: P h o to gra p h er S as ha Sa m so n ova a n d F as h i o n I l l u st r ato r Al in a Z am an ova fo r K TZ fa sh io n bra n d
Fig 33. L egibilida de/Legibility by Marc os Faunner (Gr a phic Designer )
BLACKOUT
WHITE NOISE
SUPREME CULTURE
PRISMATIC PINK
WARPED ODYSSEY
NOSTALGIC FEVER
F i g 3 7 . N eville B rody 1987 Poster Design F i g 3 8 . N eville B rody editoria l design fo r F u s e Ma g azine F i g 3 9 . Shows how t his aest hetic sty le ha s i nf l ue n c ed b rand s over the p ast yea r s.
Fig 4 0 . G raff it i in Sc h wa r zen b u r g , B er l i n Str e et ar t h as i nf l u e nc ed t h i s p r in t an d g raphi c trend w i th i t s evo l vi ng i l l u s t r at i o n s an d detai le d ar t -wo r k t h a t in vo l ve s c o l o u r f u l , abs trac t p iec es a n d d i sto r t e d i m ag e r y t h r o ug h the i deal s of s el f - ex p r e ss i o n .
influences
gra ph i c de s i gn e r s
TECHR E VO L U T I O N
Fig. 41 Glitch Ar t by Umat Guney Fig 42. Glitch Ar t by Roise Menkman ‘Glitch Ar t’ that is par t human ef for t and pa r t machine er r or , has for med an ar tistic subc u lt u r e of electr onic ar tists inspir ed by elements of t he 198090’s tech-r evolution and the er r or s it pr ese n t e d like glitches. T hese er r or s held negative conno t at ion s at the time because it showed malf unctions in t he equipment but ar e now pur posely cr eated to for m an aesthetic style. Fig 43. Silkscr een by Michael Kidner , 1966 A pioneer of Optical Ar t, Kidner has devote d m u ch of his car eer to developing wor k of a const r u ct ive natur e. His inter ests in mathematics, science and the theor ies of chaos have infor med an ar t that is at once r ational and playf ul w ith usin g a r igor ous intellectual appr oach to colour and for m . His contr ibution to Op Ar t inf luences this tre n d to pr esent digitally distor ted patter n and typo g r ap hy that cr eate optical illusions. ( Galler y, F.)
reflective Inspired by the Space Age movement in the 60’s and current emerging technology and engineering towards Virgin Galactic, this trend takes a futuristic approach to functional fashion combining a metallic, patent aesthetic with alienistic aspects.
futuristic Fig 45 . Metal l i c s i l ver an d grey co l o u r p al ette at J etset S t. M o rti z sta nd at Prem i u m T rad e S h ow, B erl i n 2 0 1 6
F i g 4 6 . Aso s Men s wear trai n ers i n s pi r e d by fu tu ri s ti c, refl ecti ve tren d 2 0 1 6
F i g 4 4 . Christop her Kane Menswea r A/W 2 0 1 6
Fig 47 . Metal l i c s i l ver l eath er sam p l e
f u n c t i o n a l fa s h i o n
F i g 4 8 . B ack s tage at J u u n . J S S15
Fig 4 9 . Sea n Sua n A/W 2 0 1 6 : m o del wears m etal l i c, s i l ver tro u s ers Fig 5 0 . Adida s Xen o Pack : refl ecti ve wearabl e tech n o l o gy
BLACK SPACE
MYSTIC GRANITE
DUSTY ASTEROID
SILVER CHALK
Fig 5 1 . Ver sa ce Mens wear A/W 1 6 at MF W
s pa c e a g e 1 9 6 0 ' s
influences
F i g 5 2 . Sp ac e Ag e: Pierre C ar din (1 9 6 8 ) F i g 5 3 . P hotog rap h of R eic hsta g Ger ma n P a r lia ment, Ber lin (2 0 1 6 ) F i g 5 4 . The Fut uro House (201 3 )
Alan Shepard was the first American in space in 1961 and the new frontier began to have an influence on fashion. The Space Age in the 1960’s was all about sleek lines and shiny fabrics such as wetlook PVC and easy-care acrylics. This trend is going back to the future with an over-exaggerated futuristic aesthetic. (Ramzi, L. 2014)
Fig 55. Ref lective sculptur e in Chicago. T he f utur istc shape can be r eminded of a UFO space-ship.
Fig 56. Prefab Invisible House by DMAA located in rural Slovenia. ‘Created by Vienna-based Delugan Meissl Associated Architects, Casa Invisible is a flexible house unit, a prefab and cost-efficient housing concept.’ (ideasgn.com) Fig 57. Bone Chair by Joris Laarman Fig 58. Nike Hurricane Flicker Jacket 3m reflective
t e c h n o l o g y a d va n c e m e n t s
e m p t y s pa c e
Fig 59. Collab: Nendo X Cos (2014)
Fig 61. T ransit ion - Part 3 by Lauren Marsolier (2015)
This trend uses a cold colour palette to emphasize emptiness and the simplistic form of shape and dimensional distance.
minimalism F ig 60. Exploring Visuals exhi bi ti on Rosenthaler Strasse, Berli n (2016)
Exploring the simplicity and strength of structure in an unfilled space through a minimalistic approach that creates clear vision of the interconnection between the body and its surroundings.
clear vision
Fig 62. Hudson & Broad Showroom
BLACK OUTLINE
GREY ZONE
Fig 63. Facade No. 10 by Ron Galid, 2013
simple structures Berlin: Exhibitions such as ‘Exploring Visuals’ in Rosenthaler Strasse and Mich ael Muller’s ‘Who’s Speaking?’ exhibition at the KW institute, located in the Mitte district of Berlin, showcased their work in empty spaces.
BLANK SPACE
CLEAR VISION
DRY DISTANCE
COOL BLUE
TEAL TRACT
Fig 64. Michael Muller ‘Who’s Speaking?’ exhibition at the KW Institute, Berlin 2016
NEUTRAL CAPACITY
minimalism
influences Fig 65. Dan Flavin: The Diagonal 1963 Fig 66. Donald Judd: Steel Slabs 1980 Fig 67. Robert Morris at Spruth Magers 2012 Three of the most influential minimal artists that reacted against the symbolism, spontaneity, and emotional intensity of Abstract Impressionism. By removing ‘distractions’ like composition, theme, representation and so on, they wanted to allow the viewer to experience the work as a whole, and in its own respect. ( Kapper t, M.P. 2009) Empty space allows you to focus on one product or one piece of art work in more detail, which is why this trend is evolving within studio spaces and exhibitions.
F i g 6 8 . ‘J ap an ese ar ch i t ect Mako to Tan i j i r i t eam ed u p wi t h To sh i ba to c r eate t h e Lu cest e l i g h t i n g syst em sh own here. T h e cei l i n g - m o u n t ed syst em def us es l i g h t t h r o u g h a vei l o f swi r l i n g m is t t h at m i m i cs t h e p assag e o f cl o uds . T h e syst em i s i n t er act i ve, t r i g g e red to ch an g e c o l o u r o r l i g h t l evel s wh e n us ers cl ap t h ei r h an d s. L u c est e i s t ak ing L E D l i g h t i n g an d to u c h f r ee r em o t e co ntr o l syst em s i n a n ew di r ec t i o n . ’ (Q uinn, 2011) We c an n o t see t h e fo r m o r st r u ctur e o f l i g h t , we can o n l y feel an d p er ceive it and so t h i s syst em u ses em p t y sp ace f illed wi t h l i g h t to p r ovo k e em o t i o n , c reating a cl ear vi si o n fo r i n t er co n n ect i o n between t h e bo d y an d i t s su r r o u n d i n g s. (B i f u l co , A . 2 0 1 2 )
w h i t e s pa c e
Fig 6 9 . S u n d ay S a nc t ua r y : White Ou t bl og pos t b y A m a n d a S ha d for t h (2 0 1 5 ) ‘ C r e a t i v i t y n e e ds s pa c e to breathe.’ ( S ha dfor t h, 2 0 1 5 ) Wi t h the rise of a dva n c e d t e c hn ol ogy and a n i n c r e a s e i n a l l m e d i a outlets, we f i nd ou r s e l ve s c r a v i n g empty s pa c e by de -c l u t t e r i ng a nd simpl i f y i n g ou r s pa c e . Our po ssessions a r e m ul t i -f un c t i ona l , which m ea ns we c a n obt a i n pur i t y and a sense of c l e a n l i n e s s a r ou n d us w i t h fewe r i t e m s .
monochrome g e o m e t ry Inspired by the fundamental/core geometrical structures within science, the relationship between geometry and architectural design has inspired fashion with its 3D structural format.
s t r u c t u ra l
F i g 71 . H ol l y F u l to n aw 1 6 / 17 F i g 72 . D is so n an c e Ar e a a t P r e mi u m T rade Sh ow, Be r lin (201 6 )
F i g 70 . N o a Rav i v c o m bi n i n g g rid p at t ern s an d 3D p r in t in g (20 15 )
With lines, shapes and patterns in mind, monochrome geometry has transformed into flat, print designs that expose repet ition to optical illusions.
F i g 7 3 . S tru ctu ral F ash i o n : S eren a Gi l i F al l 2 0 14
monochrome
SOLID SHAPE
STRUCTURAL SPACE
Fig 7 4 . Ho lly Fulto n aw1 6 /1 7 Fig 7 5 . Ir is va n Her pen S p ri n g 2 0 1 6
CONCRETE FORMS
GE O M E T R I CA L
F i g 7 6 . S tarh i l l Gal l ery i n K u al a Lu m p u r Mal ays i a des i gn ed by S p ark Arch i tects F i g 7 7 . M o dern geo m etri c arch i tectu ral detai l o n a m o dern o ffi ce b u i l d i n g i n u rban J ap an
influences F i g 7 8 . Avan t - G ar de Cam o u f l ag e u si n g g eo m et r i c p at t er n to di sg u i se t h ei r bo at s f r o m G er m an at t ack s . Ed war d Wadswo r t h i s o n e o f t h e fo u n di n g f at h er s o f t h e B r i t i sh m o der n i st m ovem en t “ Vo r t i c i sm � . Vo r t i ci sm r ej ec t ed t h e p r ac t i se o f p ai n t i n g t r ad i t i o n a l l an dsc ap es an d n u des, i n st ead em b r ac i n g g eo m et r ic desi g n an d abst r act i o n . T h e m o n o ch r o m e g eo m et r i c p at t er n ed sh i p s ar e p ar t o f T h e D az z l e Co n cep t cr eat ed by B r i t i sh L i eu t en an t - Co m m an d er N o r m an Wi l k i n so n d u r i n g Wo r l d War 1 . D az z l e Cam o avo i ded ver t i cal l i n es an d ex ch an g ed t h em fo r cu r ves, an g l ed st r i p es an d c h eq u er ed p at t er n s, wh i ch di sto r t ed t h e l o o k o f t h e sh i p s st r u c t u r al d esi g n . T h i s h as been a h u g e i n f l u en ce i n t h e c o n t i n u o u s t r en d o f g eo m et r i c p r i n t s, t h e f u t u r e o f t h i s t r en d i s m o r e di sto r t ed t h an ever , t ak i n g i n f l u en ce f r o m O p A r t . (P o r r a 2 0 1 6 )
OP ART
F i g 79. Op Art : “ Zebra” work i n by V i cto r Vas arel y 1 9 3 8 T h es e fo rm s , l i nes and waves creat ed by i conic Op Art i s t s s uch as V ictor Vas arel y and Bri dget Riley were creat ed fo r an optical i l l us i o n effect . We h ave t ak en t h e bl ack and w hite s h ape i dea and des i g ne d fl at pri nt s and graph ics, but t h es e pri nt s are becoming m o re and m o re di gi t ally di s to rt ed t h ro ugh 3D printing and s t ruct ural garm ents.
Fig 80. Geometr ical str uctur es: Middelf ar t Savings Bank in Denmar k Fig 81. Esther Stocker ’s typical gr id patter n exhibition in I taly ( 20 04) T he title of this wor k “ Das Wor t ,gleichar tig’ zieht unser e Auf mer k sam ke it auf sich, und doch besagt es eigentlich gar nichts” is a quotation f r om t he Ger man philosopher Gottlob Fr ege, and it show s Stocker ’s inter e st in issu e s of for m and meaning. Depending on w her e you ar e standing in the r oom , per spectives and the ar r angement of the gr id patter n seem to sh if t . This links to the inf luential Op Ar t movement w ith geometr ical for m and st r u ct u r e containing movement w ithin the patter n that cr eates this optical illu sion . (Klanten, Feir eiss, and Ehmann, 2010)
li ke kan y e GOD COMPLEX
F i g 82. Ye e z y Fa ll 2 0 1 6 F i g 83 Str e e t- s tyle a t S e ek & B ri g h t Tr a d e S h ow s in B e r lin , 2 01 6 F i g 84. Se le c tio n o f AT F bom be r j a c k e ts a t S eek T r a de S h ow in B e rl i n , 2 0 1 6
U R B A N O UT LO O K
Fig 85 . J uun .J Men swear Fal l/ Win ter 2 01 5 at Par is Fash i on Week
Inspired by the God-like comp lex adopted by rapper turned designer K anye West, this trend embodies confidence infused apparel that touches on layering and attitude with a functional and tonal urban outlook.
BLACK ATTITUDE
BURNT LAYERS
LIGHT TOBACCO
MIDNIGHT CONTROL INTEPID KHAKI
OFF-WHITE CONTRAST F i g 8 6 . Pu bl i s h B ra nd Novelty Jogger Pants F i g 8 7 . Ye e z y 7 50 Boost Launch (2015) F i g 8 8 . RVLT R evolution jumper w ith bold typogr aphy
URBAN OUTLOOK
god-like
F i g 8 9 . K an ye West p er fo r m i n g as an An g el to h i s h i t si n g l e ‘J esu s Wal k s’ at t h e 2 0 0 5 G r am m ys F i g 9 0 . Ad ver t i sem en t fo r K an ye West ’s vi d eo g am e ‘O n l y O n e’ abo u t h i s M o t h er g o i n g to h eaven .
influences Fig 91 . Illus tr a tio n o f D o n a l d T r u m p by M i k e N u delma n Ka nye Wes t ( a ls o kn ow n a s Ye e z u s, w h i ch i s a n obvio us refer ence to J e su s ) , h a s a s t r o n g God c o mp lex w ith hi s s e n se o f st y l e , h i s over-c o nf id ent s p ee ch e s a n d g o d-a bso r be d lyric s tha t refer to h i s h i g h s t a t u s i n t h e m u si c in du st ry. D o na ld Tru m p a l so h o l d s a G o d c omplex w ith his eg o t i st i ca l m i n d-s e t a n d h i s in fla ted feeling s o f p e r s o n a l a bi l i t y a n d se l f privile g e. T his fea r le ss a t t i t u de h a s f i l t e r e d down to wha t we wea r a n d h ow we we a r o u r c loth es , fo r ex a m p le t h e ove r -si z e d bo m be r jac k et s ig nif ies s ta t u s a n d s u p e r i o r i t y.
F i g 9 2 . J ay Z por t r ai t by Mar t i n S choel l er F i g 9 3 . Ti d al st r eam i n g: F i r st m aj or m u si c ser vi ce to be own ed by ar t i st s t hem sel ves
" fo r m e to b e say i ng I’m not a genius, wo u l d be ly i ng to yo u an d not m y se lf. "
Jay Z is known a s Je hova h (a n obv i ous r e fe r en ce to Go d in the H ebr ew B i bl e ) a nd i s a l s o know n fo r h avi n g a God com plex t hr ou gh hi s l y r i c s i n hi p-hop cu l t u r e, which a llows for s e l f -e m powe r m e n t . Jay Z a n d h i s Pro j ect Pa nthe r B i dc o i nve s t m e nt c om pa ny, to o k over the strea m ing s e r v i c e , Ti da l , i n 2 0 1 5 a n d a r t ist s su c h as Madonna a nd Ni c ki Mi n a j ha ve a s ha r e i n t he st r eam i n g music com pan y a s we l l . T hi s t r e n d i s i n f l u e nc ed by i n contro l a ttitud e s , ove r -c on f i d e nt m i nd-s e t s a n d h i p - h o p culture, which s t e m s hi ghl y f r om we l l -know n h i t m u si c artists today. (F or de , 2 0 1 6 )
- kany e w e st ( ((aka y ee z us) S o u r c e: Vu l t u r e.co m (We ber 2 0 1 3 )
so hung up
soft i n du s t r ia l F ig 94. By TiMo a t Pre m i um T r a de S h ow in Berlin, 2016
Fig 95. Ner i&Hu insta lla tion for Comme Moi stor e in S ha ngha i (2014)
With influence from the iconic Art Deco m ovement, this trend demonstrates contrast of minimalist space with a sense of opulence.
l u x u ry
Fig 96 . Stou ls Bou tiqu e, Pa ri s desi gned by In dia Ma hdavi (2 0 14)
Combing metallic, elegant luxury with soft industrial features to create innovative ways of hanging and storing products.
‘T h e m i n i m al i st sp ace c o n t r ast s i n du st r i al feat u res su ch as co n c r et e p i l l ar s an d r aw wal l s ag ai n s t a san ded p ar q u et f l o o r an d vel vet cu r t ai n s, wh i l e the br ass p an el s an d r ai l s ar e g i l d ed to cr eat e a so f ter an d war m er ef fec t . ’ (S au n t er 2 0 1 5 )
GOLD STATUS
LIGHT OPULENCE
i n n o vat i v e d i s p l ay m e t h o d s
INDUSTRIAL FEATURE
DUSKY CONTRAST SOLID SHAPE SILVER SUCCESS
Fig 9 7 . V iu S tore by A e be rh a rd/ K a e g i, H am bu r g , G e rm a n y (2 0 1 5 ) Fig 9 8 . Be a de d h a n g e rs a t L o n do n Fa s h ion We e k e n d (2 0 1 6 ) Fig 9 9 . K arl L a g e rfe l d VM on R e g e n t S tr e e t, L on don (2 0 1 6 )
EMPTY SPACE
Fi g 1 00. F am ou s Art Deco patter n des i gn Fi g 101. S e lf - por trait pai ntin g by Tama ra de Le m p icka (19 29) Fi g 102. C ir se b y Erte (Ar t D ec o ill ust r a tor )
influences
m e ta l li c l u x u ry
art deco F i g 1 0 3 . 1 9 3 0 A r t D ec o desi g n b y Ho l ab i r d an d R o o t at the f amo us Ch i cag o B o ar d o f T r ade bu i l d i n g an d i s t h e ep i to m e o f Ar t Dec o st yl i n g . F i g 1 0 4 . Ch r ysl er bu i l d i n g i n N ew Yo r k d esi g n ed b y ar ch itec t Wi l l i am Van A l en (1 9 2 8 ) i s o n e o f t h e m o st i c o n i c bu i l di n g s o f the A r t D ec o m ovem en t an d wh en t h e su n sh i n es o n t h e sk ysc rap er, it g l i st en s an d t r an sfo r m s i n to g o l d . F i g 1 0 5 . J ’ad o r e D i o r p er f u m e cam p ai g n st ar r i n g Ch ar l i ze Thero n an d p h o to g r ap h ed b y J ean - B ap t i st e M o n di n o r ep r esen t s Theia wh o was t h e Ti t an G r eek g o dd ess o f si g h t an d sh i n i n g l ig ht an d t h e g o dd ess wh o en dowed g o l d, si l ver an d g em s wi th her br i l l i an ce an d i n t r i n si c val u e. ( wi t c h er i .bl o g sp o t ) G o l d h a s always been asso c i at ed wi t h l u x u r y an d weal t h , wh i ch i s wh y h i gh- s tr eet br an ds u se t h e g o l d acc esso r i es an d back - dr o p s i n t h ei r vis ual m er c h an d i si n g to m ak e t h ei r sto r es seem m o r e h i g h - en d. T h e u n i q u e ar t m ovem en t br o u g h t sl eek l i n es an d dec o r ative s tyle to ar ch i t ect u r e, f u r n i t u r e, ar t s, j ewel l er y an d m an y m o r e and was a c el ebr at i o n o f l i fe i n i t s m o st l u x u r i o u s fo r m . T h e t r en d co mbines t h e Ar t D ec o sen se o f o p u l en c e wi t h so f t i n d u st r i al feat ur es em er g i n g i n to a r an g e o f sto r e wi n dows an d i n t er i o r s to day.
ruled collision A collision of both vertical and horizontal lines, slanted, rotated or misaligned to create intriguing multicoloured and interlaced comp ositions.
COMPOSITION
Using an array of clashing colours that take inspiration from the 60’s Space Age movement infused with the iconic 70’s golden, yellow hues to create an unusual yet cutting-edge pale tte.
CO LO U R C LAS H Fig Fig Fig Fig
106. 107. 108. 109:
Backstage at Pr a d a S S 1 6 Misso ni SS16 r e a dy -to-we a r Preen-line SS 1 6 r e a d y -to-we a r H eyStudio prin t gr a phi c
F i g 1 1 0 . Mi sso n i F al l 2 0 1 6 F i g 1 1 1 . S a l va to r e F er r ag am o S p r i n g 2 0 1 6 F i g 1 1 2 . Pi nk a n d G r een st r i p ed g r ap h i c by Mag n u s Vo l l Mat h i asso n
NATIVE ANGLE
GOLDEN RULE
PRIMARY ABSTRACTION WARM EDGE
DUSKY DIVISION MUTED CYAN CALIGINOSITY CORRELATION NEUTRAL INBETWEEN
SILHOUETTE
a b s t rac t
influences Fig 113. Ken Scott Spring 1969 Fig 114. Piet Mondrain’s famous Composition No. 3 painting (1929) Fig 115. David Bowie: Striped bodysuit for “Aladdin Sane” tour, 1973. Abstract Art has influenced trends continuously from the 1930’s with geometric compositions and the use of primary colours. The movement has had a huge impact on stripes and abstract elements within our designs with producing dynamic and highly colourful, painterly art. (Ormiston, 2014)
gra ph i c s
F ig 1 1 6 . The Tu r n i n g , 2008. P e t e r H a l l ey us es Acryl i c, D ay - Glo a c r y l i c, p e a r l e sce n t a cr y l i c a n d Ro l l -A-Tex o n c a nva s .
F i g 117. To day’s I t al i an Publ i ci t y and Graphic Des i gn po s t er by F ranco G ri gnani (196 7 ). F i g 118. I co ni c Paul Sm i t h brandi ng and log o
i co n i c b ran di n g
list of i l l u s t r at i o n s F i g 1. F e d e r ic a, F. (2 0 1 6 ) B a c k s ta g e a t Ma rn i AW 1 6 [Ph otog raph}. Available at: http:/ / w w w.dazeddigital.com/ f ashion/ galler y/ 21638/ 0/ ma r ni - aw 1 6 (A c c e s s e d : 2 3 May 2 0 1 6 ) . F i g 2 & 3 . A n o n ym o u s (2 0 1 6 ) Em e l + A ri s C a m pa i g n [Ph otog raph]. Available at: http:/ / w w w.vogue.co.uk/ new s/ 2016/ 03/ 11/ em el - a n d - ar is - we ar a ble - te c h n ol og y -h e a te d-c oa ts - i n te rvi ew (Accessed: 23 May 2016). F Ig 4. Th e N ap s ac k - B lu e Ste e l (n o da te ) A va i l a bl e a t: h ttp: // w w w.poler stuf f.com/ pr oducts/ the-napsack-blue-steel?var i a nt =381 5 1 6 2 1 1 6 (A c c e s se d: 2 3 May 2 0 1 6 ) F i g 5. An o n ym o u s (2 0 1 6 ) T h e s h i ft s n e a k e r- th e s m a rt-s u rfa ce shoe you contr ol (2016) Available at: http:/ / shif tsneaker.com (Ac cessed: 2 3 May 2 0 1 6 F i g 6. An o n oym o u s (2 0 1 5 ) Ni x i e D ron e Wa tc h [Ph otog ra ph ]. A vailable at: http:/ / w w w.huf f ingtonpost.com/ ker r y-j-nor thr up/ smar twatch es- do - l ittle - fo r - j o u r n alis ts-bu t- m ore -u s e fu l - we a ra bl e s - a re - on-the-way_b_7047830.html (Accessed: 23 May 2016). F i g 7. i B ac k P ac k c am p a ign (n o da te ) [Ph otog ra ph ]. A va i l a bl e at: https:/ / w w w.indiegogo.com/ pr ojects/ ibackpack-w if i-batter ies-bullet pr o o f - m o r e # / (A c c e s s e d: 2 3 May 2 0 1 6 ) . F i g 8 & 9 . Yo u r k itc h e n tabl e c ou l d c h a rg e you r ph on e wi th free power ( 2015) [Photogr aph]. Available at: https:/ / w w w.space10.io/ jou rna l / yo ur - k itc h e n - tab le - c ou l d-c h a rg e -you r- ph on e - wi th - fre e -power (Accessed: 23 May 2016). F i g 10. G e tty, I . (n o da te ) Hu s s e i n C h a l aya n fe te s di s s ol vi n g coats at Par is Fashion week [Photogr aph] Available at: http:/ / w w w.ecou t er r e.c o m /h u s s e in - c h a laya n - fe te s - di s s ol vi n g - c oa ts - a t-pa ri s -f ashion-week/ hussein-chalayan-dissolving-coat-par is-f ashion-week-1 / (A cc ess e d : 2 3 May 2 0 1 6 ) . F i g 11. A n o n ym o u s (2 0 1 4 ) Me e t th e fu tu re of h ou s i n g : Th e Tehr an home w ith MOVEABLE r ooms [Photogr aph]. Available at: http:/ / w ww. da i l y ma il.c o . u k /n ew s / a r ticl e -2 7 2 8 6 9 1 /We -m ovi n g -bl oc k - How-Tehr an-come-ultimate-space-saving-featur e-MOVEABLE-r ooms-And- spush - b u tto n .h tm l (A c c e s s e d: 2 3 May 2 0 1 6 ) . F i g 12. A n o n ym o u s (n o date ) A u s tra l i a ’s Su rry h i l l s l i bra ry s e t s new standar d for gr een design. Designed by Tyler Shor t [Photogr aph} . Ava i l a bl e at: h ttp : / /in h a b i ta t.c om /s u rry - h i l l s - l i bra ry -a u s tra l i as-new -standar d-of -sustainable-excellence/ sur r y-hills-libr ar y-communi t y - cent r e - 1 0 / (A c c e s s e d: 2 3 May 2 0 1 6 ) . F i g 13. A p p le iP h o n e 7 : C on c e pt a n d s pe c i fi c a ti on s (n o da te ) [[]. Available at: http:/ / w w w.deccanchr onicle.com/ 150321/ technolo g y - mo bi le s - a n d - tab s / a r ticl e /a ppl e -i ph on e -7 - c on c e pt-a n d- s p ecif ications ( Accessed: 23 May 2016). F i g 14. A n o , D . (2 0 1 3 ) G a l l e ry of ph otog ra ph e r’s We e k e n dh ouse / Shin Ohor i - gener al design - 6 [Photogr aph]. Available at: http:/ / www.a r c h da ily.c o m / 3 1 1 9 5 6 /ph otog ra ph e rs -we e k e n dh ou s e - gener al-design/ 50db5823b3f c4b323000003d-photogr apher s-weekend ho use- g e n e r al- de s ig n - p h oto (A c c e s s e d: 2 3 May 2 0 1 6 ) . F i g 15. Te a m P h o to , 2 0 1 6 . Na ti ve Sh oe s F a l l /W i n te r 2 0 1 6 pri nt campaign at Seek T r ade Show, Ber lin. [Photogr aph] F i g 16. Te a m P h o to , 2 0 1 6 . He i m pl a n e t’s s ta n d a t Se e k Tra de Show, Ber lin. [Photogr aph] F i g 17. A n o n ym o u s (2 0 1 5 ) Th e de s i g n e r’s g u i de to th e g ol de n r atio. [Diagr am]. Available at: http:/ / w w w.cr eativebloq.com/ design/ de si g ner s- g u id e - go lde n - r a ti o- 1 2 1 2 1 5 4 6 (A c c e s s e d: 2 3 May 2 0 16). F i g 18. Te a m P h o to , 2 0 1 6 . Na ti ve Sh oe s F a l l /W i n te r 2 0 1 6 pri nt campaign at Seek T r ade Show, Ber lin. [Photogr aph] F i g 19. M a ve r ic k s Te n t f r om He i m pl a n e t. Te n ts a rc h i ve s (n o date) Available at: http:/ / w w w.heimplanet.com/ shop/ categor y/ tents/ (Ac cessed: 2 3 May 2 0 1 6 ) . F i g 20. A n o n ym o u s (2 0 1 5 b) Th e fi rs t C e n te r Pa rc s s e t to open a par k in I r eland. [Photogr aph]. Available at: http:/ / w w w.chad.co.uk/ news/ bu s in e s s /c e n te r - p arc s -s e t- to- ope n -a -pa rk -i n -i re l a n d- 1-7189981 ( Accessed: 23 May 2016). F i g 21. a le x is c a n (2 0 1 2 ) ‘In te ri or de s i g n wi th A l e x i s ’ , a l e x i s c annar iato, 7 December. [Photogr aph]. Available at: https:/ / alexiscannaria to .wo r dp r e s s .c o m (A c c e s s e d: 2 3 May 2 0 1 6 ) . F i g 22. Te r vo o r t, M. (2 0 1 6) 6 s tri k i n g s pi ra l s ta i rs i n m ode rn homes [Photogr aph]. Available at: http:/ / w w w.dwell.com/ r ooms-we-love/ a r t i cl e/ 6 - s tr ik in g- s p ir al- s ta i rs - m ode rn - h om e s (A c c e s s e d: 2 3 May 2016). F i g 23. A n o n ym o u s (2 0 1 3 ) Wh y th i n g s don ’t fa l l down : A n ti -te nsegr ity [Photogr aph]. Available at: https:/ / cer ebr ovor tex. co m / 2 01 3 /1 1 /0 5 /w h y- th in g s -don t-fa l l - down - a n ti -te n s e g ri ty / (Accessed: 23 May 2016). F i g 24. M o r e n o , M. (2 0 1 6 ) Ph otog ra ph y : Sa l va dor D a l i m u s e u m (22467) Available at: http:/ / w w w.ar chitr avel.com/ ar chitr avel/ building/ sa l va do r - d ali- m u s e u m /s al va dor_da l i _m u s e u m _2 / (A c c e s s e d: 23 May 2016). F i g 25. A n o n ym o u s (1 9 9 4 ) STUA RT W EITZMA N, Rom e 2 0 0 6 [Photogr aph]. Available at: http:/ / w w w.novembr e.it/ inter ior s/ stuar t-weitz ma n- stor e / (A c c e s s e d: 2 3 May 2 0 1 6 ) . F i g 26. I wa m o to , L . (2 0 1 2 ) Vou s s oi r c l ou d i n s ta l l a ti on by Sa n Fr ancisco f ir m I wamotoScott ar chitectur e [Photogr aph]. Available at: ht t p:/ / ww w.d we ll.c o m /p h oto/3 7 8 0 4 /vou s s oi r- c l ou d- i n s ta l l a ti on-san-f r ancisco-f ir m-iwamotoscott-ar chitectur e (Accessed: 23 May 2016) .
list of i l l u s t r at i o n s F Ig 27. A n o n ym o u s (2 0 1 4 a ) L A VO UTE D E L EF EVR E - A PR OTOT YPE FOR VOLUMET RI C ARCHI T ECT URE by Matter Design Ar chitects [ P ho to g r ap h ]. A vaila ble at: h ttp://u k .a rc h e l l o.c om /e n /proj e c t/ la-voute-de-lefevr e (Accessed: 23 May 2016) F i g 28. A n o n ym o u s (n o date ) Pa l a c e l og o [G ra ph i c ]. A va i l a bl e at: http:/ / w w w.supplystor e.com.au/ br ands/ palace.aspx (Accessed: 23 May 201 6 b ) . F i g 29. A n o n ym o u s (2 0 1 6 a) Pa l a c e L u c i e n C l a rk e D e c k s [Ph otogr aph]. Available at: http:/ / w w w.caughtinthecr ossf ir e.com/ skate/ pr od uc t - r ev iew s / p a lac e - s k ate boa rds -k n i g h t- de c k -s e ri e s / (A c c e ssed: 23 May 2016). F i g 30. A n o n ym o u s (2 0 1 6 a) Ma rn i AW 1 6 /1 7 [Ph otog ra ph ]. 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A n o n ym o u s (n o date ) Sh owroom : m ode rn re ta i l l i g h ti ng [Photogr aph]. Available at: http:/ / w w w.hudsonandbr oad.com/ show r oom (A cc ess e d : 2 4 May 2 0 1 6 g ) . F i g 63. A n o n ym o u s (2 0 1 3 a) F a c a de No. 1 0 - R on G a l i d [Ph otogr aph]. Available at: http:/ / w dkaminimalisme.tumblr.com/ po st / 704 0 8 4 9 8 7 6 5 / f ac a de - n o-1 0 -2 0 1 3 -ron - g a l i d- bron (A c c essed: 24 May 2016). F i g 64. Te a m P h o to , 2 0 1 6 . Mi c h a e l Mu l l e r ‘ Wh o’s Spe a k i n g ?’ exhibition at the KW I nstitute, Ber lin. [Photogr aph] F i g 65. F la vin , S . (1 9 6 3 ) Da n F l a vi n | th e di a g on a l . A va i l a bl e at: https:/ / w w w.ar tsy.net/ ar twor k/ dan-f lavin-the-diagonal-of may - 2 5- 1 9 6 3 - 1 (A c c e s s e d: 2 4 May 2 0 1 6 ) . F i g 66. K ap p e r t, M. P . (2 0 0 9 ) D on a l d J u dd [Ph otog ra ph ]. A va i l able at: http:/ / minimalissimo.com/ donald-judd/ (Accessed: 24 May 2016) . F i g 67. Z ie h e , J . 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Available at: http:/ / w w w.bkr w.com/ noa-r aviv-3d-pr int ed- v i r t ual- r e a lity- f as h io n -c ol l e c ti on / (A c c e s s e d: 2 4 May 2 0 16). F i g 71 & 7 4 . I n dig ita l (2 0 16 f) Hol l y F u l ton A /W 1 6 /1 7 [Ph otog r aph]. Available at: http:/ / w w w.kokolife.tv/ new s/ 2016/ 02/ 20/ holly-f ultonaw1 617 - ko ko - tv / (A c c e s s e d: 2 4 May 2 0 1 6 ) . F i g 72. Te a m P h o to , 2 0 1 6 . D i s s on a n c e A re a a t Pre m i u m Tra de Show, Ber lin. [Photogr aph] F i g 73. A n o n ym o u s (2 0 1 5 c) Se re n a G i l i : C e n tra l s t Ma rti n s a t London f all 2014 [Photogr aph]. Available at: http:/ / w w w.livingly.com/ r un way / Lo n do n + Fas h io n + We e k + F a l l + 2 0 1 4 /C ENTRA L + ST+ MA RT I NS/ Details/ yI 692xvtRQO (Accessed: 24 May 2016). F i g 75. A r n o ld , K .W . (2 0 1 5 ) Iri s va n He rpe n s pri n g 2 0 1 6 re a dy-to-wear f ashion show [Photogr aph]. Available at: http:/ / w w w.vogue.com / fa shi o n- s h ow s /s p r in g - 2 0 1 6 - re a dy -to- we a r/i ri s -va n -h e rpe n /s lideshow / collection#19 (Accessed: 24 May 2016). F i g 76. Ho , L . (2 0 1 1 ) S ta r h i l l g a l l e ry [Ph otog ra ph ]. A va i l a bl e at: http:/ / w w w.ar chdaily.com/ 341299/ star hill-galler y-spar k-ar chitects (A cc ess e d : 2 4 May 2 0 1 6 ) . F i g 77. p h o to eve r yw h e r e (n o da te ) Mode rn g e om e tri c a rc h i tectur al detail [Photogr aph]. Available at: http:/ / stockar ch.com/ images/ bui l d i ng s /c lo s e /m o de r n - ge om e tri c - a rc h i te c tu ra l -de ta i l - 5 3 6 8 (Accessed: 24 May 2016). F i g 78. A n o n ym o u s (n o date ) Th e h i g h l y e ffe c ti ve WW II c a m ouf lage patter n that tur ned war ships into avant-gar de ar t [Photogr aph]. Ava i l a bl e at: h ttp : / /w w w.p opu l a rm e c h a n i c s .c om /m i l i ta ry /n a vy-ships/ a20412/ dazzle-the-camouf lage-patter n-that-tur ned-war shipsi nto - zebr a s / (A c c e s s e d: 24 May 2 0 1 6 h ) . F i g 79. V ic to r , V . (1 9 3 8 ) ‘Ze bra ’ O p A rt [Pa i n ti n g ]. A va i l a bl e a t: http:/ / illusion.scene360.com/ ar t/ 76098/ 5-amazing-op-ar tists/ (Ac cessed: 2 4 May 2 0 1 6 ) . F i g 80. M o r k , A . (n o date ) Mi dde l fa rt s a vi n g s ba n k i n D e n m a rk [Photogr aph]. Available at: http:/ / divisar e.com/ pr ojects/ 129494-adammo r k- 3x n - m idde lf ar t- s a vi n g s - ba n k (A c c e s s e d: 2 4 May 2 0 1 6 ).
list of i l l u s t r at i o n s F i g 81. Bo o m , D . (2 0 0 4 ) Gri d- pa tte rn e x h i bi ti on vi ew [Ph otog raph]. Available at: http:/ / w w w.ignant.de/ 2012/ 04/ 10/ esther -stocker / (A cc ess e d : 2 4 May 2 0 1 6 ) . F i g 82. A n o n ym o u s (2 0 1 6 f ) Ye e z y fa l l 2 0 1 6 re a dy -to- we a r fa shion show [Photogr aph]. Available at: http:/ / w w w.vogue.com/ f ash i o n- show s / f all- 2 0 1 6 - r e a dy -to- we a r/k a n ye -we s t- a di da s - ori g i nals ( Accessed: 24 May 2016). F i g 83. A n o n ym o u s (2 0 1 6 f ) Urba n A dve n tu re : B e rl i n Tra de Show s: Str eet Flash Repor t [Photogr aph]. Available at: http:/ / w w w.w gsn.com . ezpr o xy.n tu . a c .u k / c o n te n t/s e a rc h /# /be rl i n (A c c e s s e d: 2 4 May 2016). F i g 84. A n o n ym o u s (2 0 1 6 b) B e rl i n Tra de Sh ows R ou n d Up Re por t [Photogr aph]. Available at: http:/ / w w w.w gsn.com.ezpr oxy.ntu.ac.uk / co nt ent / s e ar c h / # / be r lin [Ph otog ra ph ]. (A c c e s s e d: 2 4 May 2 016). F i g 85. A n o n ym o u s (2 0 1 5 a) J u u n .J Me n s we a r 2 0 1 5 [Ph otog raph]. Available at: http:/ / w w w.thef ashionisto.com/ par is-f ashion-week-f all wi nt er - 2 0 1 5 - r o u n du p - j u u n- j -u m i t-be n a n / (A c c e s s e d: 2 4 May 2016). F i g 86. A n o n ym o u s (2 0 1 5 b) Me n s we a r a rc h i ve s - Nove l ty J ogger Pants [Photogr aph]. Available at: http:/ / publishbr and.com/ tag/ mens wea r / ( A c c e s s e d: 2 4 May 2 0 1 6 ) . F i g 87. Hyp e B e a s t (2 0 1 5 i) K a n ye we s t x a di da s c l oth i n g c ol l ection (Yeezy boots) [Photogr aph]. Available at: http:/ / w w w.missinfo.tv/ i ndex. ph p / k an ye - we s t- a di da s - ye e z y - 7 5 0 - boos t- l ow/ (A c c e s sed: 24 May 2016). F i g 88. A n o n ym o u s (2 0 1 6 c) Be rl i n Tra de Sh ows : Pri n t & G ra phics AW16/ 17 [Photogr aph]. Available at: http:/ / w w w.w gsn.com.ezpr oxy. nt u.a c. u k / c o n te n t/s e ar c h / # /be rl i n (A c c e s s e d: 2 4 May 2 0 1 6 ) . F i g 89. Kevo r k D j a n s e z ia n /A P (2 0 1 5 j ) K a n ye we s t we a rs a n g el w ings at Gr ammys - photos - Kanye west’s most outr ageous mo m ents [ P h o to gr a p h ] . A va i l a bl e a t: h ttp://www.n y da i l y n ews .com/ enter tainment/ kanye-west-outr ageous-moments-galler y1.21119 0 4 ? p m S lid e = 1 .2 1 1 1 8 9 3 (A c c e s s e d: 2 4 May 2 0 1 6 ) . F i g 90. A n o n ym o u s (2 0 1 6 e) K a n ye we s t re l e a s e s tra i l e r of h is video game ‘only One’ about his mother going to heaven [Gr aphic]. Ava i l a bl e at: h ttp : / /m ov ie pi l ot.c om /pos ts /3 7 7 8 3 8 9 (A c c e s s e d: 24 May 2016). F i g 91. N u de lm an , M. (2 0 1 5 ) D on a l d Tru m p a n d fox n ews h a ve r eached a tr uce. Available at: http:/ / uk.businessinsider.com/ donaldt r um p- fo x - n ew s - fe u d- m e gy n -k e l l y - 2 0 1 5 -8 ?r= US&IR= T (A c c essed: 24 May 2016). F i g 92. Sc h o e lle r , M. (n o da te ) J ay Z portra i t [Ph otog ra ph ]. A vailable at: http:/ / w w w.w hitezine.com/ f r / photogr aphy/ por tr aits-by-mar t in sch o el l e r. h tm l/ a tta c h m e nt/m a rti n -s c h oe l l e r- j ay -z - portra i t (A ccessed: 24 May 2016). F i g 93. Tid a l r ev iew (2 0 1 6 ) [G ra ph i c ]. A va i l a bl e a t: h ttp: //www.techr adar.com/ r eview s/ audio-visual/ hi-f i-and-audio/ music/ tid a l - 12706 0 7 / r eview (A c c es s e d: 2 4 May 2 0 1 6 ) . F i g 94. Te a m P h o to , 2 0 1 6 . B y Ti Mo c l oth i n g ra i l a t Pre m i u m Tr ade Show, Ber lin. [Photogr aph] F i g 95. A n o n ym o u s (2 0 1 5 c) Ne ri &Hu i n s ta l l s c on ti n u ou s c l othing r ail in Comme moi stor e [Photogr aph]. 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Available at: http:/ / w w w.r etailstor ew indow s.com (Accessed: 24 May 201 6 ) . F i g 100. A n o n ym o u s (n o da te ) A rt de c o [G ra ph i c ]. A va i l a bl e at: http:/ / qns.com/ events/ 2016/ 03/ 23/ ar t-deco-ar chitectur e-in-queens/ (A cc ess e d : 2 4 May 2 0 1 6 a ) . F i g 101. L e m p ic k a , T. de (1 9 2 9 ) Se l f- portra i t i n th e g re e n B u gatti ( oil on wood) [Painting]. Available at: http:/ / pokingsmot.net/ ar ch i ves/ 6 9 2 6 (A c c e s s e d : 24 May 2 0 1 6 ) . F i g 102. Er te (n o date ) C i rs e [Il l u s tra ti on ]. A va i l a bl e a t: h ttp:// w w w.w ikiar t.or g/ en/ er te/ cir se?utm_sour ce=r etur ned&utm_medium=r e fer r a l & u tm _c am p a ign = r e fe rra l (A c c e s s e d: 2 4 May 2 0 1 6 j ) . F i g 103. A n o n ym o u s (n o da te ) C h i c a g o boa rd of tra de bu i l di ng [Photogr aph]. 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Carrie Hubb ard N0 577760 FASH2 0 0 3 2