Re-constructing the Fashion Retail Industry by Jai Mehra

Curtin University

Re-constructing the Fashion Retail Industry. Architectural Thesis Project by Jai Mehra

Re-constructing the Fashion Retail Industry. 70% Design Thesis ARCH6006

Jai Mehra 18853496 Thesis Supervisor: Annette Condello

Masters of Architecture Curtin University Nov 2020

Gearson, Tierney. 2019. Vogue September Issue At A Recycling Facility Wearing Upcycled And Regenerated Clothing By Marine Serre, Stella Mccartney, CDLM, And Everlane.. Image.

Abstract. Originally a means of visual communication and social representation, the identity of the fashion industry has shifted to one of mass production and overconsumption fuelled by the exploitation of humans and the natural environment (Fraser-Mines 1, 2017). In order to compete and capitalise on the growing demands of the industry, brands have shifted their focus to the development of trendy yet affordable garments, resulting in a notion that can be called ‘Fast Fashion’ (Bhardwaj and Fairhurst 2009). This has led to environmental issues such as excess waste from factory offcuts and overconsumption, as well as ethical issues from outsourcing manufacturing to third world countries where unsafe working conditions and cheap labour run rampant (Thomas 2019).

In her text Fashionopolis, journalist Dana Thomas discusses the idea of ‘Slow Fashion’, a movement by designers and manufacturers who, in effort to address fast fashion, have stowed away from the fast pace and financially driven nature of the industry, choosing instead to focus on creating garments with ingrained value whilst prioritising the customer experience (Thomas 2019). An example of this would be the relatively newly coined ‘upcycling’ process of garment production. Re-using what would otherwise find itself in landfill, upcycling involves recycling second-hand material through craftsmanship and innovative design techniques to create a product of equal or higher value to the original (Cassidy and Han 148, 2013). With this in mind, my thesis aims to address these issues of textile waste and unethical manufacturing through the creation of a slow fashion retail hub.

Keywords: fast fashion, upcycling, slow fashion, sustainability, ethics, local manufacturing

Acknowledgements. I would firstly like to thank my family for their unconditional love and support throughout my studies, I would have not had the opportunity to study Architecture if it wasnâ&#x20AC;&#x2122;t for them. I would also like to thank my girlfriend Maria for answering any questions I had about fashion and spending her own personal time in supporting me whenever I got stuck or needed advice.

I have a tremendous appreciation for my friends who would lighten the mood even in the most stressful of times. I would specifically like to acknowledge Jack Johnson for keeping me company through all the big days and late nights online; I will look back fondly on the time we spent together throughout our course.

Lastly, to my thesis supervisor Annette Condello, thank you for your guidance and support throughout the year. I am extremely appreciative of you constantly pushing and encouraging me to design something to the best of my abilities; to always push the envelope.

I sincerely thank you all.

Contents Abstract ............................................................................................................................................................................................................... Acknowledgements ............................................................................................................................................................................................. Background ......................................................................................................................................................................................................... An Escape from Fast Fashion ............................................................................................................................................................................................................................................ Authenticity through Transparency ................................................................................................................................................................................................................................... Slow Fashion Movement................................................................................................................................................................................................................................................... Sustainable Luxury ........................................................................................................................................................................................................................................................... The Framework................................................................................................................................................................................................................................................................. Ideological Deconstruction................................................................................................................................................................................................................................................ Physical Deconstruction ....................................................................................................................................................................................................................................................

Significance......................................................................................................................................................................................................... Research / Design Process ................................................................................................................................................................................... Site Visits ......................................................................................................................................................................................................................................................................... Literature Reviews ............................................................................................................................................................................................................................................................ Precedent Studies .............................................................................................................................................................................................................................................................. 3D Modelling / BIM ......................................................................................................................................................................................................................................................... Illustration / Sketch Diagramming.....................................................................................................................................................................................................................................

Site ...................................................................................................................................................................................................................... King Street Precinct, Perth ................................................................................................................................................................................................................................................

Design Criteria .................................................................................................................................................................................................... Slow Fashion Retail Hub...................................................................................................................................................................................................................................................

The Design .......................................................................................................................................................................................................... Iterations ........................................................................................................................................................................................................................................................................... Base Form......................................................................................................................................................................................................................................................................... Materiality ........................................................................................................................................................................................................................................................................ Brand Manufacturing Area................................................................................................................................................................................................................................................ Primary Store Display ....................................................................................................................................................................................................................................................... Communal Market Area .................................................................................................................................................................................................................................................... Public Exhibition / Gallery ................................................................................................................................................................................................................................................ Staff Area / Collections Storage ........................................................................................................................................................................................................................................ Pop-Up Stores ................................................................................................................................................................................................................................................................... Underground Storage ........................................................................................................................................................................................................................................................ Public Library ................................................................................................................................................................................................................................................................... Pleated Faรงade / Roof ....................................................................................................................................................................................................................................................... Extruded Brick Exterior Walls .......................................................................................................................................................................................................................................... Deconstructed Windows ...................................................................................................................................................................................................................................................

Images ................................................................................................................................................................................................................. References ........................................................................................................................................................................................................... Appendix .............................................................................................................................................................................................................

Chapter 1.

Background

Ahad, A.M. 2013. People Gather As Eight Story Factory Collapses. Image.

An Escape from Fast Fashion.

The evolution of technology has led to unethical and unsustainable practices within the growing fashion industry. In order to compete, brands are now focused on the development of affordable garments at a fast pace to maintain profit margins in the increasingly demanding market (Bhardwaj and Fairhurst 2009). This has created a culture of overconsumption leading to mass production, increased waste, and a notion dubbed â&#x20AC;&#x2DC;Fast Fashionâ&#x20AC;&#x2122; (Fletcher 2012). To ensure their products remain affordable and relevant, many fashion powerhouses, such as Zara, outsource their manufacturing to third world countries where there is a severe lack of safety regulations and substantially lower wages (Thomas 2019). The consequences of this were seen at Savar Upazila, Bangladesh in 2013, where an eight-story Dhaka garment factory collapsed killing over 1100 innocent civilians and injuring approximately 2500 more (Paton 2020).

As a result, younger generations are looking toward

slow fashion,

a growing movement by designers and manufac-

turers who, in response to fast fashion, have stowed away from the fast pace and financially driven nature of the industry, choosing to instead focus on creating garments with ingrained value through sustainable and ethical production methods (Thomas 2019). This can be seen in the

‘Upcycling’

process of garment production, where post-consumer and post-industrial waste is deconstructed

and reconstructed through craftsmanship and clever design techniques, to create a garment of equal or higher quality to the original. It should also be acknowledged that the term ‘slow fashion’ is not strictly associated with products or services that are ‘less fast’ than their competitors, rather the term is used to differentiate the movement from the growth of the traditional fashion industry; offering a new perspective on garment production (Fletcher 263, 2010). The movement is used to trigger discussion about systems within the fashion industry today and to challenge the role of economic growth, overconsumption and luxury found within the fast fashion sector. Put simply, slow fashion is as a vision of sustainability for the fashion industry of today (Fletcher 262, 2010).

Westwood, Vivienne. 2020. Designer Vivienne Westwood Standing Amongst Waste And Pollution. Image.

Following closely with these ideas of slow fashion, upcycling and deconstruction, my thesis aims to generate a slow fashion retail hub that can be viewed as an alternative to an unsustainable and unethical fast fashion future.

Authenticity through Transparency.

In order to identify the programmatic requirements needed for a slow fashion retail hub, an understanding of the slow fashion movement and upcycling production process must be developed. In her text Fashionopolis, journalist Dana Thomas discusses the notion of ‘slow fashion’, a movement that embraces localisation and instils a higher awareness of the design process and its impact on resources, workers, communities, and ecosystems (Fletcher 264, 2010).

Take for example ‘The Factory’, a store designed by fashion designer Natalie Chanin. The Factory features the work of Chanin’s brand, Alabama Chanin, and is located in the midst of their design and production studio. Besides functioning as a retail store, The Factory also provides educational resources, sewing classes and guided tours of the production process to the public, embracing localisation and emphasising a strong and transparent relationship between brand and consumer.

Westwood, Vivienne. 2020. Designer Vivienne Westwood Standing Amongst Waste And Pollution. Image.

In their text Retail Design: Theoretical Perspectives, Ann Petermans and Anthony Kent acknowledge the modern-day consumers growing interest in authenticity within the products and services they buy, claiming it is no longer sufficient to simply design something functional and beautiful (Petermans and Kent 141, 2016). I believe that by utilising a vast and transparent program, The Factory achieves this notion of authenticity. With this in mind, it becomes important that the proposed slow fashion retail hub incorporates a vast, transparent and authentic program to encourage consumers to prioritise slow fashion over the fast fashion alternative.

Forbes. 2020. Studio ALCH Fall/Winter 2020 Runway Show During London Fashion Week. Image.

Slow Fashion Movement

The slow fashion movement is often discussed in conjunction with the upcycling production process, with many designers viewing it as the single most effective way to slow down fashion without resorting to the boycotting of brands (de Morais and Parode 1, 2017). By re-using and re-purposing textile waste and second-hand material, the upcycling process minimises the level of waste produced by creating an entirely new garment, whilst also generating a level of luxury given the scarcity and uniqueness of the raw material. It is through this utilisation of naturally scarce materials, limited production runs and selective distribution that consumers may start to find themselves more inclined to prioritise slow fashion and sustainable luxury over the unsustainable, fast fashion counterpart (Brun and Castelli 823-847, 2013).

This process can be seen in the work of fashion brand Studio ALCH. Situated in London and honed by Australian designer Alexandra Hackett, Studio ALCH focuses on the process of deconstruction and reconstruction of textile waste to extend the lifespan of pre-existing garments (Shurvell 1, 2020). This can also be seen architecturally in the work of company Rotor Deconstruction where buildings are dismantled, and materials are salvaged to be used or sold for future developments, resulting in a sustainable construction process.

Drawing on these examples of slow fashion and upcycling, the proposed slow fashion retail hub will consist of salvaged materials and be designed to accommodate for the retail and production requirements of a deconstructive upcycling fashion brand, whilst also consisting of a supplementary program that focuses on transparency between brand and consumer to generate a sustainable and ethical future for fashion retail.

Rotor Deconstruction. 2020. Deconstruction Of Masonry Flooring In Abandoned Structure. Image.

Sustainable Luxury

Through time, the definition of luxury has shifted and evolved. Originally, luxury was defined as an unnecessary yet desirable item that evoked characteristics of expense and obscurity (Cappellieri, Tenuta and Testa 2, 2020). These features can be seen in many traditional luxury fashion brands where these notions of expense and obscurity are marketed to consumers in an attempt to encourage them to desire the garments they produce, despite the high price tag. As a result, fast fashion brands have capitalised on the young consumers desire for luxury by mimicking current luxury fashion trends through unsustainable, low-cost clothing collections (Joy et al. 1, 2012).

When considering a sustainable future for the fashion retail industry it becomes important that these traditional ideas of luxury are brought forth to a sustainable forefront. With consumers continuing to become more eco-conscious, the traditional idea of luxury has grown to encompass features such as craftsmanship, exclusivity and uniqueness (Cappellieri, Tenuta and Testa 2, 2020). This can be seen in the growing slow fashion movement where the obscurity of material and high level of innovative craftsmanship work together to instil a sense of sustainable luxury within the consumer. Already seen within the upcycled brand that occupies the proposed slow fashion retail hub, this notion of sustainable luxury will also be reflected architecturally through the crafting of salvaged and repurposed materials. Take for example the ‘Brickface’ house by Austin Maynard Architects, where salvaged red brick was crafted and extruded along the façade to bring new life to an otherwise discarded material (Maynard 2017).

Rotor Deconstruction. 2020. Deconstruction Of Masonry Flooring In Abandoned Structure. Image.

The Framework

The proposed slow fashion retail hub will be targeted at fashion conscious members of Generation Z and Y. With fast fashion brands continuing to be exposed for their unethical and unsustainable framework, members of Generation Z and Y are looking for more sustainable alternatives (Berkley Economic Review 2019). Drawing on aforementioned examples of slow fashion and upcycling, the hub will consist of a boutique and medium-scale warehouse that focuses on the deconstruction and reconstruction of second-hand material. The framework of the proposal will be as follows; designers will source second-hand garments and factory textile excess, from here the clothing will be cleaned, deconstructed and reconstructed by the designers to create an entirely new garment and issued for sale. As a result, the manufacturing process is kept entirely local, addressing ethical issues that arise from outsourcing this process to third world countries and instilling a sense of sustainable luxury within the consumer knowing they are one of the only people in the world with that specific design. This notion of upcycling is also reflected architecturally with salvaged bricks from the original structure on site and surrounding areas being used to generate the form of the proposed slow fashion retail hub. Local manufacturing also presents the opportunity to further develop upon the transparency between brand and consumer. Rather than trying to hide unethical manufacturing behind closed doors, the store can now embrace this process, displaying with confidence what traditionally would have been concealed. Following this the hub will also feature a program inclusive of public resources such as exhibition spaces, rentable pop-up spaces and workshop sessions that local designers and members of the community can obtain access to.

MATERIAL

MANUFACTUR

TRANSPARENT

Mehra, Jai. 2020. Framework Of Proposed Upcycling Boutique By Jai Mehra. Image.

RING PROCESS

T PRODUCTION

I believe that by letting the consumer observe the manufacturing process and generating a program that accommodates for the local fashion community, a level of authenticity and transparency can be generated to dissuade consumers from fast fashion.

NEW PRODUCT

Roberts, Andy. 2020. Tatlin Tower Designed By Vladimir Tatlin. Image. Accessed November 9.

Ideological Deconstruction

The nature of fast fashion means stores such as Zara, Uniqlo and H&M are designed to allow the consumer to go in and out as quickly as possible, leaving no room for architectural value. Less focused on sales and efficiency and more on consumer experience and local community, I believe that slow fashion presents the opportunity to design an architectural future for the fashion retail industry. To do so, the design of my proposal will be influenced heavily by the theory of deconstructivism to directly link back to the upcycling production process of the slow fashion brand that occupies the retail hub.

Philosophically, deconstruction is viewed as a constant process of interpretation through the questioning of major and minor to breakdown stereotypes and create new context (Skivko 41, 2020). Regarding architecture, deconstruction is often misunderstood as the taking apart of constructions, a product of demolition and dissimulation (Johnson and Wigley 11, 1988). In their text Deconstructivist Architecture, Philip Johnson and Mark Wigley define deconstruction as a force that challenges the traditional values of architecture such as, harmony, unity and stability, to instead propose a different view of the structure (Johnson and Wigley 11, 1988). This can be seen in the â&#x20AC;&#x2DC;Falkestrasse Rooftop Remodelingâ&#x20AC;&#x2122; by Coop Himmelblau designed in 1988, where traditional architectural ideas of context, proportions and materials are set aside to instead leave room for a visualised line of energy which extrudes from the existing roof to open up the space (Coop Himmelblau 2020).

Coop Himmelblau. 2020. Initial Sketch Of Falkestrasse Rooftop Remodeling By Coop Himmelblau. Image.

Olsson, Mikael. 2018. Monolithic Plinth Leading Customers Upwards. Image.

As shown in Figure 01. The â&#x20AC;&#x2DC;Celine Flagship Store Miamiâ&#x20AC;&#x2122;, designed by architect Valerio Olgiati, deconstructs the traditional idea of organised circulation in retail by leaving the floor plan mostly open and using pillars, some of which have no inherent function at all, to lead consumers upwards and around the store (Olgiati 2018). By doing so, Olgiati presents consumers with the freedom to explore the store in their own unique way as opposed to the strict and uniform nature of traditional retail stores.

Mehra, Jai. 2020. Figure 01. Celine Store Circulation Diagram By Jai Mehra. Image.

Glasser, Dan. 2017. Exterior Pool Showcasing The Vast Program Of The YSL Museum. Image.

This notion of deconstruction can also be seen on a programmatic front in the Yves Saint Laurent Museum in Morocco. Designed by Studio KO in 2017, the structure challenges the idea of exclusivity and intimidation that consumers may feel when approaching a high fashion retail brand. This is done through the incorporation of a permanent exhibition space, an auditorium, a bookshop, cafĂŠ and research library as shown in the plan below, all of which act to invite the consumer into the history and identity of the brand whilst also achieving an essential level of transparency and authenticity as highlighted previously.

Studio KO. 2017. Ground Floor Plan Of YSL Museum Marrakech By Studio KO. Image.

While not strict proponents of deconstructivist architecture, these examples incorporate an ideological deconstruction and reinterpretation of traditional fashion retail elements.

This challenging of the traditional is also reflected in fashion deconstruction where the deconstructivist method is used to create new fashion interpretations that overcome ingrained stereotypes, such as luxury, proportions and beauty, to create a resistance and chaos to the traditional clothes paradigm (Skivko 42, 2020). This is no more evident than in the work of fashion designer Maison Margiela, where ideas of traditional beauty are reinterpreted through the use of exposed seams, silhouette and stitching.

“The look started as a paper collage on an evening dress

ripped

and

pieced

onto a tailored suit which we then

re-created three-dimensionally” – Maison Margiela

Margiela, Maison. 2016. Maison Margiela Spring/Summer 2016 ‘Artisanal’ Collection. Image.

Physical Deconstruction

An example of deconstructivist architecture, in a more literal sense, would be the ‘Biocentre for the University of Frankfurt’ by Peter Eisenman. The program of the structure follows a central circulation and consists of basic modernist blocks, all of which are given a form of one of the four basic shapes which biologists use as a code to describe fundamental processes. This form is then progressively distorted to provide the functionality specific social and technical spaces (Johnson and Wigley 56, 1988). Taking inspiration from this, my proposal follows a similar approach by utilising, deconstructivist fashion designer, Maison Margiela’s garment patterns to dictate the base form of the retail hub, which is then further distorted through a myriad of fashion construction techniques such as pleating and darting.

Eisenman Architects. 1987. Roof Plan Of Biocentre By Peter Eisenman. Image.

In her article ‘Corners and Darts’, Lois Weinthal uses darting to discuss the potential of architecture to learn from the design and representative techniques of fashion to develop new ideas of space and form (Weinthal 89, 2001). In fashion, the dart remodels textile fabric to accommodate the three-dimensional shape of the body. Usually a triangle shaped surface, the dart, is closed by stitching its sides on a symmetry line, giving volume to a surface by taking in the fabric that overlaps. With this in mind, the design of the slow fashion retail hub interprets this notion of darting and similar fashion design techniques to generate new ideas of space and architectural form.

Weinthal then proceeds to analyses the idea of unfolding to dictate the constraints of space through the deconstruction of a standard chair which is then placed upon the floor. In this example, the chair assumes priority over the plan, and when deconstructed, creates new edges and boundaries to dictate the spaces upon the floor plan (Weinthal 88, 2001). Inspired by this, the design of the slow fashion retail hub follows Weinthal’s ideas of unfolding by utilising deconstructed elements such as traditional window frames to guide the placement of interior walls and visual retail displays.

Weinthal, Lois. 2019. Deconstructed Garment Used To Dictate Form By Lois Weinthal. Image.

The growth of fast fashion has led to issues of excess waste and unethical working conditions within the fashion industry. The pace driven nature of the industry is also reflected through the design of brick and mortar stores where form is designed to encourage maximum efficiency over architectural value. Guided by ideas of deconstructivism and the rising slow fashion movement, my thesis aims to create a sustainable, ethical, and architectural future for the fashion retail industry whilst also generating a level of transparency between brand and consumer to provide a sense of authenticity within the shopping experience.

Chapter 2.

Significance

The exponential growth of the fast fashion industry in conjunction with its negative repercussions on humans and environmental resources has created the need for a sustainable alternative to be developed before permanent damage is done. My research will be of major significance in designing a solution that can be used in the future of fashion retail design to tackle these issues of sustainability and ethics found within the fashion industry today. Whilst slow fashion and upcycling production techniques are viewed as the means to a sustainable and fashionable future, these processes are still yet to be seen on a production scale that is needed to compete with the unsustainable and unethical brands of the industry (Cassidy and Han 148, 2013). My proposal aims to solve this by designing a slow fashion retail hub that can confidently replace the fast fashion equivalent.

WTVOX. 2020. Bulldozer Climbs Mountain Of Textile Waste. Image.

The pace driven nature of the fashion industry is also reflected through brick and mortar store design where seductive and unique displays find themselves heavily outnumbered by boring, uniform layouts that promote maximum efficiency over architectural value. My research uses fashion techniques and the theory of deconstructivism to signify these finer moments of architecture and stand for their survival in the future.

Olsson, Mikael. 2018. Monolithic Plinth Leading Customers Upwards. Image.

Chapter 3.

Research / Design Process

Site Visits

Site visits were used to provide insights into how the proposal should be situated, orientated and designed. By choosing a local site, the King Street Precinct in Perth, I was able to study and re-visit the site throughout the course of the design process. I specifically analysed how my initial design concepts interact with the immediate streets, pedestrian pathways and neighbouring structures to create a sustainable yet architectural slow fashion hub. Site visits were undertaken during the morning and evening periods of the day to grasp a wider understanding of the consumer demographics and levels of pedestrian traffic undertaken in the area.

3D Modelling / BIM

3D models allowed for fast iterative work during the design process. They also allowed for more efficient levels of experimentation. I used 3D models to experiment with possible forms and spatial layouts to create a store that allowed for upcycling slow fashion brands to strive at a larger scale than what is traditionally seen in the slow fashion industry. I used Sketch Up, Revit and Rhino. Sketch Up was used to create preliminary models diagramming basic concepts, program, and scale. More detailed models were created through Revit in conjunction with Rhino and Grasshopper to experiment with parametric forms and facades.

Illustration / Sketch Diagramming

Similar to 3D modelling, sketching can be done efficiently allowing for numerous iterations and experimentation. This method was mainly used to experiment with floor layouts, program and site analysis. Initial illustration and diagramming took place during site analysis to develop an understanding of how the proposed store can be situated and its potential connections with its surrounding environment. Further diagramming then proceeded during the conceptual design stage to experiment with potential store layouts.

Mehra, Jai. 2020. Figure 02. Elevation Sketch by Jai Mehra. Image.

Literature Reviews

Literature reviews were used to develop an understanding of the importance of sustainability in fashion, potential design solutions to fast fashion and deconstructivism in fashion and architecture. By developing an understanding of these topics, I was able to synthesise my research and identify the ways in which architecture could be used to design a store that tackles issues that arise from fast fashion. I analysed texts that directly discussed fashion and architecture together to understand how those before me have viewed the connection between the two disciplines. I then critically reviewed texts discussing the deconstructivism movement to identify ways in which this movement could influence the design of the store to return architectural value to the fashion retail industry. Listed below are the main scholarly texts that guided my research.

‘Fashionopolis’

Used to develop an understanding on the sustainable and ethical issues that

by Dana Thomas, 2019

plague the fast fashion industry and potential solutions to these problems of textile waste and outsourced manufacturing through the slow fashion movement.

‘Sustainable Fashion and

Broadened research into sustainability in fashion and textiles whilst also

Textiles’

presenting solutions to how the fashion industry can utilise system thinking,

by Kate Fletcher, 2012

local products and slow fashion to create a sustainable future for the fashion retail industry.

‘Sustainable Luxury and

A series of articles that outlined the importance of generating a level of

Craftsmanship’

sustainable level of luxury through craftsmanship and sustainable design tech-

by Miguel Angel Gardetti and

niques to challenge the traditional stereotypes of luxury.

Ivan Coste-Maniere, 2020

‘Deconstructivist Architec-

Used to develop an understanding on the philosophy of deconstruction in ar-

ture’

chitecture and how this movement can be used to present new interpretations

by Philip Johnson and Mark

of traditional architectural elements such as form, harmony etc.

Wigley, 1988

‘Retail Design: Theoretical

Aided in the understanding of the traditional framework of retail industries

Perspectives’

and in identifying the future changes needed for brick and mortar retail spaces

by Anthony Kent and Ann

given the rapid growth in consumption and expansion of retailing and services

Petermans, 2016

through the late twentieth century.

‘Corners and Darts’

Used to develop an understanding in how fashion design and construction

by Lois Weinthal, 2001

techniques can be reinterpreted in architecture to present new ideas of form and space.

Precedent Studies

Precedent studies were used to aid the design process from iterative sketch designs to the final proposal. In relation to my research, precedents became important in understanding the functional requirements of a slow fashion retail hub and how these programmatic requirements could be designed to create a seductive and enticing store. Relevant precedents were selected and analysed. Diagrammatic and visual mapping were also used to highlight the functional requirements of a second-hand, upcycling boutique and warehouse and to understand how these functional requirements could be designed to return architectural value to the fashion retail industry. Listed below are the main architectural precedents that guided the design and framework of the proposed slow fashion retail hub.

‘The Factory’

Demonstrated the importance of creating a vast and personal experience in

by Natalie Chanin, 2017

brick and mortar fashion re-tail to encourage consumers to prioritise slow fashion over fast fashion.

‘Celine Flagship Store’

Showcased how the design of brick and mortar retail stores can be chal-

by Valerio Olgiati, 2018

lenged to instead encourage con-sumers to linger and explore the store as opposed to being strictly directed by uniform rows and aisles.

‘Musee Yves Saint Laurent

Similar to The Factory, the museum consisted of a vast and personal

Marrakech’

program that displayed the im-portance of creating a relationship between

by Studio KO, 2017

brand and consumer. The museum also features a high level of craftsmanship through local construction techniques to instil a sense of sustainable luxury throughout the store.

‘Hongkou Soho’

Used to understand how fashion can inspire architectural form through

by Kengo Kuma, 2016

façade design. The structure features a aluminium pleated façade that mimics the nature of a women’s dress, clothing the internal functions of the structure.

‘Church at Atlantida’

Primarily consisting of brickwork, this structure was studied to understand

by Eladio Dieste, 1961

how traditional brick elements could be manipulated and designed to create organic and unique structural forms and store displays.

Chapter 4.

Site

Mehra, Jai. 2020. Photographs Of King Street Precinct By Jai Mehra. Image.

King Street Precinct, Perth

342 Murray Street, Perth WA

When finding a specific site, I was considering Wellington Street, King Street and Hay Street Mall, all of which are crucial when discussing the fashion history of the city. Given the importance of local manufacturing in my proposal, I decided to locate my project at the King Street Precinct. Commonly known as the start of the â&#x20AC;&#x2DC;West Endâ&#x20AC;&#x2122;, it travels through Murray and Hay street, consisting of a multitude of high-end stores such as Louis Vuitton, Gucci, Chanel as well as streetwear stores such as Highs & Lows and Lessons, the latter of which act as fashion hotspots for members of generation Z and Y as shown below. The array of luxury stores that line the site and venture outwards to Murray Street, presents the unique opportunity to reinterpret these clusters of traditional luxury in a sustainable sense, located right in the midst of the precinct, the proposal will receive the most attention from the public, acting as the leader for the future of the fashion retail industry.

Mehra, Jai. 2020. Figure 03. Luxury Site Plan By Jai Mehra. Image.

Before the abundance of stores and galleries however, the precinct consisted of historic manufacturing warehouses, wholesalers and agencies (City of Perth 2017). This is symbolised on site by numerous plaques placed on the exterior of the structures providing a brief description of the historical context of the building.

Mehra, Jai. 2020. Photographs Of Plaques By Jai Mehra. Image.

This can also be seen through the traditional facades that line the street. In order to further tie in with the history of the site, the proposed slow fashion retail hub will incorporate elements of the facades within the design of the structure. Shown in Figure 03. are elevations ranging from the northern end of King Street to the southern end of the precinct, showcasing the traditional details of the facades that line the street.

Mehra, Jai. 2020. Photographs Of Facades By Jai Mehra. Image.

Mehra, Jai. 2020. Figure 04. Site Elevations By Jai Mehra. Image.

Design Studios Parking Site Dining Bars & Nightlife Fashion Stores

The precinct features a socially dynamic program with a multitude of dining, nightclub and commercial areas, all of which encourage consumers to visit and enter the site. There is also a wide range of accommodating transport options including two large parking garages east and west of the site in conjunction with a bus station and train station within walking distance. These options minimise the need for parking in the proposal, freeing up space for more essential functional requirements in the design.

Mehra, Jai. 2020. Figure 05. 3D Model Of King Street Precinct. Image.

By siting my proposal at King Street, I will be able to target my selected demographic of fashion-conscious members of generation Z and Y, whilst also directly linking back to the manufacturing and fashion history of the city.

Chapter 5.

Guiding Design Criteria

Manufacturing Area

The manufacturing area is located within the hub as mentioned in the background. To ensure customers have a continuous connection with the space during their shopping experience, the manufacturing areas will be viewable from the centre of the site. The area will also be primarily transparent to allow consumers to observe the production process of the hypothetical brand, directly linking back to the ideas of transparency and authenticity presented by the slow fashion movement. • 4x Staff toilet (10m2) • 1x Private break room (20m2) • Designated design space (150m2) o Total: (180m2 *subject to change) • Pleated clothing racks

Fitting Rooms

Designing for the future, the proposal aims to challenge the traditional ideas of privacy and form associated with dressing rooms by instead exaggerating proportions and using these spaces as an opportunity to act as focal points for the slow fashion retail hub. • 11x Dressing rooms (3m2 each) o Total: (33m22 *subject to change) • Copper tunnel skylights • Mounted mirrors • Designated clothing racks • 2x Return clothing bin

Storage Area

The storage and cleaning area are connected to the manufacturing zone to allow the designers to easily access the second-hand material. A staff desk is also placed in this area to cater to any customer enquiries. It is important these areas are designed in conjunction with the atmosphere and identity of the store, following ideas of deconstructivist architecture and fashion. • Storage area (50m2) • Staff area (10m2) o Total: (23m2 *subject to change) • 1x Staff desk and seating

Underground Storage

An underground storage area is also developed to store smaller items such as threads that are not sourced from factory excess and post-consumer waste in the main storage area. • Underground storage area (30m2* subject to change) • Perforated brick displays • Salvaged brick plinths

Primary Store Display

The primary store display is also located on the ground floor. By doing so, customers have the opportunity to observe the manufacturing process whilst purchasing their gar-ments to generate a level of transparency between brand and consumer. This area is de-signed to encourage consumers to linger and explore the store. • Primary display area (150m2 *subject to change) • In-built seating • In-built merchandising displays • Abstract hanging copper displays (clothing racks) • Operable and multi-purpose displays

Primary Store Display

Pop-Up Stores

Rentable pop-up stores are located on the first floor, above the exhibition space, to encourage consumers to explore all programmatic aspects of the slow fashion retail hub. • 2x Secondary display area (40m2 *subject to change) • In-built seating • Abstract pleated installations • Operable and multi-purpose brick displays

Gallery / Exhibition

Following the slow fashion movement, the proposal bridges the gap between consumer and brand by creating

Space

a personal, educational and communal experience. The gallery / exhibition space acts as a resource that can be used by the local community (designers, fashion students etc.) to showcase their work. • Gallery / Exhibition space (50m2) • Storage area (10m2) o Total: (60m2 *subject to change) • Multi-purpose brick displays • Mannequins

cont. next page

Public Library

The hub will also consist of a public library containing fashion texts and resources students, or general members of the public, can use to further their understanding on fashion related topics. • Library space (20m2) • Seating and lounge area (5m2) o Total: (25m2 *subject to change)

Public Market

The hub also consists of a public outdoor market space within the centre of the site to further invite members of the public within the identity of the slow fashion retail hub, building upon the notion of transparency and authenticity between brand and consumer. • Outdoor space (40m2)

Chapter 6.

The Design

Iterations

Original iterations of the slow fashion retail hub included experimentations with stilted structures and dynamic roof forms. These concepts looked at how fashion techniques such as draping could impact the architectural form of a structure. Although later discarded, these experimentations and ideas would later be seen in the final design under a different interpretation.

These iterations also revolved heavily around the idea of a central fashion runway which would act as the main circulation for the slow fashion retail hub. However, as the form and structure developed alongside the themes of the deconstructivist movement, the runway was later abandoned to allow for more complex experimentation with form and spatial design.

Mehra, Jai. 2020. Figure 06. Draping Iterations by Jai Mehra. Image. Mehra, Jai. 2020. Figure 07. Runway Circulation Diagram by Jai Mehra. Image.

The beginning of the project also saw numerous iterations varying in height and scale of the structure. Originally, the proposal looked at expanding vertically alongside the neighbouring Ibis Hotel to minimise the impact of overshadowing during the early periods of the day. However, it was decided that building upwards would increase the scale of slow fashion retail hub to one that would be unsustainable in its nature.

Mehra, Jai. 2020. Figure 08. Intial Proposal Program by Jai Mehra. Image.

During later stages of the design process, when the base form of the slow fashion retail hub was formed through the use of Maison Margiela fashion patterns, a similar approach was taken into designing through elevational view with Alexander McQueen patterns being overlayed over elevations of the structure to influence the form. Upon reflection this method of design was discarded as it did not work as well as it did in floor plan view given the more complex nature of working in elevation. It was also decided that while Alexander McQueen is an influential fashion designer, his work does not tie in with the deconstructivist movement like that of Maison Margiela.

Mehra, Jai. 2020. Figure 09. Elevation Overlays by Jai Mehra. Image.

Mehra, Jai. 2020. Figure 10. Initial Roof Design by Jai Mehra. Image.

Base Form

When approaching the design, a Maison Margiela garment pattern was used to inspire the base forms of the structure. A fashion pattern, by definition, is the initial template from which parts of a garment are traced, cut then assembled into a single entity, in their own way, acting as the deconstruction of a garment. Although most patterns share this commonality with deconstruction, a Maison Margiela pattern was chosen specifically as he is renowned for the deconstructivist fashion techniques he utilises in the production of his garments.

Margiela, Maison. 2020. Vest Pattern By Maison Margiela. Image.

These patterns where traced and placed upon the general boundary of the site. Through numerous iterations it was decided to formulate these patterns around a central circulation to leave room for the communal second-hand fashion market that was incorporated within the program of the retail hub. This was done a total of 9 times before each iteration was then overlayed over one another and traced again to find any commonalities or new patterns that could dictate the base form of the structure. This overlayed pattern was then traced 18 times over with the 3 highlighted in blue inspiring the general form of the structure.

Mehra, Jai. 2020. Figure 11. Pattern Overlays By Jai Mehra. Image.

Ground Floor Plan

The ground floor plan consists of the main brand area on the northern end of the site, along with a newly constructed driveway to allow workers and designers to transfer materials and stock easily when required. The southern end of the site is elevated 500 mm to match the contours of the site and features a public exhibition space and the primary store display for the upcycling brand that occupies the site.

Mehra, Jai. 2020. Figure 12. Ground Floor Plan By Jai Mehra. Image.

Figure 13. showcases the previously mentioned pattern overlays, inspired by the iterations highlighted in blue, that were overlayed over the immediate site to dictate the placement of the walls and base form of the structure.

Mehra, Jai. 2020. Figure 13. Pattern Overlays Over Plan By Jai Mehra. Image.

Materiality

The slow fashion retail hub consists primarily of salvaged and recycled brick for the double brick walls, aluminium sheeting for the pleated faรงade, tin sheeting for the roof and copper for the aspects of the structure that are given priority over the site. The use of red brick and tin sheeting works to directly link with the traditional architectural context of Australia whereas the use of copper helps to provide the structure with character and dynamic value as it oxidises and changes over time.

Gemmill Homes. 2017. Tin Sheeting Metal Roof Over Red Brick. Image. Bird, Simon. 2011. Freedom Park By Mashabane Rose Architects. Image.

Brand Manufacturing Area

The brand manufacturing area consists of a workshop and material storage space that are both viewable to the public. The workshop itself features the equipment needed for a brand of medium scale in conjunction with two perforated brick plinths, formed from salvaged materials, that extrude upwards from the basement level. These plinths act as storage in the basement and allow for natural light to enter from the ground floor level. The storage and cleaning area of the brand is also directly visible from the central communal market to further the level of transparency between brand and consumer. 1:200

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Mehra, Jai. 2020. Figure 14. Brand Manufacturing Area Plan By Jai Mehra. Image. Mehra, Jai. 2020. Figure 15. Brand Manufacturing Section By Jai Mehra. Image.

Primary Store Display

For the primary store display, overhead copper beams, inspired by the use of thread in fashion construction, were utilised to allow for clothes and garments to be hung and displayed without intruding over the general floor plan. The primary store display also features extruded perforated brick displays that showcase the more expensive collections of the brand whilst instilling a level of craftsmanship within the design.

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Mehra, Jai. 2020. Figure 16. Primary Store Display Plan By Jai Mehra. Image. Mehra, Jai. 2020. Figure 17. Primary Store Display Section By Jai Mehra. Image.

Mehra, Jai. 2020. Figure 18. Primary Store Display Render By Jai Mehra. Image.

The fitting rooms are centrally located and roughly 8m tall with skylights to allow for natural light to enter. The fitting rooms were designed to act as the focal point of the slow fashion retail hub to challenge the initial ideas of privacy and afterthought that is traditionally associated with functional spaces such as these. This is done through copper sheeting that extrudes the roof vertically to impose a level of hierarchy over the structure. A perforated brick screen travels from the floor to the roof to allow for natural light to enter and enhance the copper material, creating an atmospheric experience within.

Mehra, Jai. 2020. Figure 19. Fitting Room Render By Jai Mehra. Image.

Communal Market Area

The slow fashion movement is centred around community and ecosystems, with this in mind the communal market area was deliberately placed in the centre to allow consumers to experience all aspects of the slow fashion retail hub. Placed within the circular concrete floor are numerous copper â&#x20AC;&#x2DC;pinsâ&#x20AC;&#x2122; that mimic the pinning of a fashion garment and can be rented out to the public during market days. These pins scatter themselves around the market area and consist of a circular rail that can be used to display clothing. By doing so, consumers are invited to take part within the brand and identity of the retail hub, once again working to generate authenticity within the fashion retail experience.

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Mehra, Jai. 2020. Figure 20. Communal Market Plan By Jai Mehra. Image. Mehra, Jai. 2020. Figure 21. Communal Market Section By Jai Mehra. Image.

Mehra, Jai. 2020. Figure 22. Communal Market Area Render by Jai Mehra

Public Exhibition / Gallery

The public exhibition space is left primarily untouched to allow for more flexibility when local brands, students etc. choose to display their work in the space. Following the patterns that inspired the form of the structure, two smaller chambers are located on the northern end of the space with in-built display rails for garments. Similar to the workshop space, two perforated brick plinths extrude from the basement level to act as in-built displays for the exhibitions.

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Mehra, Jai. 2020. Figure 23. Public Exhibition / Gallery Plan By Jai Mehra. Image. Mehra, Jai. 2020. Figure 24. Public Exhibition / Gallery Section By Jai Mehra. Image.

First Floor Plan

The first floor consists of the staff area and collection storage for the upcycling brand on the northern end of the site, followed by a pop-up store display area that can be rented out to local brands to help fund the social retail hub. As seen in the previous floor both spaces feature the same copper beam displays and additional salvaged brick displays. Having a vast program that consists of public elements is important not only financially but referring back to the idea of generating authenticity through transparency between brand and consumer to encourage customers to prioritise slow fashion retail over fast fashion.

Mehra, Jai. 2020. Figure 25. First Floor Plan By Jai Mehra. Image.

Staff Area / Collection Storage

The staff break area and collections storage is located directly above the brand manufacturing area. Here, interior walls are formed through the deconstructing of window frames which are then placed and angled upon the floor plan. The collections storage area consists of pleated aluminium sheets which extrude themselves within the interior spaces to allow for garments to be displayed and hung similar to the copper beams of the primary store display. 1:200

Mehra, Jai. 2020. Figure 26. Staff Area / Collections Storage By Jai Mehra. Image.

Pop-Up Stores

Two rentable pop-up spaces are placed on the southern end of the first floor. The two stores are open to one another and share a fitting room designed in the same manner as the primary store fitting rooms. Scattered around the floor plan are brick plinths and seating which are created from salvaged brick to tie in with the notion of sustainability and upcycling that the hub encompasses. Perforated cylinders act as counters for the stores with overhead copper beams directly above containing lighting for the interior spaces. Similar to the chambers in the exhibition space, copper handrails find themselves hugging the walls to allow for easy display of garments.

Mehra, Jai. 2020. Figure 27. Pop-Up Store Render By Jai Mehra. Image.

Basement Floor Plan

The basement floor features perforated brick plinths that extrude through the ground floor to create multi-purpose forms.On the northern end of the site, the basement level is used to store important and valuable threads that the brand may utilise within their designs. Perforated brick forms line the edge of the walls with large brick plinths allowing for storage and natural light to enter from the ground floor level whilst also acting as a functional table for the above ground workshop. The southern basement acts as a public fashion library archive where members of the public can view and rent fashion related documents. As mentioned above the brick is manipulated to allow for storage between the perforations of the form. The plinths again extrude upwards to act as displays in the exhibitional space above.

Mehra, Jai. 2020. Figure 28. Basement Floor Plan By Jai Mehra. Image.

Underground Storage

Located on the basement level is an underground storage area that is used by the brand. The storage area consists of perforated brick walls and two plinths that allow for important thread and materials to be stored in between. As previously mentioned, these plinths extrude upwards to act as tables for the workshop space whilst allowing natural light to enter within the basement level. 1:200

Public Library

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The public library is located on the basement level and similar to the underground storage space, features perforated brick displays that are modified in width to allow for books and articles to be placed and displayed within. As mentioned previously, two plinths extrude upwards to the exhibition space above, acting as in-built visual displays.

Mehra, Jai. 2020. Figure 29. Underground Storage Section By Jai Mehra. Image. Mehra, Jai. 2020. Figure 30. Public Library Section By Jai Mehra. Image.

Pleated Facade / Roof

Wrapping the slow fashion retail hub is an aluminium faรงade inspired by the fashion constructive techniques of pleating and draping. Each individual pleat is unique and drapes from the first-floor level to the ground floor where they work to frame the entryways of the structures within. The pleats are also used within the interior of the first floor to create the illusion of the aluminium pleating the spaces within. This faรงade works in conjunction with the tin sheeting metal roof to create the illusion of the roof draping itself upon the structure. Shown below are a series of experiments that were conducted to inspire the form of facade.

Mehra, Jai, and Maria Elisa Veraldo Rojas. 2020. Figure 31. Draping And Pleated Experiments By Jai Mehra And Maria Elisa Veraldo Rojas. Image.

Extruded Brick Walls

As seen in elevation, there are numerous brick walls that consist of extruded patterns. The extrusions of these walls are inspired by the darting technique in fashion, specifically the shoulder darts, armhole darts, standard 4 darts, double knots and waistline darts. It is through these extrusions that the craftsmanship of the structure is on full display and works to capture the attention of potential consumers walking by.

Fashion Infographics. 2014. A Visual Glossary Of Darts. Image.

Mehra, Jai. 2020. Figure 32. Darts In Elevation Diagram By Jai Mehra. Image.

Deconstructed Windows

Windows from the original structure on the site are taken and deconstructed along the exterior facades to capture the attention of the public. These windows are placed primarily on the southern and western ends as they are the faces of the site that receive the most pedestrian traffic and allow the public to see within the manufacturing process of the brand.

Mehra, Jai. 2020. Figure 33. South And North Elevations By Jai Mehra. Image.

Chapter 7.

Final Panels (scaled from a2 to a4)

Mehra, Jai. 2020. Figure 34. Final Panels By Jai Mehra. Image.

McCartney, Stella. 2020. Stella Mccartney Fall Winter 17 Collection. Image.

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Rojas. Image.

Mehra, Jai. 2020. Celine Store Circulation Diagram By Jai Mehra. Image. Mehra, Jai. 2020. Figure 02. Elevation Sketch By Jai Mehra. Image. Mehra, Jai. 2020. Figure 03. Luxury Site Plan By Jai Mehra. Image. Mehra, Jai. 2020. Figure 04. Site Elevations By Jai Mehra. Image. Mehra, Jai. 2020. Figure 05. 3D Model Of King Street Precinct. Image. Mehra, Jai. 2020. Figure 06. Draping Diagram By Jai Mehra. Image. Mehra, Jai. 2020. Figure 07. Runway Circulation Diagram By Jai Mehra. Image. Mehra, Jai. 2020. Figure 08. Initial Proposal Program By Jai Mehra. Image. Mehra, Jai. 2020. Figure 09. Elevation Overlays By Jai Mehra. Image. Mehra, Jai. 2020. Figure 10. Initial Roof Designs By Jai Mehra. Image. Mehra, Jai. 2020. Figure 11. Pattern Overlays By Jai Mehra. Image. Mehra, Jai. 2020. Figure 12. Ground Floor Plan By Jai Mehra. Image. Mehra, Jai. 2020. Figure 13. Pattern Overlays Over Plan By Jai Mehra. Image. Mehra, Jai. 2020. Figure 14. Brand Manufacturing Area Plan By Jai Mehra. Image. Mehra, Jai. 2020. Figure 15. Brand Manufacturing Section By Jai Mehra. Image. Mehra, Jai. 2020. Figure 16. Primary Store Display Plan By Jai Mehra. Image. Mehra, Jai. 2020. Figure 17. Primary Store Display Section By Jai Mehra. Image. Mehra, Jai. 2020. Figure 18. Primary Store Display Render By Jai Mehra. Image. Mehra, Jai. 2020. Figure 19. Fitting Room Render By Jai Mehra. Image. Mehra, Jai. 2020. Figure 20. Communal Market Plan By Jai Mehra. Image. Mehra, Jai. 2020. Figure 21. Communal Market Section By Jai Mehra. Image. Mehra, Jai. 2020. Figure 22. Communal Market Area Render By Jai Mehra. Image.

Mehra, Jai. 2020. Figure 23. Public Exhibition / Gallery Plan By Jai Mehra. Image. Mehra, Jai. 2020. Figure 24. Public Exhibition / Gallery Section By Jai Mehra. Image. Mehra, Jai. 2020. Figure 25. First Floor Plan By Jai Mehra. Image. Mehra, Jai. 2020. Figure 26. Staff Area / Collections Storage By Jai Mehra. Image. Mehra, Jai. 2020. Figure 27. Pop-Up Store Render By Jai Mehra. Image. Mehra, Jai. 2020. Figure 28. Basement Floor Plan By Jai Mehra. Image. Mehra, Jai. 2020. Figure 29. Underground Storage Section By Jai Mehra. Image. Mehra, Jai. 2020. Figure 30. Public Library Section By Jai Mehra. Image. Mehra, Jai. 2020. Figure 32. Darts In Elevation Diagram By Jai Mehra. Image. Mehra, Jai. 2020. Figure 33. South And North Elevations By Jai Mehra. Image. Mehra, Jai. 2020. Figure 34. Final Panels By Jai Mehra. Image. Mehra, Jai. 2020. Framework Of Proposed Upcycling Boutique By Jai Mehra. Image. Mehra, Jai. 2020. Photographs Of Facades By Jai Mehra. Image. Mehra, Jai. 2020. Photographs Of King Street Precinct By Jai Mehra. Image. Mehra, Jai. 2020. Photographs Of Plaques By Jai Mehra. Image. Olsson, Mikael. 2018. Monolithic Plinth Leading Customers Upwards. Image. Roberts, Andy. 2020. Tatlin Tower Designed By Vladimir Tatlin. Image. Accessed November 9. Rotor Deconstruction. 2020. Deconstruction Of Masonry Flooring In Abandoned Structure. Image. Studio KO. 2017. Ground Floor Plan Of YSL Museum Marrakech By Studio KO. Image. Weinthal, Lois. 2019. Deconstructed Garment Used To Dictate Form By Lois Weinthal. Image. WTVOX. 2020. Bulldozer Climbs Mountain Of Textile Waste. Image.

Appendix

Store Framework by Jai Mehra

Precedent Study by Jai Mehra

King Street Elevations by Jai Mehra

We s t E l e v a t i o n 1 : 2 0 0

South Elevation 1:200

We s t E l e v a t i o n 1 : 5 0 0

East Elevation 1:500

Sketches by Jai Mehra

Initial Ground Floor Plan by Jai Mehra GROUND FLOOR PLAN 1

store workshop

storage / cleaning area

lobby area

exhibition space

main store display

3 1 2

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Initial First Floor Plan by Jai Mehra FIRST FLOOR PLAN 1

staff area

collection storage

pop up store display

1 2

1:200

Collage by Jai Mehra

Initial Sketches by Jai Mehra