Architecture sells! An overlook of new retail experiences by Shay Benish

Cover / Acne studios New York Bozarthfornell architects New York 2013

SHAY BENISH ARCHITECTURE SELLS! An overlook of new retail experiences Architecture & Luxury Fashion Retail in Digital Era

First and foremost, I have to thank sor, for

my Prof.

his

research Luigi

support

supervi-

Cocchiarella, and

under-

staning over the past months. Getting through my dissertation required more than academic support. I cannot begin to express my gratitude and appreciation for your friendship, Gregorio Capineri Tosetti. Special thanks to my dearest friend Paul Andrew for contributing in the making of this research. Most importently, none of this could have happened without my family. To my parents, sisters and brother. This dissertation stands as a testament to your unconditional love and encouragement.

Abstract

The paper is aimed to deliberate the symbiotic relation between architecture, retail and fashion by overlapping the three disciplines that might could have been considered different from each other. Furthermore, this thesis is trying to explain the correlation

between

contem-

porary architecture and luxury fashion brandâ&#x20AC;&#x2122;s marketing by demonstrating the crucially important part of architecture in the design of retail experience at times of mass consumption, social medias and online shopping.

Keywords

Retail,

Architrcture,

Fashion, Icon, rary, Sale,

Space,

Luxury, Image,

Design,

Branding, Contempo-

Social

medias,

Shopability, RFID, Pra-

da, OMA, Runways, Epicenters.

INTRODUCTION 23 THE RELATION BETWEEN ARCHITECTURE AND FASHION The matter of an icon: Practical analogy between architecture and fashion

Image as a driving force to communicate architecture and fashion 90 THE IMPORTANCE OF EXPERIENCE IN CONTEMPORARY RETAIL Retail, fashion and modernity

109

The evolution of fashion retail

114

The impact of social medias on luxury fashion retail

119

What is a luxury brand and its experience?

124

Beyond brand values, beliefs

132

Beyond a logo, a set of visual icons

134

Beyond a point of sale, a temple

136

The matter of shopability

139

THE IMPORTANCE OF ARCHITECTURE IN RETAIL EXPERIENCE Retail as a fuel for the city

147

Retail, today and tomorrow

153

The use of information technology (IT) in retail architecture

164

Synergy of fashion, retail and architecture

170

The matter of an iconic design

178

CASE STUDY: PRADA Introduction 193 History and key players

195

Prada as an icon

204

The architectural vision

206

Events, exhibitions and projects

209

When fashion becomes architecture: runways

224

When fashion becomes architecture: epicenters

247

NEW RETAIL EXPERIENCE DICTIONARY Graphic 260 Harmonic 262 Raw 264 Sterile 266 Timeless 268 Ultra 270 Urban 272 Warm 274 BEHIND THE FUTURE OF LUXURY FASHION RETAIL An interview with Paul Andrew

279

CONCLUSION 287 REFERENCES 295

List of figures

3D printed cape and skirt

Max Reinhardt Haus

Möbius Dress

TOD’S Omotesando

Dress from Scanners collection

Passage des princes

103

Galleria Vittorio Emanuele ll

140

Nike popup store New York

153

Nike popup store New York

155

Prada’s RFID screens

159

Balenciaga New York

163

Chanel Paris

167

Saint Laurent New York

169

Apple 5th avenue New York

173

10 Corso Como Milan

175

Anthropologie London

177

Prada Epicenter New York

180

Miuccia Prada

190

Patrizio Bertelli

194

Prada’s nylon tote

197

Prada Waist down

202

Prada Transformer

204

Prada Beijing Show Spring/Summer 2011

206

Prada 24 Hour Museum

208

Prada Wallpapers

210

Prada Heart of Multitude

213

Prada Journal: A place for new stories

214

Prada Womenswear Spring/Summer 2010

217

Prada Menswear Spring/Summer 2012

219

Prada Womenswear Spring/Summer 2014

222

Prada Womenswear Fall/Winter 2013

224

Prada Menswear Spring/Summer 2014

229

Prada Menswear Fall/Winter 2013

231

Prada Menswear Spring/Summer 2013

233

Prada Menswear Fall/Winter 2012

236

Prada Epicenter New York

240

Prada Epicenter Tokyo

243

Prada Epicenter LA

245

Prada Epicenter SF

248

Acne studios Paris

253

Phillip Lim New York

255

Celine London

257

Saint Laurent Milan

259

Valentino New York

261

Nike popup store New York

263

Theory LA

265

Givenchy Paris

267

Paul Andrew

271

Valentino New York

275

Paul Andrew’s footwear inspired by the Art Deco rooftop of the Chrysler Building

277

" A l l a r c h i t e c t u r e i s s h e l t e r, a l l g r e a t architecture is the design of space that contains, cuddles, eXalts, or stimulates the persons in that space.â&#x20AC;?

P J

H I L O H N S

I O

P N

INTRODUCTION

In times of mass consump-

ers an experience not available

tion and endless information,

in a digital transaction. It wasn’t

which is flashing before our

always the case, of course. As

eyes on our smartphones, ar-

in the academic Taro Igarashi’s

chitecture has become more

notes: “In architectural histo-

than ever, an important matter

ry, traditional structures such as

of debate while elaborating a

temples, churches and palaces

new project related with retail.

were the principal typologies since the dawn of civilization,

Designers are recognizing the

right through to the 19th centu-

synergy that exists between the

ry. With the advent of modernity,

worlds of fashion and interior

public and commercial institu-

design. They realize that synergy

tions such as museums, city halls,

can change the public’s percep-

train stations and office towers —

tion of their label and thus help

as well as private domiciles, be-

combat the competition from

came the locus change, but retail

online sales by offering custom-

design was paid scant regard.”

Today, the fashion industry com-

gered action on the part of high-

mands the world’s greatest archi-

end bricks and mortar retailers.

tects and boasts the private funds and artistic freedom to create sig-

Toyo Ito experiments with the

nificant, innovative buildings that

concept of wrapping, design-

wouldn’t pass the bureaucrat-

ing geometric skins that wrap

ic red tape of the public purse.

his buildings and cling to their structures as a fitted dress clings

The mutually beneficial crossover

to the body, such as in his Tod’s

of fashion and architecture in the

Building in Tokyo. Ito, like many

form of monumental and archi-

other contemporary architects,

tecturally innovative retail bou-

has designed flagship stores

tiques is the result, rather para-

for major fashion companies,

doxically, of the rise of online retail

including Tod’s, representing a

in the past decade. Competition

growing trend for this collabora-

for the hearts and wallets of up-

tion between luxury brands and

wardly mobile shoppers has trig-

well-known architects. With the

development of the department

consumers, it needs to possess a

store in the late nineteenth cen-

“special something” that sets it

tury, the architecture of clothing

apart from the competition. This

stores quickly became an import-

special something can take the

ant focus, requiring architects to

form of an unforgettable interior

consider the role of the garment

design solution, fantastic visual

in their designs. In many ways,

merchandising, a bold an cre-

the clothing store, especially the

ative architectural treatment or a

flagship store, has come to repre-

well conceived service offer that

sent a brand or company. For this

places the consumers’ needs

reason, fashion companies have

firmly at the heart of the experi-

become even more concerned

ence. An artfully curated product

with the design of their stores.

selection can also keep shoppers coming back for more. The incor-

For a retail store to acquire “in-

poration of added value in store

stant icon” status in the minds of

experiences

information rich and time poor

lectures

and

workshops,

social

network-

ing opportunities - a strategy

there must be recognition by an

proving increasingly popular as

audience, which in this case in-

stores

transform

cludes members of either of the

themselves into “cultural apoth-

two fields and the general public.

attempt

ecaries” – can further elevate a store’s status in the retail mix.

The luxury goods industry seems to have shrugged off the dam-

In its very basic definition, an icon

age done by the Great Recession

is “an image; a representation.”

faster than many people expect-

When used to describe a person,

ed. Companies remain cautious

an icon is defined as “one who

about the outlook for growth,

is the object of great attention

but major brands recently report-

and devotion; an idol”, as well

ed strong gains in revenue and

as “a person or thing regarded

profit, defying all the signs of a

as a representative symbol of

difficult market, including weak

something.” In order for an in-

consumer confidence, increased

dividual to be considered an icon

saving rates, and lingering doubts

about the stamina of the recovery.

To respond to these changes, lux-

But these signs of a revival do

ury brands need to resolve con-

not augur a return to business as

flicting priorities in every major

usual. The Great Recession was

aspect of their business: target

more than a drag on demand.

markets, consumer segments,

It was the tipping point for sev-

product

eral trends- including profound

tion channels and presentation.

portfolios,

distribu-

changes in consumer behavior and the competitive landscape-

The current state of the market

that threaten to erode the mys-

suggests that the solution will

tique of luxury. In this new world

come through radical changes

of luxury, being iconic and ex-

being made by retailers, town

clusive is not enough to make a

centers and the government to

brand grow, and fewer consum-

preserve what is best in retailing.

ers are willing to blithely accept

In addition, today retailers need

high prices as the mark of luxury.

to develop clear strategic re-

They need better reasons to buy.

sponses to the changing patterns

of the way their customers shop.

tive from brands to consumers. With the proliferation of new

The luxury means different things

technologies and communica-

to different people, but for most

tion platforms, however luxury

consumers the term connotes

has become more of a dialogue.

rarity, quality and refinement.

Therefore, luxury brands have no

Over the past several years,

choice but to reinvent how they

four trends have devalued the

communicate with consumers

concept of luxury: changes in

as well as embracing technolo-

tastes and buying behaviors,

gy and online media. From viral

the rise of new markets, the

advertising, to virtual dressing

blurred definition of true luxury,

rooms, and from Facebook fan

and the advent of new media.

pages to live streaming of seasonal runway shows, luxury brands

As recently as a few years ago,

are building awareness among,

the communication of luxury

and catering to, new audiences.

remained a dictate- a top direc-

Luxury

mov-

ated. In the 21st century, when

introverted

the key word is “experience”,

kind of consumption that in-

the “how” becomes more im-

volves family, friends, and liv-

portant than the “what”. This

ing well. In the new world of

puts the consumer at the heart

luxury, consumers are looking

of every process that is driv-

more to “be” than to “have”.

ing any business’s profitability.

This kind of consumption is

Previous studies indicated that

the fuel for the growth of ex-

physical attributes, activities and

perience-based luxury as well

meanings associated with places

for

contribute to make sense of place.

brand must consider while pro-

“Physical elements could refer to

jecting a new flagship store.

the attributes and characteristics

Therefore, it is important to

of a setting; these features not

highlight the way in which a

only define the kind of a place

shift to innovation is being cre-

but also could contribute to cre-

ing

the

consumers a

emotional

are

effect

ation of meanings.â&#x20AC;? Places are

space will represent the sense of

built to support a specific action;

place. On the other hand, places

therefore an activity can be re-

have different levels of sense and

ferred to actions afforded by the

people will usually contribute to

place. However, many meanings

social activities based on their

can only refer to perceptual and

strength of emotional bonds

psychological aspects of an en-

with places. Najafi & Bin Mohd

vironmental experience, which

Shariff is explaining, â&#x20AC;&#x153;Some plac-

is perceived by people. Past ex-

es have a high level of sense.

periences, backgrounds, mem-

These places encourage people

ories, personality, knowledge,

to dwell, stay a little longer and

culture,

motivations,

to connect with one another.

beliefs, age and gender of peo-

They provide opportunities for

ple in one society influence the

social interactions in urban areas

perceived sense of place. There-

and are important to the health

fore, the result of the interaction

and well being of people.â&#x20AC;?

attitude,

between human and his living

Over the past several years,

developing retail networks that

however, the rise of new media,

reflect a monolithic, global iden-

such as social networking sites

tity in order to elevate the retail

and mobile applications, has

experience. But today, retail ex-

led to a revolution in the fashion

perience is much more than these

world. Consumers do not want

reflections, especially because in

to be walled off from their fa-

nowadays consumers seek out

vorite brands. They want to help

experiences,

shape them. As Suzy Menkes,

ships, and unique product dis-

the head fashion editor for the

covers that bond them to a brand.

cultural

relation-

international Herald Tribune said in a January 2010 interview, “the

In recent years, there has been

world changed when fashion,

a strong trend towards big re-

instead of becoming a mono-

tail brands selling consumers

logue, became a conversation.”

an “experience”. This involves inviting the customer to test a

Luxury brands have spent years

product or service in-store, or

to interact with an exclusive, cu-

total retail sales, and the phys-

rated environment. Apple and

ical shop will become an ex-

Nike are well-known retailers that

perience-based

have taken a lead in this area,

that engages customers on a

with the rationale that a positive

physical and emotional level.

destination

in-store experience can help establish a stronger relationship

Retailers are seeing the store as

between the customer and the

an opportunity to provide their

brand. Others that have devel-

public with an enduring and en-

oped unique brand experienc-

riching experience that reflects

es include Converse, TopShop,

brand messaging and values.

Louis Vuitton, Lego and Prada.

Retailers will need to find new ways to offer customers some-

Stores are no longer being seen

thing unique or special in order

as transactional places alone.

to encourage traffic to physi-

In the future, e-commerce will

cal stores. People like to touch,

take an even bigger share of

feel, smell, taste, inspect, test

and try on. Merchandise that

for ways to generate short-term

is kept in boxes or behind

profit from unused retail spaces.

glass restricts such interaction. People enjoy being exposed to Pop-up shops are a cost-effective

chance encounters, new ideas

way to test a new experience (e.g.

and inspiration. Pop-ups can

contactless payment), a product

deliver this cost-effectively, and

(e.g. the result of a collaboration)

can be scaled up if it catches on.

or service (e.g. home delivery). Rather than spend money on mar-

Studies have shown that while

ket research, a pop-up can be set

consumers know on sight wheth-

up more quickly and at a fraction

er a piece of merchandise ap-

of the cost. Due to the low capital

peals to them, the probability of

outlay and smaller scale, the risk

their making a purchase increas-

to the retailer is greatly reduced.

es if they spend more time in a

Pop-ups are likely to continue as

store. Understanding this nuance

a trend as rental agencies look

is critical to getting the most from

retail networks and experience.

inality. Therefore, correspondingly, luxury brands must create

Consumers are fussier and more

or remodel stores using a signif-

demanding than ever before,

icant architecture that will drive

and smart brands and retailers

better the clients and give an

need to provide them with the

additional value to a purchase.

best possible shopping experience. A well-conceived flagship

These days, brands should be

store or concept store can even

just as creative and thoughtful

lure consumers away from their

in their approach to the physi-

home computers and entice

cal appearance as to their on-

them into a physical space that

line footprint and architecture is

offers not only great product se-

the way to put the attention on

lection, but also entertainment.

the lived shopping experience.

Consumers, in general, will be drawn to stores that exude a

According to environmental psy-

sense of authenticity and orig-

chologists, architects and design-

ers should consider both emo-

affect the identity of the people

tional and functional qualities of

who are living in that society.

places. In this regard, they elaborated that the purpose of design-

Architecture

ing places not only is facilitating

changed its appearance since

of everyday activities but also

the inception of the Third In-

providing symbolic and affective

dustrial Revolution, namely the

qualities are very important to

digital revolution. Hence, archi-

attract more people to places.

tecture for retail cannot be con-

The overall quality of environ-

sidered anymore merely as a

ments is measured in terms of

space where products are being

the richness of their psycholog-

sold. Instead, it must be consid-

ical and socio-cultural meaning

ered as a whole system where

as well as in relation to physical

an experience is happening and

comfort, safety, and performance

consumers are being spelled

criteria. The environmental and

by it, purchasing more and be-

social qualities of a society will

ing

for

emotionally

retail

has

stimulated.

Retailers are well aware that so-

enabled much of their social in-

cial media has had a profound

teraction. This new generation of

impact on business over the last

shoppers will want to see retail-

few years. This revolution in so-

ers embrace the latest technol-

cial and mobile technology is far

ogies both online and in-store,

from over. The consumers of to-

and will be attracted to those

morrow will have grown up in a

retailers and retail environments

world dominated by communica-

that can keep up with the rapid

tions technology and social me-

pace of technological change.

dia. By the time they enter univer-

As individuals who are living

sity they will already have owned

in times where we are sub-

an assorted array of PCs, laptops,

ject to innumerable interrup-

smartphones and other devices.

tions

They will have spent their teen-

smart

age years managing multiple

fast tracking city life and more,

online profiles, and a plethora

the emotional indication gets

of social media sites will have

an all-new spot of relevance.

that

comes

devices,

from

work

our

places,

If retail design can be defined

context within the organization,

as the architecture of seduction,

including aspects of brand and

contemporary architecture for

marketing

luxury retail should be consid-

as physical settings, visual cues,

ered a complex of seduction

and social actors, among others.

and

entertainment.

This

management

such

set

could be clarified as the new

As shortly pointed so far, retail

way to enjoy the main activity

has an economical influence

in the 21st century, shopping.

and so does architecture. For this reason, retail spaces have

We are living the experience

to embrace a new definition that

economy. Experiences engage

corresponds to new require-

customers and in creating mem-

ments derived from economi-

orable events connect them

cal, cultural and social changes.

emotionally to the company or

They need to be â&#x20AC;&#x153;dressedâ&#x20AC;? as

the brand. Experiences are ho-

a center for excitement, which

listic in that they involve a broad

exhibits the vision of a brand.

In order to create new levels of

perception, space and time, re-

innovation, a moment of disrup-

flecting on how the meaning of

tion is required. A moment, re-

something changes in a space

moved from the saturated and

and how space can change

over-informed society of today,

the

meaning

something.

generating a reaction in order to redefine the system. A cultur-

Over the past decades, by de-

al movement that requires go-

ciding the rules and simulta-

ing back to a blank slate, a clear

neously

starting point in which to create

da established itself as the

a catalyst for change, a tabula

ruler of the fashion industry.

rasa. By creating an anthropo-

Moving into fields of art, archi-

genic sphere that goes back to

tecture and space, this project

the original rawness of the city,

will bring in what is considered

an invisible lux that no longer

to be outside fashion. By ex-

exists will be reintroduced. A re-

tending these boundaries, Pra-

moved area that interconnects

da will not only follow a trend,

breaking

them

Pra-

but also create the trend. Push-

relationship between them has

ing the brand beyond the lim-

played a significant part in the

itations of the fashion industry

expansion of Pradaâ&#x20AC;&#x2122;s activities. It

and creating a social and cultur-

has become an important part in

al construct to change the way

the creative and design structure

in which fashion is conceived

of Prada over the past ten years.

and showing it in a new form.

Since January 2004, Rem Koolhaas, the OMA and the AMO

One of the most significant col-

think tank, have expanded their

laborations is Pradaâ&#x20AC;&#x2122;s relationship

collaboration by also designing

with The Office for Metropolitan

the runway shows of the Pra-

Architecture (OMA) and Rem

da women and men collection

Koolhaas. Since 2004 the OMA

as well as the Miu Miu shows.

and Rem Koolhaas have played a

Placing special attention to the

key role in the creation of Prada

space in which the collection

runway shows, exhibitions and

presentations take place becom-

architectural design projects. The

ing an important part of each

show, connecting with the sto-

recent years, they started rein-

rytelling of each collection. This

venting the traditional runway

collaboration has brought some

concept by introducing their

of the most groundbreaking

characteristically innovative style.

fashion shows in the past years, creating a benchmark in show

Prada

design that cannot be found

unique retail experience that

anywhere else in the industry.

surpasses regular retail expec-

Epicenters

create

tations. Each store portrays a The initial shows started off

unique architecture, technolo-

simply, for example by drap-

gy and use of space. Currently

ing AMO designed wallpapers

Prada has Epicenters located

throughout the space at the

in New York, Tokyo, Shanghai,

menswear show. However in

Los Angeles and San Francisco.

CHAPTER ONE

THE RELATION BETWEEN ARCHITECTURE AND FASHION

The matter of an icon: Practical analogy between architectur and fashion

At first glance, the fields of archi-

Fundamentally, architecture and

tecture and fashion may appear

fashion share the same purpose,

to be completely unrelated and

which is to provide shelter and

independent of each other. One

protection for the human body.

field is concerned with the built

In this sense, it could be said

environment and the other is the

that we live in architecture and

driving force behind the clothing

fashion. The buildings we in-

industry. Additionally, for many

habit and the clothes we wear

people, the two fields are relevant

transcend elements for survival,

to only their practitioners, schol-

as an equal, if not greater im-

ars, and enthusiasts. However, ar-

portance is placed to their aes-

chitecture and fashion are highly

thetic value. With this aesthetic

influential modes of creative ex-

quality holding such significance,

pression that constantly intersect,

a building or piece of clothing

drawing inspiration from one an-

is instilled with meaning, allow-

other and affecting the daily lives

ing for their other basic func-

of people throughout the world.

tions as of identity expression.

Whether intentional or uninten-

portance that both, as designed

tional, we provide indications

three-dimensional objects, place

about our “personal, political,

on proportion, geometry, and

religious, or cultural” (1) iden-

mathematics, as well as an un-

tities through our choices we

derstanding of mass and space.

made concerning the spaces in which we live and the garments

Since structures and clothing

with which we clothe ourselves.

must be fabricated, there is also a shared interest in construction

The intersections between archi-

and materials. As the producers

tecture and fashion are numerous.

of the constructions in which we

The two share a common vocab-

conduct our daily lives, archi-

ulary, often referencing the other

tecture and fashion define and

in descriptive language, as in the

give form to the spaces of our

terms “curtain wall” and “struc-

environments. Architecture and

tural jacket”. This shared vocab-

fashion scholar Bradley Quinn

ulary stems from the equal im-

elaborates on this idea by saying,

3D printed cape and skirt Iris Van Herpen 2013

“The organization of space has

through the world around us.

always been the essence of both

As Quinn indicates, architecture

fashion and architecture; fash-

appears to have a larger impact

ion’s architectuality unfolds in

in defining space, but this per-

its containment of space, while

ception is based on scale. The

architecture continues to be

space

fashioned by its relationship to

ing the body is created and al-

the human form. Architecture’s

tered by fashion. It is this space

domination of space is wide-

that architecture must contain.

spread, while fashion’s role in

These numerous intersections

mediating space is generally re-

and interactions between archi-

garded as secondary; yet fashion

tecture and fashion cause the

constitutes

spa-

two fields to rely on similar ide-

tial and ideological equal.” (2)

ologies in their design, as Quinn

architecture’s

immediately

surround-

notes. Such interest in theory Together,

and

and history in the creative pro-

fashion dictate our movement

cess places both on an equal

architecture

level of intellectual engagement.

fashion and architecture look to each other for inspiration. Fash-

Beyond organizing space, ar-

ion has long been known to turn

chitecture and fashion provide

to architecture, with the terms

it with visual interest, drawing

“architectural” and “structural”

upon the same inspirations and

consistently used to describe

each other to establish their aes-

garments that display certain

thetic characteristics. The same

qualities often seen in buildings.

“aesthetic tendencies, ideologi-

Jeremy Strick, director of the

cal and theoretical foundations,

Museum of Contemporary Art

as well as technological inno-

in Los Angeles, commented

vations” (3), influences the two

on this relationship by saying,

fields, often resulting in stylistic overlap. The extent to which this

“Since the 1980s, a growing

overlap occurs, while at times

number of avant-garde fash-

contested, is vastly underappreci-

ion designers have approached

ated. It is most clearly seen when

garments as architectonic con-

structions, while architecture has

the 1980s, though, that fashion

boldly embraced new forms and

designers began to adopt the

materials – thanks to numerous

principles of architectural con-

technological

advancements

struction, deepening the ex-

that have revolutionized both

change between the two fields.

the design and construction

Today, architects have in turn

of buildings and made tech-

begun to draw inspiration from

niques like pleating, stitching,

fashion, whether through the

folding and draping part of the

technique of “folding,” which be-

architectural

gan in the 1990s, or in the mimic-

vocabulary.”

(4)

ry of fabric in building construcThe use of architecture as inspi-

tion. This exchange between

ration by fashion designers can

the two fields, while much more

be seen decades earlier than the

common and openly discussed

1980s, such as in the work of An-

today, can be traced throughout

dré Courreges who was inspired

history, such as in the way the

by Le Corbusier. It was not until

drapery folds of the woolen tu-

nic were repeated in the Greek

is most often cited as minimal-

column or the way the verticali-

ism, such as in the work of Cal-

ty of Gothic architecture could

vin Klein, who is “acknowledged

be seen in the pointed clothing

as the contemporary master,

from the same time period. (5)

if not originator, of minimalist fashion.” (6) In addition to Klein,

The modernist movement in

Narciso Rodriguez is a contem-

architecture, with its stripped-

porary fashion designer whose

down design and focus on struc-

work displays the influence of the

ture rather than ornament for

International Style of architec-

aesthetic character, was and still

ture, sharing the same interest in

is highly influential in fashion,

structure and construction as the

often serving as the inspiration

sources of beauty that is found

for fashion designers that are

in the work of such architects as

considered to be “architectural”

Mies van der Rohe. These two

in their design style. This transla-

designers, as well as others who

tion from architecture to fashion

create minimalist fashion, owe

â&#x20AC;&#x153;substantial debt to designers

Martin Margiela, who disassem-

including Halston, Yves Saint

bled and reused vintage clothes

Laurent, Georgio Armani, Miuc-

to make new garments. Gehry

cia Prada, and Helmut Lang.â&#x20AC;? (7)

is representative of deconstructionist practices in architecture,

Unlike the connection between

while Margiela is more concep-

modernism and minimalism, the

tual than most fashion designers.

overlap of deconstruction in both

Other fashion designers such

architecture and fashion is mostly

as Rei Kawakubo of Comme de

based on process rather than ide-

Garcons and Yohji Yamamoto,

ology. The most famous practi-

adopted deconstruction in their

tioner of deconstructionism in ar-

lines but on a less conceptual

chitecture is Frank Gehry, whose

level than Margiela. It is notewor-

initial work with taking apart, or

thy, though, that Kawakubo and

deconstructing, then rearrang-

Yamamoto are considered more

ing elements of a building draws

avant-garde than most fashion

many comparisons to the work of

designers. Overall, deconstruc-

tion in architecture is more the-

ture and fashion reflect socie-

oretically based than its fashion

tal and cultural conditions and

equivalent. Brooke Hodge, cu-

when such overlap occurs, the

rator of architecture and design

study of their intersection can

at the Museum of Contemporary

be revealing both about the

Art in Los Angeles, explains the

fields and about the conditions

overlap of deconstructionism in

of society at a particular time.

architecture and fashion, writing, While fashion designers often â&#x20AC;&#x153;While fashion designers and ar-

draw inspiration from a particu-

chitects may not have adopted

lar building or reference a spe-

ideas of deconstruction for the

cific architect, architects look

same reasons or from the same

to fashion and garments more

sources, it is telling that these ten-

generally. The most common

dencies emerged in both practic-

fashion

es at about the same time.â&#x20AC;? (8)

make are in recreating the qual-

As Hodge indicates, architec-

ities of fabric in the construc-

references

architects

tion of buildings, experimenting

composition of volumes that

with the potentials of tradition-

wrap the body in the same way

al architectural materials. To-

as a garment. Toyo Ito also ex-

day, terms including “pleating,

periments with the concept of

stitching,

drap-

wrapping, designing geometric

ing” (9) are used architecturally.

skins that wrap his buildings and

folding,

and

cling to their structures as a fitted The work of Peter Eisenman and

dress clings to the body, such

Frank Gehry often demonstrates

as in his Tod’s Building in Tokyo.

the concept of folding. Gehry’s designs embody other charac-

Ito, like many other contempo-

teristics of fabric as well, such as

rary architects, has designed

his Hotel Marqués de Riscal in

flagship stores for major fashion

Elciego, Spain with its draping

companies, including Tod’s, rep-

forms that are often compared

resenting a growing trend for

to ribbons and his Disney Con-

this collaboration between luxu-

cert Hall in Los Angeles with its

ry brands and well-known archi-

tects. With the development of

raphy throughout the genreâ&#x20AC;&#x2122;s

the department store in the late

history, constantly appearing in

nineteenth century, the archi-

advertisements and editorials.

tecture of clothing stores quick-

As a result, architecture has a

ly became an important focus,

permanent presence in the fash-

requiring architects to consider

ion magazine, one of the most

the role of the garment in their

influential institutions of the in-

designs. In many ways, the cloth-

dustry. In addition, fashion ad-

ing store, especially the flagship

vertisements are often included

store, has come to represent a

in architecture magazines. As

brand or company. For this rea-

design-focused individuals who

son, fashion companies have

are aware of the fashion image,

become even more concerned

architects are often known to

with the design of their stores.

maintain a relatively fashionable appearance,

especially

today

Similarly, architecture has played

as they interact even more fre-

a key role in fashion photog-

quently with the fashion industry.

Within the field of architecture,

a selection of writings ranging

the image, or â&#x20AC;&#x153;lookâ&#x20AC;?, of the

from broad studies of the par-

architect is recognizable. Cer-

allels between the two fields to

tain architects are known for

explorations of specific ways in

their individual style or a spe-

which they intersect. The writ-

cific

ers have various backgrounds,

defining

garment,

such

as Philip Johnson who was al-

representing

ways seen wearing his thick-

fashion, as well as the art world,

rimmed black circular glasses.

academia, and journalism. Be-

architecture

and

fore the publication of any maThe relationship between ar-

jor work on the topic, museums

chitecture and fashion has in-

and galleries began to display

spired a number of academic

exhibitions that made connec-

investigations, with an increas-

tions between the two fields. As

ing number of scholars showing

investigation of the relationship

interest in the topic during the

of architecture and fashion con-

last two decades. Today there is

tinues to develop, these writings

Max Reinhardt Haus Eisenman Architects Berlin 1992-93

Mรถbius Dress J. Meejin Yoon 2005

and exhibitions will continue to

ture and fashion,” including “the

be influential and will further our

transitory:

understanding of the two fields.

fashion’s system of rapid change,

architecture,

unlike

is static” and “the vestimentary: One of the earliest comprehen-

architecture, like fashion’s gar-

sive books about this relation-

ment, clothes the body.” (10)

ship is Deborah Fausch’s “Architecture in Fashion”, published in

These two areas of interest es-

1994. This compilation of essays

tablish a loose guideline for the

provides a thorough background

essays chosen. Almost all of the

about the major intersections be-

authors address the issue of ar-

tween architecture and fashion, in

chitects viewing fashion “as friv-

addition to multiple perspectives

olous, un-functional, and waste-

on the position of each field in re-

ful, the antithesis of rationality

lation to the other. In her introduc-

and simplicity,” (11) two qualities

tion, Fausch writes that there are

for which architecture, especial-

“two conflicts between architec-

ly that based on the theories of

TODâ&#x20AC;&#x2122;S Omotesando Toyo Ito and Associates Tokyo 2002-2004

Dress from Scanners collection Alexander McQueen AW 2003-2004

Modernism, often strives. This is

“fashionable” often encountered

the main topic of focus in “White

within the field of architecture,

Out: Fashioning the Modern” by

the role of fashion as a trend in

architect and Dean of Columbia

relation to architecture and the

University’s School of Architec-

art world, and the influence of

ture, Planning, and Preservation

fashion on culture as a whole.

Mark Wigley, who seems to argue against the rejection of fashion by

Architect and Columbia profes-

architecture and for its role as be-

sor Mary McLeod addresses the

ing fundamental in the field. In his

issue of gender in relation to ar-

essay “’In’ Architecture: Observ-

chitecture and fashion in her writ-

ing the Mechanisms of Fashion,”

ing

architect and Cornell professor

Fashion, Gender, and Moderni-

Val Warke discusses the influence

ty” and historian Helene Lipstadt

architecture and fashion have on

equates the signature of the ar-

one another, the negative con-

chitect and the label of the de-

notation of “fashion” and the

signer for their roles in elevating

“Undressing

Architecture:

the structure and the garment

not only from an aesthetic per-

in her lecture “The Signature on

spective but from a functional

the Building: Propositions for a

and symbolic view as well. He

Method of Comparison of Archi-

identifies the white wall as the

tecture and Fashion Using Pierre

one common element shared

Bourdieu’s analysis of the Griffe”.

by the architects and buildings that are considered to be “mod-

Wigley, who is featured in “Ar-

ern”. Wigley suggests that even

chitecture

pub-

though the practitioners of Mod-

lished his “White Walls, Designer

ernism viewed their work as pure,

Dresses” only one year after, in

timeless, and free of the fluctu-

1995. In this book he elaborates

ations of fashion, their work was

on the supposed rejection of

based on this one, in many ways

fashion by the Modernist move-

fashionable, element. He writes,

Fashion”,

ment in architecture. Wigley’s writing is firmly rooted in theo-

“The visible aging of the white

ry, approaching the white wall

wall calls into question that

architecture’s

tran-

ing this fundamental element of

scend the turnover of fashion-

modern architecture, the white

able

flaws

wall, with a garment, arguing,

(12)

“No matter how thin the coat of

styles.

become

ability

Superficial

deep

threats.”

paint is, it is still a coat…It is itself The white wall became a style

a very particular form of cloth-

that was repeated and reinter-

ing. And by sustaining a logic

preted in the same way the fash-

of clothing, modern architecture

ion industry perpetuates trends.

participates in many of the econ-

When the trend was not properly

omies from which it so loudly

followed, the success of the archi-

announces its detachment.” (13)

tecture was questioned. Wigley takes his concept even further,

Bradley Quinn’s “The Fashion

rejecting the idea expressed by

of Architecture”, published in

many architectural theorists and

2003 provides a more recent

critics that whitewashed modern

overview of the intersections be-

buildings are naked and equat-

tween architecture and fashion,

addressing some of the same

movement through urban life,

topics as Fausch’s “Architecture

and fluid form. The background

in Fashion” while focusing on

information Quinn provides in

specific and unique examples.

his introduction is the most ex-

The publication is the catalogue

tensive of any recent publica-

for the exhibition “The Fashion

tion. He details what he calls the

of Architecture: Constructing the

“significant

Architecture of Fashion” dis-

tween architecture and fashion

played at the Center for Archi-

and examines the relationship

tecture in New York and curated

between architects and fashion

by Quinn in 2003. Quinn’s writ-

designers, concluding with an

ing is guided by the theoreti-

investigation of the highly de-

cal connections between the

bated classification of buildings

two fields and addresses such

and clothing as “art”. In a chap-

topics as the construction of

ter titled “Fashion Space” Quinn

space, the exchange between

defines the concept as “a synthe-

place and non-place, the void,

sis between fiction and realism.

connections”

be-

In the fusion between them,

architecture.

the act of shaping and form-

for one another seems to spiral

ing social identities is con-

around their mutual desire to

structed and performed.” (14)

see life transmuted into art.” (15)

He explains that fashion space

He relates this to the potential la-

permeates culture and society

beling of architecture and fashion

providing an argument for the

as “art” due to the significance

significance of the garment in-

of their aesthetic qualities and

dustry, which is a visual expres-

examines the issues surrounding

sion of fashion space. In another

this classification. Quinn discuss-

chapter Quinn discusses the dy-

es recent developments in the

namic relationship between archi-

exchanges between the three

tecture, fashion, and art, stating,

fields and indicates that this

Their

fascination

constantly evolving relationship “Many exchanges are taking place between art, fashion and

will influence the future of both.

The catalogue for the 2006 ex-

mental similarities and intersec-

hibition â&#x20AC;&#x153;Skin + Bones: Parallel

tions between fashion and archi-

Practices in Fashion and Archi-

tecture in addition to the ways

tectureâ&#x20AC;? at the Museum of Con-

in which they inspire each other.

temporary Art in Los Angeles

She traces their relationship to

provides a thorough overview

the Ice Age, during which animal

of the parallels between the two

skins were used for both clothing

fields. Curator Brooke Hodge

and shelter and includes other

recounts the historical relation-

notable moments in history, such

ship between architecture and

as Ancient Greece and Medieval

fashion and details each of the

Europe, during which there were

ways they intersect today. This

clear stylistic parallels or mutual

background information com-

influences. Hodge analyzes the

plements the compelling exam-

same twentieth century stylistic

ples displayed in the exhibition.

movements that are examined by other authors, including mod-

Hodge establishes the funda-

ernism and deconstruction. She

devotes a large portion of the in-

and ties this to clothing’s funda-

troduction to a discussion about

mental structural reliance on its

the creative process and an in-

wearer’s skin and bones. Hodge

vestigation of “tectonic strate-

also comments on the develop-

gies”, or structural innovations

ment of such parallel investiga-

and manipulations that exist in

tions of architecture and fashion,

or influence both architecture

citing the 1980s as the begin-

and fashion. It is in this section

ning of their dynamic and close

that Hodge elaborates on the

relationship that is the cause for

concept of skin and bones, com-

academic interest. She writes,

paring the structures of build-

“For designers in both fields,

ings and clothing to the basic

the early 1980s were character-

structural elements of the human

ized by a struggle for liberation

body. She defines the “skin” of a

from convention that involved

building as “the continuous exte-

experimentation with new forms

rior surface that covers the struc-

and an openness to ideas and

tural framework, or ‘bones’,” (16)

techniques from other disci-

plines to inspire radically differ-

and “The Fashion of Architec-

ent approaches to design.” (17)

ture: Constructing the Architecture of Fashion”, certain exhibi-

According to Hodge, since this

tions focused on the relationship

time the two fields have evolved

between the two fields have

to frequently intersect with and

been very influential on schol-

influence each other. She con-

arship about the topic. The first

cludes, “This cross-fertilization

public exhibition to focus on con-

may result in the development

necting architecture and fashion

of increasingly hybrid practices.”

was curated by Susan Sidlauskas

(18) She suggests that investi-

in 1982 for MIT’s Hayden Gallery

gations such as her own are es-

and titled “Intimate Architecture:

sential for the future understand-

Contemporary

ing of architecture and fashion.

sign”. Brooke Hodge cited “Inti-

Clothing

De-

mate Architecture” as an inspiraLike “Skin + Bones Parallel Prac-

tion for her exhibition, but in an

tices in Fashion and Architecture”

interview she acknowledged that

the exhibition did not include

closer together to inspire a more

architecture and similarly, that

thorough

“The Fashion of Architecture” in-

“Skin + Bones” was not the first

cluded very little. She said, “Skin

exhibition to display a significant

+ Bones is the first exhibition

amount of architectural works

to examine the relationship be-

alongside examples from fash-

tween fashion and architecture

ion, it was the first to do so in

in great depth with numerous

such a way as to create a more

examples from both fields.” (19)

engaging dialogue. The 2004

exploration.

While

exhibition “Glamour: Fashion, Since the topic is relatively new,

Industrial

the comparison of these exhi-

ture”

bitions is indicative of its evolu-

Museum of Modern Art dis-

tion. As the investigation of the

played a large number of works

relationship between architec-

from both industries, but con-

ture and fashion continues to

nected

them

develop, exhibitions bring them

mutual

interest

Design, the

San

ArchitecFrancisco

through in

their

glamour.

On the other hand, one of the

artistic and intellectual status

most recent exhibitions of archi-

than fashion. Architects and ar-

tecture and fashion paired archi-

chitecture scholars often deny

tects with fashion designers in

that fashion, as a discipline, is

teams of two to create designs

architecture’s peer and ideo-

to be displayed. “Fashion & Ar-

logical equal. In an interview

chitecture” at the Amsterdam

with Bradley Quinn architectur-

Architecture Center was on dis-

al theorist Charles Jencks said,

play in 2010 and truly brought the two fields together, creating

“Fashion is all froth. It has no

a venue for further advance-

real convergence with architec-

ment

investigations.

ture, it is merely an overlap.” (20)

As indicated by all of the major

Jencks expresses the sentiment

writings on the topic, architec-

of many people within his field,

ture has historically been accept-

but as scholars continue to inves-

ed as having a more significant

tigate the relationship between

such

architecture and fashion, those

The use of fashion as an architec-

within architecture are beginning

tural inspiration has been slowly

to acknowledge fashion’s im-

accepted because of the level of

portance. Quinn writes, “While

elitism that exists in the field of ar-

historians and academics may

chitecture. To call a work of archi-

challenge fashion’s claim to be

tecture “fashionable” is an insult

a legitimate art form or a val-

to the architect and the artistry

id discipline of the arts, no one

of their ideally timeless creation.

can deny the profound impact it has on the arts, as well as ar-

If the goal of architecture is to

chitecture, photography, cinema

be timeless, the rapidly chang-

and other types of design.” (21)

ing styles of the fashion world are viewed as threats. Clothing is

The

influence

fashion

produced quickly and the cycle

forms

contin-

of changing styles is constantly

architects

in motion. In contrast, buildings

turn toward it for inspiration.

are constructed in much longer

other

ues

art grow

periods of time and, as lasting

pletely takes away from the

structures, are often designed

building’s architectural success.

to stand the test of time. For this reason, architects and architec-

Wigley writes, “Modern archi-

tural scholars have traditionally

tecture – and, likewise, its his-

considered their field to be ex-

toriography,

empt from the fashion system,

itself from what it emphatical-

which to them is both trivial and

ly defines as its degenerate

temporal. However, Mark Wig-

other, that being fashion.” (22)

cannot

detach

ley provides evidence for the influence of the rapidly chang-

Today

ing fashion system on the Mod-

tectural scholars are working

ernist movement, which was de-

to root out such elitism in ar-

fined by its aspiration to achieve

chitecture.

timelessness. He compares the

architects

this

Quinn effort,

and

archi-

comments explaining,

white wall to a coat that, when no longer clean and ideal, com-

“Architects Ben van Berkel and

Caroline Bos sate that ‘the archi-

as art is very circumstantial and

tect is going to be the fashion

applying this same categori-

designer of the future’ – a move

zation to fashion is continually

for architecture to become more

contested. Early on, Susan Sid-

populist and less elitist.” (23)

lauskas equated the fashion designer with the architect when

As the two fields interact more

she wrote in her catalogue for

frequently and on deeper lev-

“Intimate Architecture: Contem-

els, architecture comes closer

porary Clothing Design” in 1982,

to viewing fashion as its equal. “The expressive tools that are In addition to collaboration with

a traditional part of the design-

architecture, the growing accep-

er’s trade coexist with a pre-

tance of fashion as an art form

occupation for solving spatial

has allowed it to be seen as dis-

and structural problems more

cipline on the same level. How-

commonly expressed in archi-

ever, the labeling of architecture

tecture. These artists view and

design clothes to contain and

the producers of buildings and

define space. Their skills are

clothing. Architecture and fash-

those of builders rather than

ion have the capability of falling

decorator…the structural deci-

under art historian Irving Lavin’s

sions (cut, seams, darts, pleats)

definition of art, which states,

compose the decoration.” (24) “Anything manmade is a work She identifies the intersections

of art, even the lowliest and

between the two professions and

most functional object.” (25)

cites the intellectual aspects of the design process as the evidence

The extent to which a building

that warrants calling fashion de-

or garment is man made de-

signers and architects artists.

pends on the particular object being created. It is through the

Traditionally, the art world has

design process, attention to de-

struggled with this notion, as ar-

tail, and quality in construction

chitects and fashion designers are

that these basic elements of

daily life are heightened to art

duced by their field. “High” ar-

forms. At the same time, there

chitecture, that which is designed

are many levels of the design

by an architect, and “high” fash-

and construction processes, from

ion, or haute couture made by a

those of the architect designed

fashion designer, are more read-

building or the hand-made cou-

ily accepted as art forms often

ture dress to the production of

because they are the work of one

the prefabricated house or the

designer, or artist. Quinn com-

mass-produced t-shirt. As a re-

ments on this phenomenon in

sult, the circumstances under

relation to architecture, writing,

which a building or garment is made determine whether or

“It is interesting to note that

not it is considered to be art.

among architects, some structures are debased to the cate-

Both architecture and fashion

gory of mere ‘buildings’, while

make such distinctions between

historic monuments, iconic struc-

“high” and “low” works pro-

tures and the edifices acknowl-

edged as poetic gestures are

the original product is wasted

accepted as ‘architecture’.” (26)

away through diffusion.” (27)

The fact that these distinctions

The closer a building or garment

are made in both architecture

is to being designed and pro-

and fashion unites the two fields,

duced by one person, the more

as each grapple with making

likely it is to be considered art.

art and producing consumable

However, architects and fashion

products. Fausch explains that

designers must make designs

architecture and haute couture

that can be produced, marketed,

“are situated between econom-

and sold in the most efficient and

ic and symbolic/artistic fields,

least costly manner possible. This

that they have similar condi-

relates back to “high” and “low”

tions of production – team work,

works in each field. Architects and

use of a model, etc. – and sim-

fashion designers draw on specif-

ilar conditions of consumption,

ic influences to work through the

in which the distinctiveness of

design process with the intent of

engaging intellectually to solve

On the other hand, because they

problems by drawing on theo-

are basic elements of survival,

retical

maintaining

buildings and clothing must be

an awareness of historical prec-

available to everyone and in or-

edents, and utilizing their talent

der to achieve this, their artistic

and a set of skills that is unique

quality is at times compromised.

to their profession. Their de-

In this way, a large team of col-

signs are created as works of art.

laborating

principles,

professionals

and

a process of mass production Quinn writes, “No longer just

produce the “low” forms of ar-

spaces for living, working or

chitecture and fashion, usually.

wearing, architecture and fashion seem to engage on an equal foot-

The art created by architects

ing with the philosophical, histor-

and fashion designers influences

ical and formal principles once re-

the aesthetics of the supposed

served for art practice alone.” (28)

lower levels of building and clothing production. The trick-

le down of styles in the fashion

then sent to a factory to be man-

industry is very apparent, with

ufactured. Throughout the pro-

the most affordable and wide-

cess, the focus is on producing

ly available brands of clothing

an item to be sold. While a cer-

mimicking the styles that are

tain amount of artistry and artistic

shown on the runways of Par-

integrity are maintained, the goal

is, New York, London, or Milan.

is not to create a work of art. As a result, garments created through

Unlike the clothing presented

this process are not considered

on the runway the clothing worn

to be art. The categorization of

by a majority of the population

fashion as art or product is not

represents the work of countless

nearly this cut and dry though.

individuals and cannot be attributed to any single designer,

Many garments fall on the spec-

or artist. It is designed systemat-

trum somewhere between haute

ically, through the collaboration

couture and a pre-packaged

of multiple professionals and

tshirt. Additionally, all clothing

is made as a product intended

theoretical ideals. Furthermore,

to be sold, including the gar-

architecture, like fashion, is pro-

ments that are designed by a

duced by multiple individuals,

fashion designer who consid-

including architects, engineers,

ers their work to be an art form.

contractors, and builders, among others. Similarly, there is a spec-

Often designs are adjusted for

trum of buildings ranging from

production, making the art ver-

the most artistic expression of

sus product issue even more

one architect to the assembly of

concerning for fashion design-

prefabricated structures created

ers. Architects are faced with

by a construction corporation.

the same problem, designing buildings according to their cli-

A commonality between the

entsâ&#x20AC;&#x2122; wishes, structural and eco-

forms of architecture and fashion

nomic constraints, and legal re-

that is more readily accepted as

quirements, while attempting to

art becomes apparent, that being

maintain their own artistic and

the role of the individual artist.

While certain buildings and gar-

especially those of whom it is

ments that are not designed by

considered necessary to study

one architect or fashion designer

in order to fully understand and

are considered to be works of art,

appreciate the discipline; peo-

these are the exceptions to the

ple who do not have a strong

standard, established by the art

background in the field rec-

worldâ&#x20AC;&#x2122;s obsession with the â&#x20AC;&#x153;cre-

ognize only certain architects.

ative genius.â&#x20AC;? Consequently, it is not surprising that during the

These

individuals

have

tran-

last century certain architects and

scended the constraints of their

fashion designers have achieved

professional world and have be-

an iconic status both within their

come household names. The

field and in popular culture.

same phenomenon occurs in fashion. Those within the indus-

While those within the field of

try recognize countless names

architecture know the names of

of designers and despite the

numerous influential architects,

fact that fashion reaches an

even wider audience than archi-

an idol,” (30) as well as “a person

tecture, a comparatively small

or thing regarded as a represen-

portion of fashion designers are

tative symbol of something.” (31)

known by those outside of the field. These fashion designers,

By applying the term “icon” to

like their architect counterparts,

architects and fashion design-

have reached the status of icon.

ers, there is an implication of

The construction of these icons

this attention and devotion. It is

is a complex process that is

through such devotion that the

unique in each individual case.

iconic architect or fashion designer is, in a sense, made holy

In its very basic definition, an

or deified. Thus, there is a con-

icon is “an image; a represen-

nection with the religious defi-

tation.” (29) When used to de-

nition of “icon”, which primarily

scribe a person, an icon is de-

refers to a devotional object. Ac-

fined as “one who is the object

cording to Byzantine tradition, an

of great attention and devotion;

icon is a representation of Christ,

the Virgin, or saints that “was

by their presence in their icon-

perceived as matter imbued

ic status. In this way, the iconic

with charis…or divine grace.”

status acts as a signifier and the

(32) The image of the divine was

icon, the individual, is the sig-

understood as an imprint, or “a

nified object. For this reason,

typos impressed on material sur-

the semiotic understanding of

face,” (33) and the presence of

icons and what it is to be icon-

the holy figure represented in

ic provides insight into the way

this image was believed to exist

in which the general public re-

in the icon. Icons in architecture

ceives both within their field.

and fashion function similarly, as a certain representational quality

Semiotician

or image of the individual is high-

defines “iconic” as a “mode, in

lighted and used to signify them.

which the signifier is perceived as

Daniel

Chandler

resembling or imitating the signiThe dynamic identity of the de-

fied (recognizably looking, sound-

signer or architect is indicated

ing, feeling, tasting or smelling

like it) - being similar in possess-

bered. The icon is an abstracted

ing some of its qualities.â&#x20AC;? (34)

and idealized version of the individual. As a group, these icons act

In the case of iconic architects

as signifiers as well, representing

and fashion designers, their icon-

the idea of iconicity. To call an ar-

ic status imitates the true person

chitect or a fashion designer an

and their legacy by establishing

icon of their field relates back to

an idealized and exaggerated

the religious sense of the term

version of the individual. The

by implying a certain amount of

iconic status focuses on those

devotion and divine-like status.

qualities that have built their reputation and fame. It almost flat-

In order for an individual to be

tens the person by removing the

considered an icon there must

various layers of their identity and

be recognition by an audience,

reducing them to a specific set

which

of characteristics or accomplish-

members of either of the two

ments for which they are remem-

fields and the general public.

this

case

includes

Without the participation of this

these icons are the best in their

audience, there is no one to

profession. It is often challenging

idolize or pay devotion to these

to identify the reason for an iconâ&#x20AC;&#x2122;s

icons. It is the response of their

recognition by both members of

audience that has built their

their field and the general public.

iconic status. They have earned themselves notoriety and hold

By investigating this phenom-

a certain amount of significance

enon, through the examination

within their field, for which they

of multiple examples, it might

are respected. These individuals

be possible to reach new con-

represent their profession, partic-

clusions

ipating in the construction of the

ship between architecture and

image of the architect or fashion

fashion and their connections

designer. As the most recog-

with society and the art world.

about

the

relation-

nized names in their fields, there is a general understanding that

1. Brooke Hodge, Skin + Bones:

Parallel

Practices

Fashion

and Architecture (Los Angeles:

ion

Bradley

Fashion (New

Quinn,

York:

Berg,

The

Hodge,

2003),

15 Ibid.

Parallel ion 5. ion

Practices

and Hodge,

Parallel

Skin

Practices

and

Bones:

Fash-

Architecture, Skin

Bones:

Fash-

Architecture,

14 Ibid.

Architecture

3. Hodge,

Practices

and

Hodge,

Parallel

Skin

ion 9. ion

Practices

and Hodge,

Parallel

Skin

Bones:

Fash-

Architecture, Skin

Practices

and

+ in

Bones: Fash-

Architecture,

Bones:

10. Deborah Fausch, Architec-

Fash-

ture in Fashion (New York: Princ-

eton Architectural Press, 1994), 7

Architecture,

11. Mary McLeod, “Undress-

16.

ing Architecture: Fashion, Gen-

Parallel

der, and Modernity” in Fausch,

ion

and

17.

Hodge,

Architecture

Fashion,

Hodge,

Practices

Parallel

Designer Dresses (Cambridge,

ion

and

18.

Hodge,

13.

MIT

Press,

Wigley,

Designer 14.

Quinn,

ion

1995),

Bones:

Fash-

Architecture,

12. Mark Wigley, White Walls, MA:

Skin

Practices

Bones:

Fash-

Architecture,

xix Bones:

Walls,

Dresses,

xviii

The

Fash-

19. Sarah Scaturro, “Skin +

Bones: An Interview with Brooke

ion

Practices

White

Architecture,

Parallel

Skin

and

Architecture,

Fash21

Hodge,” Fashion Projects, March 15.

Quinn,

ion

The

Architecture,

Fash133

11,

2007,

http://www.fash-

ionprojects.org/?p=85

20.

Quinn,

ion

Fash-

Architecture,

21.

Quinn,

ion

22.

The

Wigley,

Designer 23.

Quinn,

ion

8 Fash-

Architecture,

Walls,

Dresses,

xxv Fash-

Architecture,

24.

Fausch,

ture

128

25. Irving Lavin, “The Crisis of Art History,” The Art Bul-

Quinn,

ion

The

Fash-

Architecture,

27.

Fausch,

Architec-

ture

Fashion,

28.

Quinn,

The

ion

29.

The

15 Fash-

Architecture,

136

Architec-

Fashion,

26. 137

White

The

letin, vol. 78 no. 1 (1996): 15

American

Heritage

Dictionary of the English Language, 30.

ed.

(2000)

“icon” Ibid.

31. New Oxford American Dic-

33.

Ibid.

tionary, 2 ed. (2005) “icon” 34. Daniel Chandler, “Glossa32. Bissera V. Pentcheva, “The

ry,” Semiotics for Beginners,

Performative

Art

http://www.aber.ac.uk/media/

Bulletin 88, no. 4 (2006): 631

Documents/S4B/sem-gloss.html

Icon,”

The

Image as a driving force to communicate architecture and fashion

Image and communication can

and rather peculiar. It represents

be considered as two of the

nothing other than itself. In the

most

contrary, Gadamer defined “im-

fashion and architecture. Image

age” as something which as-

could be defined as a way of

sembles a world and thus goes

communication of both fields.

beyond its component elements.

In his book “Architecture: Pres-

These

ence, Language, Place”, Nor-

relevant

berg Schulz states that “image”

world. An architectural image

cannot be considered as a sign

is one that mirrors the whole

or symbol, although, image can

include both signs and symbols.

is considered as “the moth-

While a sign has an indicative

er of all arts”, the impact of its

function, and a symbol functions

Image and communication can

through substitution, an image

be considered as two of the

is something that is both new

most

important

concepts

definitions in

presence.

the

important

are

very

architecture

concepts

fashion and architecture. Image

age” as something which as-

could be defined as a way of

sembles a world and thus goes

communication of both fields.

beyond its component elements.

In his book “Architecture: Pres-

These definitions are very rele-

ence, Language, Place”, Nor-

vant in the architecture world. An

berg Schulz states that “image”

architectural image is one that

cannot be considered as a sign

mirrors the whole of presence.

or symbol, although, image can

If architecture is considered as

include both signs and symbols.

“the mother of all arts”, the im-

While a sign has an indicative

pact of its image is typically inter

function, and a symbol functions

subjective, in a more satisfactory

through substitution, an image

manner than any other art, and

is something that is both new

it is directed toward a commit-

and rather peculiar. It represents

ment to provide mankind with a

nothing other than itself. In the

solid rooting in space and time.

contrary, Gadamer defined “im-

In fact, image has a direct re-

lation

with

person‘s

identity.

In their 2005 book, “Architectural inspirations in fashion design”,

Image is the façade of a person

Paksoy and Yalçin are determin-

that he/she built in order to de-

ing that fashion designer must

fine its character and creates an

have some idea of the devel-

identity. This external façade

opment, origins of fashion and

somehow hides the true charac-

trends that comes and go in art

ters of a person and it might be,

and design. The designer must

in certain cases, unrecognized.

produce a unique and innova-

In fashion, as well as in architec-

tive design, which will present

ture, image is a visual language

new

and it communicates with the so-

cles and new human dynamics.

challenges,

new

obsta-

ciety. Designer is the eye of other people and he is the one who can

With the help of the image, it is

be creative enough to be able to

possible to create a new iden-

explore the future environment.

tity, pretend something, lie or express the truth. In his book,

“When Clothes Become Fash-

people‘s perception and orients

ion,

Innovation

their mind in a direction. When a

Systems”, Loschek is writing,

person designs his own body by

“A fashion can be a collection

different clothing and accesso-

of textiles, individual parts sewn

ries, he is building a communica-

together or a dress belong-

tion system. Therefore, he could

ing to Marilyn Monroe, if that is

survive in a society via communi-

what the viewer wishes. Every

cation by demonstrating his inner

individual decides alone how

thoughts and beliefs with the im-

much of his or her personality

age that he created on the outside

is put into his or her clothes, so

by clothing. Loschek is writing,

expressing his or her innermost

“In order to be addressed as a

being, or whether he or she uses

human being, socially negotiat-

fashion as a mask, as a conven-

ed body styling is necessary. A

tional norm and habituation.”

person‘s picture must fit into so-

In addition, the image that a

ciety in order for him to be inte-

person builds for himself guides

grated. Each person experiences

Design

and

his world as culturally preformed,

the past. Accordingly, an indi-

the cultural meaning of clothing

vidual will be presented in a so-

lies in other people social posi-

ciety by means of fashion rather

tioning. Clothing is man‘s clos-

than their traditional costumes.”

est medium of communication

These concepts are exactly the

in relation to his surroundings.

same in the field of architecture.

Each person communicates a self

In a modern society, the facade

by means of clothes, and others

of the surrounding architecture is

perceive him as an entity togeth-

the meaning of an image in peo-

er with his clothing. Nowadays,

ple‘s mind and it is one of the

identity of people who are liv-

main factors its communication

ing in one society is defined by

system. Norberg Schultz is writ-

what they are at the moment and

ing in his 2000 book, “Architec-

the career they have and not by

ture: Presence, Language, Place”,

their origin or past. The present

“The social does not work in a

and most likely the future is more

void; instead it necessarily refers

important and essential than

to a system of ‘venues‘, and it

therefore makes good sense to

interaction in order to communi-

define the architectural image

cate easier if it is possible. These

as the art of place. It is precisely

tools are to serve human in or-

as the art of place that architec-

der to organize the environment.

ture can help to heal the fracture

The non-verbal communication

between thought and feeling.”

has as much order and structure as the verbal communication.

The behavior of the people is being shaped thanks to the com-

In his book from 1992, “Inten-

munication in its society. Gener-

tion in architecture”, Norberg

ally, via communication and per-

Schulz is stating, “The gestures,

ception, the individuals will gain

other kinds of actions, images or

all the surrounding information

sounds, should all have the order

and it is the only way that they

and connection with a system of

could interact with each other.

expectations to be meaningful.”

In this case, any other human

This non-verbal communication

product is just a tool to make this

can be a building that is built

in order to give a message to

are with the help of the image

people and satisfy their needs.

where language cannot help and

The clothing is the other way of

many others, with the help of

the non-verbal communication,

language instead of the image.

which helps the people to send

Loschek states in his book,

different messages to each oth-

“When Clothes Become Fashion,

er concerning themselves or

Design and Innovation Systems”,

the surrounding environment.

“These processes of communica-

The social identity created by

tion are activities of man and his

fashion is thanks to the help of

environment, of habitat and cul-

communication.

can

ture, but they also demonstrate

easily be considered as the so-

the way in which a human being

cial system based on commu-

observes his or her self or that of

nication.

communication

others.” Suzanne; Preez and War-

happens through several lev-

ren du Lee are explaining these

els. These levels are different

kinds of different states in their

from each other; many of them

book, “Fashioning the future,

This

Fashion

Tomorrow’s Wardrobe” writing,

establishes parameters by means

“Dress is a complex form of

of usually textile material via the

non-verbal

product clothing or accessory. Af-

can make the wearer stand out

ter that the product of the design

but can also serve to conceal,

developed as a communicative

enabling the person to it in. Tra-

process, the next step would be

ditionally, we change clothes so

the communication via models,

we look appropriate for each

the presentation and distribu-

new situation. In nature, too,

tion to the public in that society.

changeable states are desir-

At the end, by the acceptance

able for various reasons: mask

of the people in the society, the

and protect, to attract a mate

product design would become

or to signal status. Clothing al-

fashion. Loschek is explaining

ready performs these functions

this phenomenon as a matter

both implicitly and explicitly.”

of interaction, saying, “Fashion

In addition, fashion designer

is tied to interaction; howev-

communicates creative ideas or

er, today this function less from

communication.

individual to individual but far

cialization is much more stronger