DISSERTATION

Architecture + Fashion:

A study of the connection between both worlds

AMADI UGOCHINYERE CHINWENDU

Masters of Architecture (M.Arch)

Nottingham Trent University

2014

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Acknowledgement

My sincere gratitude goes to Almighty God, my helper, the one who has always been there

for me even in times of trials.

I wish to register my sincere gratitude to a number of persons who genuinely contributed to

the successful completion of this study.

I faithfully appreciate the support and selfless efforts by my supervisor Prof Soumyen

Banyopadhyay in leading me in the right path to attaining knowledge and dedication

demonstrated by my project and also for been there for me for the duration of this course and

in pursuit for my degree of masters in architecture certificate.

I owe a million thanks to my parents Engr and Mrs A. U Amadi for their love, financial

assistance and prayers that saw me through all my educational pursuits, I equally register my

gratitude to my siblings, Harrison Uzoma, Kelvin Chinedu and Elizabeth Nwulo for their

prayers, words of encouragement and love.

I want to thank my best friend, my partner and Fiancé Capt. Oden for been there for me, you

were supportive all through and I appreciate you for your patience, prayer, encouragement

and love. You are the best, I love you dearly.

I also owe a million thanks to everyone who remembered me in their prayers, God knows you

individually and may he bless you all richly according to his promises.

Special thanks to all my fellow mates for their continuous support, love and encouragement.

God bless you all.

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AKNOWLEDGEMENT……………………………………………………………….....2

TABLE OF CONTENT…………………………………………………………………..3

LIST OF FIGURES…………………………………………………………………….....4

ABSTRACT…………………………………………………………………………........5

1 INTRODUCTION……………………………………………………………….....5-9

1.1 Research Question and Aim…………………………………………………….... 9

1.2 Research Methodology………………………………………………………….... 9

2 LITERATURE REVIEW……………………………………………………..…..10

2.1 Background Studies………………………………………………………..……..10

2.2 Deconstruction in relation to Fashion and Architecture ………………………..11-12

2. 3 Contemporary Architecture and Fashion………………………………..............12-14

3 CASE STUDY …………………………………………………………….……...15

3.1 Interrelationship between Fashion and Architecture…………………….……....15

3. 2 Frank Lloyd Wright- Guggenheim Museum……………………………….…….15-20

3.3 Zaha Hadid - ThyssenKrupp Headquarters…………………………..................20-22

4 CONCLUSION……………………………………………………………………23

BIBLIOGRAPHY……………………………………………………………………......25-28

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LIST OF FIGURES

Fig 1: Media façade in fashion and architecture by Husseein Chalayan and ag4

Architects…………………………………………………………………………………… 7

Fig 2: Metal dresses by Paco Rabanne and metal covering in building by Frank Gehry,

2003………………………………………………………………………………………… 7

Fig 3: Lucy Orta’s art work of the boundaries in Fashion and Architecture……………… 8

Fig 4: Geometry and Deconstructivism in Futurism Fashion……………………………... 8

Fig 5: Toyo Ito - Mikimoto Ginza 2 Building and Petal Dress Detail photo courtesy: Atelier

Manferdini…………………………………………………………………………………. 9

Fig 6: Two - way dress by Yoshiki Hishinuma and Tod’s Building by Toyo Ito, Tokyo,

2004………………………………………………………………………………………… 14

Fig 7: Guggenheim Museum by Frank L. Wright with a Guggenheim hat of an unknown

designer…………………………………………………………………………………….. 17

Fig 8: Cristobal Balenciaga Hat……………………………………………………………. 18

Fig 9: The Guggenheim hat ................................................................................................. 18

Fig 10: Valerie Idiosyncratic Fashionistas Guggenheim hat............................................... 19

Fig 11: Zaha Hadid’s building inspired by one of her fashion design………………….. 22

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Abstract

The social need for expression in this new age especially in the field of architecture has seen

some recent development; although architecture and fashion seem to be independent of one

other, architecture deals with the constructed environment while fashion is the motivating

factor behind the dress making business . It has been discovered that fashion is a robust way

of expressing one’s culture and identity. A study of the connection between fashion and

architecture would be investigated in this research thereby a number of points would be

drawn out linking both fashion and architecture together in this post-modern era. This

research will create new ways for this method in design. Through the study on deconstruction

of modern architecture it is important to test its dominant effect over modern-day

architecture. An argument would be established from the research based onto what extent the

relationship between fashion and architecture has affected each other and in what kind of

pathways has the effects benefitted the users

Studying precedent literatures on topics of modernism, a number of views would be looked

into and a case study analysis would be carried out to finalise the methodology. Architecture

and fashion developments would be studied and compared with modern day architecture so

as to suggest areas for commendation of this proposed method of design.

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1 INTRODUCTION

Over the past centuries the connections between architecture and fahion has gotten robust by

the understanding of the fact that both fields share in common similar ideas and principles

which are based on structure, form, art, science, technology and aesthetics. (Miles 2008)

Hence, their connection is inclined to constant changes in styles and taste based on the

architect and designer. There are certain people in the fashion design field who believes that

fashion has a huge influence on architecture. According to Quinn, art and architecture are

inspired by fashion and as such in many circumstances a dress can be a metaphor for

architecture.(Quinn 2010: 217) Although fashion designers and certain individuals perceive

architecture as fashion. In reality fashion is transient unlike architecture which is permanent.

This relationship shows that there are certain similarities and connections that binds both

fashion and architecture together. This relationship is liable to constant change in stlyes and

taste.

The various trends between fashion and architecture is as a result of the following:

Design theory : Both architecture and fashion have in common the concept of design theory.

Individuals refer to design as a problem resolving process. According to Gully, even in

fashion, problems with the clothing are caused by the designer which need to have a resolved

aesthetics. This solution must have a connection with the human body in terms of design

lines, color, fabrication, proportion and pattern (Gully 2009: 2) The concept of design in

architecture is the solution to the environmental problems surrounding us. According to

Schulz, architects deal with design situations related to our surrounding environment (Schulz

1992) Hence, design problems would always be a continuing process in both architecture and

fashion and means in creating a solution is the basic concept of design theory.

Art: Both architecture and fashion have in common the idea of art which acts as the

foundation for both fields. Therefore without art there would not be fashion or architecture in

the first place. Art defines fashion and architecture thus creating an identity for individuals in

both profession. Fashion designers and architects can be seen as artist who generate pieces of

art. Art, science and technology are connected with one another thus they affect each other

with a debatable boundary amongst themselves. (Wilson 2002) The relationship between

fashion and architecture can be seen in the cases of fashion taking inspiration from elements

that relate to architecture such as the technology used , the concept of cantilever, suspension

and synthesis. However, architecture is also seen taking elements of fashion design as

concepts and inspiration, this elements of fashion design includes the idea of wrapping,

folding, weaving, pleating and draping. Sometimes the form and structure of the architectural

building itself can be a source of inspiration to fashion designers. spaces (Skin + Bones: At

the Museum Of Contemporary Arts, Los Angeles 2007: 1- 57)

Science: The constant development in science and technology have allowed us to see that

everything in life functions according to principles and rules, which have been discovered by

the ways of science. These principles and rules have been tested and proven to the status of

laws of nature (Trefil 2003:8) Improvements in science goes beyond improving the quality of

our lives, thus the belief in art and science by diverse cultures as the two most important

aspects of life. These two aspects centuries past were united together allowing science to be

seen as a natural philosophy connected with art and both represent religion and truth. (Wilson

2002: 7)Both science and art value creativity which proposes innovation, improvement and

change over what exist through the use of abstract models to comprehend the world

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(Vidal,2005: 158). As a result one of the new materials which have found its way on fashion

catwalks and architecture is the ‘media façade’. This façade is produced with small LED

lights and can photograph anything the designer wants. In architecture the LED light when

applied to the building façade reflects natural light during the day and during the night it

gives different colour scheme with the aid of a computer program. An example can be seen in

the work of Hussein Chalayan garment which was made of LED and the T-Mobile

headquarters in Bonn, Germany designed by ag4 Architects.

Fig 1: Media façade in fashion and architecture by Husseein Chalayan and ag4 Architects

Source:http://newlaunches.com/archives/led_dresses_in_japan_soon.php:http://creativity-

online.com/news/nocturnal-skins/141116

Technology: Technology is a physical object which allows the users to see and feel them.

The influence architecture has on fashion has gotten more visible with the development in

technology. These influences are visible in the materials used in architecture such as the use

of metals as a building material. Metal as a material has been in existence in architecture over

the past centuries and is still been in use till date. A lot of fashion designers in the past

centuries tried to gimmick the use of metal as a fashion fabric but were unsuccessful till 1965

when Paco Rabanne a fashion designer created a dress out of metal sheets. His design was

influenced by the metal covering used in buildings by architects. His concept for the dress

was for the metal to act as a covering on the human body. Frank Gehry is one of the

architects still exploring with metal covering in buildings.

Fig 2: Metal dresses by Paco Rabanne and metal covering in building by Frank Gehry, 2003

Source:http://www.blogcdn.com/www.mydaily.co.uk/media/2011/10/paco.jpg:

http://upload.wikimedia.org/wikipedia/commons/2/2e/Image-

Disney_Concert_Hall_by_Carol_Highsmith_edit.jpg

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These various trends between fashion and architecture can be seen in the following examples.

An example could be seen in the Lucy Orta’s Habitant, 1992. Where the raincoat (fashion)

could be converted into a tent (architecture) while the raincoat is attached to the figure, it also

forms a three-dimensional extension of the figure and changes the image of the body’s form

and surface. Lucy is one of the many artists who are trying to eliminate the boundaries

between architecture and fashion. She therefore believes that the only way these boundaries

can be eliminated is with their similarities, such as what they have in common: shelter, dress,

mobility and social space. (Quinn, 2003) It also imposes the materiality of the clothing onto

the body in some cases it could be by means of lacing etc. (Koda, 2001)

Fig 3: Lucy Orta’s art work of the boundaries in Fashion and Architecture

Source:http://www.ecouterre.com/wp-content/uploads/2013/08/wearable-shelter-lucy-orta-refugee-

wear.jpg Accessed 1/11/2013

Fig 4: Geometry and Deconstructivism in Futurism Fashion

Source:http://2.bp.blogspot.com/-

DOGOJuRZve4/UJpCweeFRFI/AAAAAAAAAUg/otWwf8VpWUI/s1600/futuristic+clothes.JPG. Accessed

15/12/2013

Both fashion designers and architects tend to use similar techniques such as the use of

geometry to create form where they both begin the process with a skeletal structure then add

other things to support it sometimes they can be draped or even suspended. Textile

Architecture which involves weaving, stitching etc. is been informed by fashion design

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process which architects are now using in their design. These processes are interactive,

flexible and portable. (Pugh G et al, 2008:45) In time past dresses where made with

individual shapes but in this era fashion has taken a new turn where dresses are occupied by

translucent and thinnest skins similar to buildings. (Pawley, 2000: 7) From the images above

it is seen that fashion designers find pleasure in creating dresses that depicts certain elements

of architecture whereby some of the dresses play with various form of geometry that acts as a

façade and gives different structure to the body shape. These innovations by the designers

tend to promote and show how much influence architecture has on fashion. The effect

architecture has on fashion has created the seasonal styles and designs we see on the fashion

catwalk today.

Fig 5: Toyo Ito - Mikimoto Ginza 2 Building and Petal Dress Detail photo courtesy: Atelier Manferdini

Source:http://www.arcspace.com/cropup/-/media/186168/1tokyo_shopping2.jpg:

http://www.arcspace.com/exhibitions/unsorted/skin_bones.jpg Accessed 15

An example could be seen in the Ginza building by Toyo Ito, the style of the building and the

openings in the buildings inspired and influenced the petal dress appearance of the clothing as

seen above. The pattern of the holes in the building façade allows light into the building,

whereas in the dress the patterns create openings that allows some part of the skin to be seen

and some others hidden. A common phrase states that what we wear reflects our

individuality. The style of the building reflects the architect’s concept of using a façade that

acts as the first skin which protects the structural frame of the building at the same time

allowing the users of the space to have little glimpse of the surrounding but in fashion the

dress is the only skin which protects the body thus the body acts as the structural element in

this case. Value that is expressive is something Architecture and fashion have in common.

The two are important expression of culture as both structure and clothing are made to cover

and protect our human body. (At the Museum Of Contemporary Arts, Los Angeles, 2008: 3)

Even though there are connections between architecture and fashion as pointed out above,

there are some modifications in scale, materials, sizes, shapes and proportions too. One of the

most essential differences amongst these two are the fact that fashion design lives in the

moment and each season new garments and outfits comes and goes but on the other hand

architecture has more permanent existence and will stay among us for much longer amount of

time.

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The effect that each of the mentioned professions have on each other makes them stronger

and in some ways gives the ability to the designers to have a wider point of view to design

amazing master pieces. In addition, in recent years it is much more obvious that architecture

in many cases is a motivation and inspiration for Fashion design and it is also similar for

architects to get motivated by the work of fashion designers. From the examples above there

is a relationship between architecture and fashion, however my argument is to what extent

has this relationship affected each other and in what kind of pathways has the effects

benefitted the users. Therefore this argument is going to be the driven question of this study.

1.1 Research Question and Aim

The main question for this study is whether fashion and architecture only have a comparable

connection or they are interconnected and have effects on one another thereby the research

aims to study is how exactly is the relationship between architecture and fashion played at?

The aim of this study is primarily about the connection between architecture and fashion and

how architecture has influenced fashion to what it is today.

The following objectives would be studied:

To analyse the similarities between architecture and fashion and to determine the way

forward from where they are today.

To suggest that there are limitations from the relationship between architecture and

fashion.

The aim and objectives would be explored through literature reviews, selected case studies of

architecture and fashion, comparative analysis, observations and conclusions.

1.2 Research Methodologies

The research methods used mainly in this research has to do with studying precedent

literatures of post modernism in the periods that are relevant and reasons why they are

relevant thereby creating a number of views . Few case studies analysis would be carried out

to finalise the methodology.

Post modernism in architecture which began in the 1950s was based on a variety of principles

and practice that was concerned about comfort and style thereby meeting the user needs,

hence a response to modernism. Although based on old-fashioned beliefs these principles

were not accepted by all. It has and is still influencing today’s art, fashion and architecture.

(Thomas, 2002: 37) In the 1970s post modernism architecture became a movement. Post

modernism architecture was derived from modern functionalism a former movement, this

movement designs were focused on the usability of the space. On the other hand, developing

architects during that period viewed functionalism as uninteresting and unexciting due to the

fact that there was no space for conventional designs and structural ideas (Jencks, 2002: 42-

45) As a result of post modernism, both fashion designers and architects combined

functionality and art together as one broad idea. In fashion, post modernism main elements

were developed by the following fashion designers such as Alexander McQueen, Vivienne

Westwood and Comme des Garcons (Jones, 2005: xi, 56) Architecture of post modernism

were influenced by fashion whereby the building structures where identified with their

elegant aesthetics decoration of curves and captivating lines designed to please its viewers

and users. This type of architecture comprises the elements of originality, contradiction, irony

and surprise. (Wigley, 1995: xxvi)

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2 LITERATURE REVIEW

2.1 Background Studies

A number of studies exist on the relationship between architecture and fashion design. Many

exhibitions and art fairs took place on the subject matter of the parallel relationship between

architecture and fashion design, the theories and techniques that they have in common have

been the subject matter of study for most researchers.

One of the books used by many fashion designers is ‘When Cloths Become Fashion, Design

and Innovation System’ (Loschek, 2009). This book focuses on the theories and techniques of

fashion design. There is a chapter which studies the relationship between fashion and

architecture design. This book outlines the realm of fashion scheme. The situation

performative impulses, social qualities, plurality of stlyes and economic condition.

‘Sources of Architectural Form’(Mark, 1995) is one of the source book on architectural

theories. In this book, the basics of the creation and formation of forms in architecture have

been studied and aesthetics as the main subject of importance in architecture is interpreted.

Also, the history of Western architectural theories from the ancient world to the present day is

being studied. It focuses on design theory’s vital question: How does the Architect generate

Architectural form?

The book ‘The Fashion Of Architecture’(Quinn, 2003) focuses on the contemporary

relationship between fashion design and architecture design based on techniques, image,

vision and materiality. Today’s Architecture shows its present new fashion trend. Showing

how architects are been influenced by fashion thereby using methods of cutting, stitching,

folding and wrapping from old-fashioned dressmaking to design structures that are portable,

flexible and expandable. The book focuses on works of pioneer fashion designers such as

Hussein Chalayan and Alexander McQueen and compares their designs with architectural

buildings.

The book ‘Fashioning the Future, Tomorrow’s Wardrobe’(Lee, 2007) studies the effect of

technology on fashion. In this book the importance of technology on fashion scheme through

the years is being studied. The book relates the importance of technology in fashion and how

fashion can be designed in the future. The improvement in technology has allowed

individuals in the fashion industry create and design machines or software that can interpret

the designers concept unto the dress.

One of the important displays on the interrelationship between architecture and fashion

design took place in August 2008 in London by Gwyn Miles. The display was called ‘Skin +

Bones, Parallel relationship in architecture and fashion’. This display pictured the effects of

art on these two disciplines and how it forms the intersection, merge and divide in

architecture and fashion. Techniques, forms and materials that architecture and fashion have

in common were all pictured in this displayed and they show cased the work of brilliant

designers in both industries.

Barzandeh Melodi has an unpublished thesis which she wrote in 2010 in Unitec New Zealand

on ‘Fashion, Architecture and the Urban Environment’ . She proposed that the relationship

of architecture design and fashion design is based on the techniques and theories in

environment.

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The book ‘What is Art?’(Tolstoy, 2010) is one of the important books which offers the true

meaning of aesthetics and art. This book studies the art as a primary and basic factor of many

professions. With the help of this book true meaning of art can be studied and its relationship

with other professions such as fashion design and architecture design. Art can be known as

the main source of the above cited disciplines and their relationship can be studied.

2.2 Deconstruction in relation to Fashion and Architecture

The word deconstruction as defined by Oxford English dictionary (2012) says that

deconstruction is a system of serious study. It is fixed on exposing unchallenged

philosophical norms and inner flaws in philosophical and historical dialectal. Deconstruction

deals with the unpredictable and the untold. It demands answers from the present compared

to what was believed (Royle 2000: 7) providing a certain reason to deconstruction has been

challenging for many researchers. Timothy Clark states that deconstruction cannot be

foreseen or planned. (Clark 1992: 190).

Deconstruction cannot be foreseen or predicted (Beardsworth 1996: 4), it is likely referred to

as a progression as this would add up with the endless. This means that it is a continuing

movement, not predictable or expected; the academic is exposed to learn as he continues.

Regardless of the link between minimalism and modernism, the connection of deconstruction

in fashion and architecture generally centres on process instead of ideology. Frank Gehry is

one of the well-known believer of deconstruction in architecture. He and Eisenman often

show the idea of folding. His projects represents other physical appearance of fabric as well,

which is evident in his Hotel Marques de Riscal in Spain and in Disney Concert hall Los

Angeles through its structure of volumes that covers the body in the exact manner as a dress.

Amongst those who embraced deconstruction in fashion design are Yohji Yamamoto and Rei

Kwawakubo although on a less abstract process compared to Martin Margiela. It is worth

mentioning that Yohji and Rei are regarded as been more unconventional than other fashion

designers. In general, we can assume that deconstruction in architecture compared to fashion

is theorectically grounded. According to Hodge a supervisor at the Museum Of

Contemporary Arts, Los Angeles, explained the connection of deconstruction in fashion and

architecture saying ‘Despite the fact that architects and fashion designers might not have

embraced the concepts of deconstruction either from a similar source or for the same reasons

it is obvious that these trends began in both proffession at about the same period’ (Hodge

Skin + Bones: 15)

Although, fashion designers frequently get inspiration from specific buildings they

sometimes make references to the particular architects however in architecture, the most

frequent reference of fashion made by architects is through the method of reinventing the

potentials of textile in the construction of structures thereby testing the abilities of old-

fashioned architectural building materials.(Hodge Skin+Bones: 16)

Presently the comparable techniques amongst fashion design and architecture can be seen as

follows. These techniques are well thought-out as deconstruction, reconstruction and un-

construction. With the help of these techniques, the space that was not visible tends to be

visible in a single view. However, the unnecessary details are going to be eliminated‖ (Quinn,

2003). Reconstruction in fashion design defines the clothing which is open to change. Dress

that is by some means not completely finished has the capability of transformation. In some

circumstances the old-fashioned clothing which is in a way that designer is able to add some

new parts to it and makes it more buoyant and gives a new life to it. Reconstruction increases

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the contrast of the interior and exterior, making the garment more dynamic. Reconstructed

fashions are made complete and yet remain undone. It transforms a form of a garment into

other forms; for example, it turns a jacket to a tent (Quinn, 2003). In architecture, also, the

reconstruction is legal and it is known by the name of renovation. In renovation, an old

building will be given a new identity by addition of new parts to it. In addition, the concept of

deconstruction is similar between these two industries, in fashion design; deconstruction

explores the interiority of the garment by slicing them.

2.3 Contemporary Architecture and Fashion

Bradley Quinn stated in his book the fashion of Architecture, 2003 that modern architecture

could be compared to a dress. [(Quinn 2003: 36) So also was it stated by Mark Wigley in his

book White Walls and Designer Dresses, 1995]. Time and again architects have relied on

dress for similarity even though they frequently lay off fashion as playful and absurd.

However contemporary architecture cannot be detached from clothing because architecture

from the beginning has always been an art of a dress (protective body) (Wigley 1995: 10).

Basically the aim of the architects (modernist) was to shelter the excessively elaborate

ornamented clothing of the nineteenth century and to put on a simple covering of pure white

(Pawley 2000: 94). The dressing of pure white walls is a fashion declaration which is far

from being unbiased and quiet as is proposed but signifying a selective need and passion

(Wigley 1995: xiv).

In modern-day fashion and architecture, some architects example: Architect Van de Velde

used to be judged for altering architecture into fashion by considering it like a clothing design

(Wigley 1995: 86). Another person known as Adolph Loos also seeks for modern-day

structural design to be matched like a custom-made suit, he stated that architects should

initially take part with fabrics as a technique of clutching the significances and beauty of

dwelling, then engage structural design (architecture) to sustain these values in the

constructed form (Quinn 2003: 50), affirming that this was the practical path that humans

initially learned to build.

Another Architect who experimented the ways of fashion is Toyo Ito. He used the idea of

wrapping on his Tod’s structure, thereby covering the structure with a geometrical facade and

this facade embraces the structure just the way fitted clothing fit tightly to our body.

However, just like several other architects, Ito has designed and built stores for several

fashion organizations. (Hodge Skin+Bones: 16) During the late nineteenth century, the

architecture of fashion stores rapidly turned out to be a vital focus,hence the growth of

departmental stores by architects allowed them to study the role of clothing in their proposals.

This process has allowed architecture to have a long-lasting presence in the style (fashion)

magazine. (Hodge Skin+Bones: 16)The fashion magazine is one of the powerful institutes of

the fashion industry. Individuals who have familiarized themselves with the fashion world

tend to be conscious of the fashion appearance (image), thus architects have been recognised

in maintaining a relatively trendy image particularly in the present day as they intermingle

even more regularly with the fashion organization. A lot of architects are famous for their

distinct style or unambiguous clothing. Example of such famous architect is Philip Johnson,

he is known for his heavy black rounded eyeglasses . (Hodge Skin+Bones: 7)

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Fig 6: Two - way dress by Yoshiki Hishinuma and Tod’s Building by Toyo Ito, Tokyo, 2004

Source: http://www.thecityreview.com/skinb.html

The relationship between fashion and architecture was analize in the book known as

Architecture in Fashion written and compiled by Deborah Fausch, which was published in

1994. Many of the written essays in the book make available a detailed background about the

main links between the two field. Deborah wrote on the two conflict between fashion and

architecture .(Fausch 1994: 7) whereas in the book Architecture in Fashion, Wigley explains

on the supposed refusal of fashion by the modernist movement in architecture. His writing is

strongly deep-rooted in philosophy, where he approachess the whitewall as the common

element shared by the architects andbuildings that are considered to be ‘modern’he also

suggests that even though the practitioners of modernism viewed their work as pure, timeless

and free of the fluctuations of fashion, their work was based on’ The visible aging of the

white wall calls into question that architecture’s ability to transends the turnover of

fashionable stlyes. The white wall became a style that was repeated and reinterpreted in the

same way the fashion industry perpetuates trends. (Wigley 1995: xix)

The use of fashion as an architectural inspiration has been slowly accepted because of the

level of elitism that exists in the field of architecture. To call a work of architecture

‘fashionable’ is an insult to the architect and the artistry of their ideally timeless creation. If

the goal of architecture is to be timeless, the rapidly changing styles of the fashion world are

viewed as threats. Clothing is produced quickly and the cycle of changing styles is constantly

in motion. In contrast, buildings are constructed in much longer periods of time and , as

lasting structures, are often designed to stand the test of time. For this reason, architects and

architectural scholars have traditionally considered their field to be exempt from the fashion

system, which to them is both trivial and temporal. However Wigley provides evidence for

the influence of the rapidly changing fashion system on the modernist movement, which was

defined by its aspiration to acheieve timelessness. (Wigley 1995: xxv)

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3. CASE STUDY

3.1 Interrelationship between Fashion and Architecture

In identifying the relationship between Fashion and Architecture it would seem challenging

comparing and contrasting between them both but with recent design inventions in the world

today certain attempts would be made in this chapter to study the modern relationship

between fashion and architecture in substantial depth, by exploring the method, theories,

skills and materials used by the designers (fashion designers) and architect. During the

previous era, architecture tried to free herself from fashion however in this era it has

identified with fashion. People tend to ask must it be fashion? Architecture and Fashion have

in common (share) similar duty of enclosing space which is based round the form of a

human. They both have restrictions and requirements that they provide for the human figure

and also have similar traits of innovative study of volume, movement and space (Pugh et al

2008: 45- 50).

There are certain similarities between the two and also there could be disimilarities in the

similarities. Below is a case study on the comparison of fashion and architecture trends.

3.2 Frank Lloyd Wright - Guggenheim Museum

Brief Background:

Wright is indisputably the finest recognized American architect who has earned himself fame

and respect from his members and pubic in general thereby making him an icon in the field of

architecture seventy years ago. (Levine 1996: xiv) He is been referred to as the most popular

and celebrated architect of the twentieth century. Through out his career not only was his

personal life attracting the media but also his buildings which are considered necessary in any

historic study of architecture. (Levine 1996: viii) Frank Lloyd Wright rise to fame could also

be seen as a struggle where his constant pride affected every aspect of his career, beginning

from the technique he used in designing structures to the manner in which he intermingled

with clients, all this are seen as the driving forces in his successful career. (Gould 1952:39)

The phrase ‘form follows function’ was changed to ‘form and function are all one’by Wright

whereby he used nature as the best integration tool. (Venturi 1977:19,Sullivan

1979:208)Wright is known as the father of organic architecture, although in his theory the

word organic architecture comprises of the properties of the materiality, the relationship of

the building form and its environment and the building function. Thus it is an attempt of a

combination between the building structure and the context. (Wright 1953: 322)

The Guggenheim Museum:

This museum was influenced by post modernism, whereby the design was centred on the

usability rather than functionalism. This museum built by Wright is located in New York. It

was constructed in the year 1956-1959 but remodelled in 2006-2008. This museum is a work

of art despite the fact that it is a gallery meant for the appreciation of modern arts. From the

building shape, form and structure, it is obvious that the the style of the building has a bit of

fashion. (Ballon 2009: 115)

The relationship between the museum and the hats:

There are three different fashion accessory hat styles in the figures below which has some

similarites with the guggenheim museum but a unique different one which has exact replica

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at the same time gimmicks the guggenheim structure while the remaining three different hats

gimmicks just the upturned cone shape of the structure.

Concept: Wright’s idea for the building was for visitors to experience the space as a

continuity form.

Spaces: The building spaces generates from the form of the museum of the curved spiral

structure. This structure which forms the spaces allows the spaces to conform to Wright’s

philosophy of organic architecture.

Structure: The guggenheim structure is of a spiral form which has a central display hall lit by

a skylight. The structure gives the appearance of one single continuity of just one floor, one

internal wall and one external wall.

Materials: The building materials used in the construction of this magnificient structure is

precast concrete blocks painted with white paints which is applied on both internal and

external walls.

Fig 7: Guggenheim Museum by Frank L. Wright with a

Guggenheim hat of an unknown designer

Source: http://martadelarica.es/wordpress/architectural-fashion/

In fig 3, this picture depicts a gimmick of the museum, although getting more information

about the designer, the designer concept nor the date/year/country proved to be difficult. It is

glaring that the designer and artist was trying to design something outrageous which came out

looking like a Guggenheim but in this case the top of the hat grows downward creating

various volumes as it grows. This volume creates spaces of unique forms that is spacious. It is

safe to assume that the materiality of the hat is made from a flexible material which allows it

to take the form and geometry of the Guggenheim. The shadow gaps created by the ramp of

17

the Guggenheim museum was depicted by the dark material of the hat, so also was the white

colour of the concrete material depicted with the white material used on the hat. The different

curves of the hat are flattened into the fabric material thereby creating a three dimension of

the hat. This reverse concept of the building shows that the influence architecture has on

fashion can be expressed in various ways with altered materials.

Fig 8: Cristobal Balenciaga Hat

Source: http://www.vam.ac.uk/membership/node/429

In fig 4, the hat was designed by Cristobal Balenciaga born in Spain (1895 – 1972). The hat

was made in 1962. The geometry of the hat has some similarities to Wright’s Guggenheim

museum. The Balenciaga hat is made of silk material which makes the structure not to be

balanced on its own when placed on the head, hence three internal hair combs acts as the

framework of the hat that supports the hat on the head. The designer thoughts about the hat

were based on ‘simplest form’ this form which was created out of seven spiral stiffened

textile material was made to appreciate the Guggenheim museum in a reverse form. The

geometry of the hat is very striking whereby the structure of the hat curves continuously

leaving a few spaces as it grows and widens. These spaces could act as a circulation space in

terms of architectural design while the spiral form could serve as both the internal and

external walls of the structure. The structure of the hat could be made of precast concrete if it

were to be a building so as to give it a solid frame work as that of the exact material quality

of Wright’s Guggenheim museum. It is my assumptions therefore that sometimes consciously

or unconsciously fashion designers take clues from existing architectural buildings.

Fig 9: The Guggenheim hat

Source:

http://irenebrination.typepad.com/.a/6a00e55290e7c488330162fc62a1d9970d-500wi

18

In fig 5, this image also has certain similarity to the Guggenheim museum, unfortunately

getting more information about the designer, the designer thoughts nor the date/year/country

proved to be difficult. It is safe to assume that the designer was trying to replicate the inverted

cone form of the Guggenheim. The hat from afar can be mistaken to be the exact shape of the

museum hence it is dubbed ‘the Guggenheim hat’. The materiality of the hat is also unknown

but it is safe to assume that it is made of a solid material which allows the hat to balance on

the head easily also, the hat looks like it is made of a white fabric which gives it the

Guggenheim appearance. Therefore it is safe to assume that this designer was inspired from

Wright’s Guggenheim museum.

Fig 10: Valerie Idiosyncratic Fashionistas Guggenheim hat

Source: http://idiosyncraticfashionistas.blogspot.co.uk/2011/02/time-out-ny-our-15-minutes-of-fame.html

In fig 6, this picture is a fashion accessory designed by Ignatius Creegan for Valerie

Idiosyncratic Fashionistas. This hat is so unique because it was made out of felt and wheat

straw plaits sewn by a special machine. The hat is unbalanced which makes the structural

frame of the hat to be supported by the silk ribbon ties around the face of the wearer. The

shape of the hat looks like a building form aside the fact that it was influenced by the

Guggenheim museum. The felt used in the production of the hat creates the various spaces as

seen in the figure, also it depicts the shadow gap of the museum; The felt determines the

width of each wrap as the machine weaves the straw round the felt to create the internal and

external wall of the hat which acts as the body of the hat. Therefore from my observation it is

safe to assume that no matter the link between fashion and architecture, there would always

be a certain influence from both worlds where each architect and designer wants to improve

in their creativity at the same time provides a shelter and accessory for the body giving them

that unique identity they deserve.

Through this case study what is coming clear is this kind of connection: the concept of art

and the concept of technology. In the concept of art, Frank Lloyd Wright architecture has a

19

narrative which can be interpreted as an art and in the world of fashion art is everything, a

fashion designer sees art in everything and anything and I believe been an organist architect

himself he took pleasure in incorporating the site and the building together thereby making an

art of the surrounding environment. The Guggenheim building is the art of the mix and it

defines fashion in a way that speaks art hence, the gimmick from various fashion designers.

This influence that the Guggenheim building has on fashion could be said to be a formal

influence because fashion is art and therefore the building represents fashion because it is an

art piece on its own.

The concept of technology which is a physical object could also be seen in the building

materiality used by the architect and that of the fashion designers, this technology allows the

users of the buildings to feel, touch and see the object. The materiality used in the

Guggenheim building I believe was difficult for the fashion designers to imitate and as a

result they went for an alternative material that could still give the exact feel and texture as

that of the Guggenheim building. These influence that architecture has on fashion is an

informal influence because there is no direct link with the materiality. Therefore the

connection between both fields is that they both share the same concept but interpreted in

different ways and with different technologies. This could still be considered as an art

because in art different materials could still give the same end product as seen in the images

above. The nature of the material is permanent in architecture but in fashion it is transient.

This gives fashion an upper hand compared to architecture. Also, the concept of technology

has and is still having a great impact on the type of structures seen in both architecture and

fashion. Some of the new techniques used are known as spiral, folds, twist and waves. (Quinn

2003) As seen in the images above.

In some part of the world, some buildings still depicts modern architecture because of its

style, taste and fashion. This influence could be said to be fashion because it reflects the

fashion of the past in comparison to the fashion of the present. Therefore the connection

between fashion and architecture could be said to be a parallel relationship which is inclined

to continuous changes in style and fashion. However, Park Shinmi a famous fashion designer

argument tends to be more realistic based on the fact that she considers the connection

between architecture and fashion as a system of cultural expression whereby she believes it is

a creative beauty that is conveyed through the mixture of styles and materials a vision of

desire in modernity’s search for perfection. (Karaminas 2007: 8-9) Therefore this study

clearly communicates that both world (architecture + fashion) strongly depend on visual

language to express their nature. In conclusion, it is safe to agree that fashion design is all

about movement and style, whereby the dresses are not constructed as a separate object from

the movement rather they are seen as a single act.

Therefore it is safe to assume that the great transformation and changes taking place between

fashion and architecture is as a result of the industrial revolution. Thus, like architecture,

fashion exist in dimension of time and movement whereby fashion designers and architects

are required to design under the influence of these great movements accordingly (Quinn

2003) Finally, the effect that each of the stated professions might have on each other, makes

20

them stronger and in some ways gives the ability to the designers to have a wider point of

view to design extraordinary master pieces, thus it is my argument to ask does these

influences and interrelationships work in a beneficial way, so also, are they affecting fashion

and architecture in a positive way? Architecture under the influence of fashion design is

becoming more fluid and artistic; on the other hand, fashion design under the influence of

architecture is becoming more technical and structural. After all said and done, the argument

remains are these professions work in the benefit of the users and are they satisfying the

human beings needs? Or are they just satisfying the aesthetical point of view of people.

3.3 Zaha Hadid - ThyssenKrupp Headquarters

Brief Background:

Zaha Hadid is a world renowned architect and a fashion designer, born in Baghdad 1950. She

got her degree from Architectural Association, London in 1977. She began her trademark of

neo modernist architecture when she was still teaching at Architectural Association Design

Museum, 2007. She broke away from the classical rules of modernism such as space, ceilings

walls, back, front and right angles then reconstructs them in her idea of a new fluid spatiality

which is intended to symbolize the exciting fluidity of present-day life. She combines light,

fluidity and space in her building and fashion projects.

Amongst both disciplines there is a clear understanding of how it begins and where it ends

which begins from the human body then to generating spaces and finally to movement

without any cautious act of a specific theory. Zaha Hadid lets her spaces which are fluid in

nature speak for themselves. Although many people do not agree with her style of design,

they believed the designs cannot be built but fortunately she has grown steadly to earn a

reputation for herself in this profession with her unique forms in architecture and in fashion

as well, which gives an expression of cultural and political identity and individuality.

(Citation from: http://designmuseum.org/design/zaha-hadid [Accessed 15th

December 2013]

The ThyssenKrupp Headquarters:

This building was influenced by fashion, whereby the design was centred on the usability and

functionality of the space. This building comprising of a museum, auditoriums, conference

room and library built by Zaha is located in Germany. It was constructed in the year 2006.

The building is a work of art and from a distance it appears to be sculptured despite the fact

that it is meant for the cultural appreciation of the metropolitan life on the caspian sea. From

the building shape, form and structure, it is obvious that the style of the building has bits of

fashion.

Citation from :

(http://www.thyssenkrupp.com/documents/Publikationen/TK_Magazine/compact_2011_02_e

n.pdf [Accessed 7th

February 2014].

21

The relationship between the dress and the building:

Concept: Zaha’s idea for the building was for visitors and staffs to experience the space as a

fluid form.

Spaces: The building spaces generates from the fluid form of the curved arc of the structure.

This structure which forms the spaces allows the spaces to conform to Zaha’s philosophy of

dynamic fluid organic architecture.

Structure: The structure is of a curve arc form which was formed by basic nature forces

such as the forces of ice, water and wind. The building structure reacts to the serviceable

interactions and administrative structures within different sectors. The folds of the structure

gives the appearance of a single continuous surface.

Materials: The building material used in the construction of this magnificient structure is

steel.

Fig 11: Zaha Hadid’s building

inspired by one of her fashion

design.

Source : http://bijouxsharonne.blogspot.co.uk/ : http://www.zaha-hadid.com/architecture/thyssenkrupp-

headquarters/

Zaha is an example of designers who work in fashion as well as architecture whereby her

fashion sometimes inspires her architecture as well as her architecture influences her fashion.

The building image above was inspired by the flowing mesh dress from her fashion playbook

called frozen aura and it was because she wanted to help raise money for a foundation known

as the world wildlife foundation. The dress was her muse for the famous ThyssenKrupp

building. The building façade depicts the dress pattern but with an additional element design

22

to it whereby the pattern of the mesh creates the opening for the windows of the structure.

The nature of the fabric allows light to pass through it thus making it very transparent to the

public eyes. This is glaring in the building façade whereby the openings in the building

transmit light into the building giving the building a transparent appearance. The fluidity

nature of the dress can be seen in the form of the structure and also the way the buildings are

arranged to one another. Therefore it is safe to assume that both architecture and fashion are

more than connections. They both involve filling empty spaces with planes and contours on

different scales. However, the cross pollination of ideas is deliberate. The relationship

between these two disciplines grows more intimate as the days goes by. Another example of

Zaha’s work whereby fashion influenced architecture can be seen in the images below.

Source: http://inhabitat.com/zaha-hadid-turns-shoe-designer-teams-up-with-melissa/

Zaha’s shoe designed for Melissa comes in just two colours as seen above which can be seen

as the muse for this building. The rubber shoes which are unusual in design are also very

interesting to look at from a visual perspective. The very precise lines, transverse sloping

straps and openings of the shoes influences the façade design of the structure. Thus, the cut

outs of the shoes act as the window openings of the structure which allows light to enter the

building. The straps of the shoes divide the glass surface thereby acting as non-structural

elements which does not reveal the whole space to the public but allows the users and

viewers to experience the space themselves. It’s safe to assume that this building is indeed a

work of art and at the same time reflects art as the concept of the building structure. The fluid

nature of the shoes is visible in the building form and spaces created by the form. These

shows that designers working in fashion as well as architecture tend to inspire one another in

ways that are visible to the public and users. It is safe to assume that Zaha Hadid’s love for

experimenting in both fields of architecture and fashion has been a success and to an extent

shows that the bond between fashion and architecture in the future might be the new

movement accepted by all thus meeting the needs of the users, functionality and usability of

the space.

23

4. CONCLUSION

Certain elements and details in both architecture and fashion tend to become the useful idea

and inspiration behind the fashion designers clothing and accessories and also the architects

building design. Although both architecture and fashion are structured,visual and art in

appearance. They are also three - dimensional in form and space which changes the entire

shape of the design and also acts as the foundation for both architecture and most fashion

designed objects.

In cases where we have the fashion designers as architects, it is safe to assume that a parallel

relationship is created in their design which tends to bridge the gap of both fields. Thus, in

cases where the fashion designers are not architects and the architects are not fashion

designers, it is safe to assume that there is a similarity in their works influenced by the other.

It is also safe to assume that architecture inspired by fashion design is becoming more fluid

and artistic while on the other hand, fashion design inspired by architecture is becoming more

technical and structural.

This research on the connection of both worlds has shown that there might be some

possibility in the future in this new method of design.

24

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