Both fashion and architecture express ideas of personal, social and cultural identity, reflecting the concerns of the user and the ambition of the age. Their relationship is very close, a symbiotic one, and i want to show how history clothing and buildings have copied each other in form and appearance. They have much in common: the ability to use geometric shapes, patterns, colors, structural and functional reasons,universal styles that go beyond time and fashion. At the same time they are so different: the use of different materials, the proportions, and the sizes. While the architecture is designed to have a more permanent and statuary presence, fashion has undergone many changes, given its ephemeral nature.
- Toyo Ito, Tod’s Omotesando Building, Tokyo 2004
- Yoshiki Hishinuma, The bellow dress, 2004
- Toyo Ito’s Tod’s Omotesando Building is a slender, L-shaped building for the Italian brand Tod’s, it contains offices and a boutique fronting Omotesando, Tokyo’s famous four-lane, tree-lined boulevard. Ito’s innovative structure does this through concrete and glass walls in which the tree-shaped concrete limbs are structural, and wrap around the six faces of the building. The shape of the concrete limbs is derived from the zelkova trees that line Omotseando Avenue.
- Known for using innovative textiles and creating unusual shapes, Yoshiki Hishinuma combines new technology with traditional Japanese techniques, to develop textiles with effects to provide texture and volume.
– Shigeru Ban, Curtain Wall House, Tokyo 1995
- Viktor & Rolf Multilayered Blouse, jacket, and pants from One Woman Show Fall/Winter 2003
- The extreme audacity of the Curtain Wall House (1995), designed by Shigeru Ban for himself, shows a surprising, simple and beautiful amalgam of old and new, combining contemporary materials with new interpretations of traditional Japanese styles.
- For their autumn/winter 1999-2000 presentation, the designers explored concepts such as shelter and social class in Russian Doll. Viktor & Rolf’s collections is an extravagant and unusual presentations that are more like performance art or theatrical spectacle.
- The Cathedral Church of Saint Peter in Exeter U.K.
- J.watanabe spring summer 1999
-Exeter Cathedral, the Cathedral Church of Saint Peter at Exeter, is an Anglican Cathedral, and the seat of the Bishop of Exeter, in the city of Exeter, Devon in South West England. The present building was complete by about 1400, and has several notable features, including an early set of misericords, an astronomical clock and the longest uninterrupted vaulted ceiling in England.
- Dress and bodysuit, Spring/Summer 1999, by Junya Watanabe for Junya Watanabe Comme des Garçons. Cotton-polyester blend, metal rods, cotton. Collection of the Kyoto Costume Institute. Photograph by Hiroshi Sugimoto, 2007.
- Future systems Selfridges department store UK 1982
- Paco Rabanne 1966
- The work of Future Systems can be classified within the British high-tech architects as either bionic architecture or amorphous, organic shapes sometimes referred to as “blobitecture”. Future Systems proposals adapted construction methods from other professions, including (most commonly) the curved monocoque shell structures found in aircraft design, car design and boat building.
- In the early ‘60’s, he became involved in designing costume jewellery, using interesting materials formerly not used in jewellery making, such as Rhodoïd (a rare, clear plastic). After his jewellery was greatly successful, Paco Rabanne decided to produce clothes, and continued to use rhodoïd in his creations, making it his signature material.
- Shigeru ban Architects & Jean de Gastines, Centre Pompidou, Metz 2008
- Comme des Garçons, New essential collection 1999
- The undulating laminated timber roof structure surrounds a 77-metre metal spire. The frame is covered with a translucent fibreglass and Teflon textile canopy and overhangs the building’s walls by up to 20 metres.
- Comme des Garçons
Dresses from New Essential collection Spring/Summer 1999 Cotton and polyester She was one of the first fashion designers to explore ideas of deconstruction in fashion and many of her subsequent collections continue to feature conventional garment shapes that are taken apart and reconstructed in unexpected ways and with unusual materials.
Marta Di Puccio
17 November 2011