Is There an Overlap between Fashion and Architecture - Term Paper Example

Is there an Overlap between fashion and architecture? The excess in space between both fashion and architecture Student’s Name: Instructor’s Name: Course Code and Name: University: Date Assignment is due: Is there an Overlap between fashion and architecture? The excess in space between both fashion and architecture Introduction “Art is permitted to survive only if it renounces the right to be different, and integrates itself into the omnipotent realm of the profane”, these were words by Theodor W. Adorno as he sought a comparison between art in fashion and architecture (Mahall & Serbest, 2009, p. 133). The overlap that exists between fashion and architecture has been a theme that has not been looked at from various perspectives. This overlap will be looked at extensive in this paper that will try to bring out the theme of excess in space between both fashion and architecture. This will involve a look at the fashion system as stated by Ronald Barthes, the overlap between the two forms of art and the excess of space found in them. The an Overlap between fashion and architecture The changes in architecture have over time been attributed to ones perspective, and the effects it posses on the human life. The difference in culture, location the developments in technology and materials, the changing functional needs to rise and fall of ideological imperative all affect architecture, fashion should not be forgotten. Fashion has risen to be a substantial contributing factor that has affected various aspects of life including Architecture. Fashion that deals with popularity is seen as a fleeting vessel where what is fashionable today with loose meaning within a short time. One aspect that could be blamed on the changes in fashion could be the fickleness of the community, but the community’s desire for novelty has caused changes in both architecture and the fashion industry. However, both fashion and architecture seem overlap in various areas that have effectively affected the other, for example when it comes to issues of space. Ronald Barthes and the fashion system and use of space Ronald Barthes looks at the growing fashion and finally comes up with what he called the fashion system. The fashion system offers a classic and complicated study of the growing influence of the high fashion industry and uses words and images to create a fashionable abstract world. He looks at fashion as the sector that is always changing in order to sell new designs and also tries to stay the same in order to come up with new designs. The cause for control and manipulation for the desire for difference and novelty is what Barthes tries to look keenly in the fashion system (Barthes 1990, p. 91-105). His look at the fashion system is classified as semiology. His interests in the process of signification and the mechanisms by which meanings are introduced, produced and circulated are known as the semiotics. Semiology is broadly defined as the study of the political life of signs that are found in a particular place and time or on a system that deals with the possible and the impossible. Semiotics is an aspect that Barthes uses in his work to examine the rhetorical strategies and structure found in fashion through meanings that are secured by knowing what something or someone interprets an issue and how it is reiterated. This offered a significant scope to Barthes work to try and interpret the significance and importance of fashion to the people (Fletcher 2010, p. 2). The blurred disciplinary lines between fashion and architecture have been experienced though out the design world. One of the major overlaps between fashion and architecture is the expression of clothing designs in various fashion weeks. These has seen merging of materials that are typically used in buildings such as wood, metal, latex paint and concrete used alongside the natural silk, wool and cotton. These designs are remarkably much wearable and supremely comfortable to the wearer. The clothes in this case feature minimal silhouettes as the materials are used innovatively and their inherent texture features celebrated. The pieces are exceptional and mark the divergent nature of modern architecture. Introduction of these unique materials in the fashion industry shows an attempt to try and connect the wearer to the surrounding built environments. The interchange of the two forms has opened people to the similarities in building and clothing design and has become a haven for many upcoming and creative designers in the architect field (Hodge & Mears 2006, P. 7). Camel coat dipped in concrete Source: http://www.dwell.com/articles/Merging-Architecture-and-Fashion.html There is also an overlap that exists between fashion and architecture in the ideas and ideologies that are usually transmitted through clothing and construction. The need to create new types of designs that is fashionable is an absolute need of many designers. The designs used will try to pass on the thoughts of the designer, and this will be replicated in the clothing that they produce. This also applies to the world of architecture where different forms of architecture are used to tell a story or pass unique architectural skills and message. Both forms rely on a form that utilizes ideas to form an exquisite object (Barthes 1990, p. 91-105). The beauty of St. Basil’s in Russia that combines Architecture and design Source: http://www.ambuji.com/2011/06/09/fashion-and-architecture/ The relationship that exists between architecture and fashion is not an oblique relationship. Overlap is also seen exist between fashion and architecture in a sense both are based on shape, structure. The two forms of basic needs that are clothing and shelter and endure. The relationship that exist between architecture and fashion is rarely discussed due to the difference in nature, as one involves the art of textile while the other looks at buildings that comprise of marble, bricks or stone. Though, a closer look at fashion and architecture reveal an overlap in both structural and design. The modern architects have turned to a more style-conscious model that is typical of fashion designers. The adherence to the mode of style in architecture has existed over the tears with various architectural formats taking their own unique style. However, there have also been mixtures of the two in some cultures. For example, a look at the Byzantine collection reveals designs that form a reminiscent of royalty and the perfect use of space. The designs are followed with exquisite couturiers that were also worked on in the creation of the fabric. The garment is beautifully embroidered in spacious jeweled and luxurious material that reveals an intricate and superlative craftsmanship. This is a reflection of the same designs followed in the construction of the Persian royal palace (Lee 1997, p. 34). The Byzantine Source: http://www.ambuji.com/2011/06/09/fashion-and-architecture/ Fashion involves transmitting meaning through interpretation of design to bring out emotion and attitude by simply the clothes they wear. This is the same for architecture as it endures to create different form of designs through use of space that will bring out the raw emotion just by looking at a certain building. An overlap in both forms of design has been used by many artists looking to capture the human emotion. A perfect example of this is the inclusion of fashion in the building of the Taj Mahal. The fine art of architecture used in the Taj Mahal tells the story of the love of Emperor Shah to his beloved wife. The use of the finest marble, engraved with beautiful marble designs and use of precious stones tells of the emperor’s eternal love. The exquisite structure screams of exceptional craftsmanship, opulence and decadence that bring out the theme of love that is replicated in the designs as well as the tenacity that was used to carve the filigree into unique marble structures (Carter 2003, P. 12-27). Source: http://www.ambuji.com/2011/06/09/fashion-and-architecture Looking at fashion, it is based on the production of quality images through clothing that will soon be fashionable and trendy. The same can also be spoken of architecture that aims at portraying different forms of quality images. Architectural designs aim at replicating the draping and subtle image qualities in the creation of a masterpiece. The use of symmetrical as well as asymmetrical elements in architectural designs in fashion shows an overlap in the two and draws on parallel themes that capitalize in creation of lasting images. Just like in fashion, architecture designs rely on the visual effects that draw the eye to the beautiful images that will leave an aesthetic element from the artists work to the observer (Breward & Evans 2005, P. 2-9). In addition, fashion and architecture are also a convergence that has been seen through time as a mode of expression. This is looked at as the convergence and overlap of the two art forms whether it is in polemical essays on proper dressing to the creation of the twisted pair of rubber Vibrim finger shoes. The overlap that is found between these two unique areas of design tells the story of customization that is implemented in both. They take the hope that is centered on an inspiration of style, and improvements on both forms. Both aim at creating a lasting impression that will be remembered by many and appreciated over the years (Pawley & Castle 2000, p. 89-94). Source: www.vibramfivefingers.com/ The choice to use architecture material in fashion industry has also shown the overlap between the two. The pliable metals, lightweight glasses, plastics and membrane structures used in architecture have vastly penetrated the world of catwalk. This has seen substantial impacts being experienced in the textile industry with various developments that have produced fabrics that fit on the current environment. It has led to a controlled environment where there is an overlap and exchange of information that imbeds sensors that result in construction material that are wearable. It has now become fashionable to include construction materials that will match with the designs in the fabrics, and this has become quite common in runways (Castets 2009, P. 214-235). Concrete from the dipping process reused to make jewelry Source: http://www.dwell.com/articles/Merging-Architecture-and-Fashion There have also been changes in the field of architecture with architects changing their line of work and overlapping what they learnt in architecture and applying it to fashion design. For instance Frank Gehry, “starchitect” who made elevated his career with designs of exquisite buildings would venture into the world of designing jewelry and fashion. His sculptural buildings that included a riotous heap of fascinating billowing metal have now been replaced with designing jewelry for some of the leading jewelry companies. As fashion veers off its once lavish and romantic path, it sees a shift to the classic and more structured clothing coming on strongly in production. Production of simpler form of clothing that speaks of volumes has been turned to architects who have overlapped their ideas in fashion production. It encompasses a shift to designing of livable spaces to designing of wearable items that are considered more rewarding. In addition, the fashion industry is seen as a portable industry where one can move from one place to another and showcase the exceptional work in design (Fausch 1994, p. 321). One of frank’s designs that combines Architecture and fashion Source: http://www.dwell.com/articles/Merging-Architecture-and-Fashion The use of the term Curvilinear that is common in fashion has seen an overlap in ideas to include it in architecture. It is currently being associated with architecture that involves the change to flexible materials and change in attitude in the construction of buildings that are attractive in nature. Architects have turned to a more undulate mode of construction where changes have also been seen in the building materials used. The inclusion of the new building materials involves the use of fluid and conscious silhouettes just like those implemented in fashion designs. More voluminous pieces have been eradicated in the construction process to give way to easier building designs and materials (Ruth & Roderick 2006, p. 107-130). A thin Collar made of wood Source: http://www.dwell.com/articles/Merging-Architecture-and-Fashion In addition, most of the works created by modern architects follows an overlap in the combination of associations with the fashion industry. An important factor to consider is the changes that the media has created in bringing a link between architecture and fashion. The media have steadily transferred architecture to a global phenomenon where architecture forms a new form of urban fashion. Architecture has been placed in a pole position to profoundly influence the area of design in practice for the fashion industry. With the use of today’s technological advancement, a notable overlap has been seen in planning, strategizing and production of various designs, in the fashion arena (Thomas 2003). Overlaps between fashion and architecture in connection to space Space forms an important part to the overlap between fashion and architecture. The use of space as an integral part in the design of fashion and architecture has been seen in various lines. For example the New York City Prada store has shown discreetly the use of space in the design of the architecture designs and in the stores. One cannot ignore the site of the space that has been expertly utilized in the New York City Prada store due to the large number of customers that area expected in the stores. Use of space in the New York City Prada store Source: www.prada.com/ In addition, Barthes also looked at the element of space in the fashion system. The theme of space in reflected in the fashion system to the interiors found between time and space that is reflected in the literally centered of the fashion industry. The imperative function ability in the fashion system is to create a design that will truly bring out the theme of space in the clothing. Barthes dimension of space formed a pivotal point in the fashion industry that many designers came to follow. Architecture and fashion are both looked at as two of the basic life necessities that are shelter and clothing. However, both are also a form of self expression for both consumers and the creators especially when it comes to the use of space. The various creations of architecture are meant to affect our emotional well being. For instance fashion looks at the actual articles on the dressing that is coupled with the styles that are involved and how one feels comfortable when they dress. Similarly, our emotions are awed by exquisite building sites such as the coliseum that impact on our love for architecture. On a certain deeper level, both architecture and fashion have less to do with luxury but on how one is comfortable and appreciation of their dressing, as well as their habitat (Colquhoun 2002, p. 5-8). The use of geometry is also an overlap that has been seen in both Architecture and fashion. In Fashion geometry forms an indispensable tool that is used in measuring the body’s contours. For example, a well tailored jacket that fits well makes up for a stylish versatile wear. A smart combination of diamond pattern in clothing can look both exquisite and contemporary, just as some of the worldly acclaimed dynamic works of architecture. The overlap in ideas has led in adoption of one mode to the other to create the theme of space. As the architects explore some of the modern surfaces and shapes, it has led to adoption of fashion techniques such as pleating, folding, and draping and pleating that shows expert use of space. The architects on their part are borrowing these features from the fashion world and changing their designs from the traditional tailoring to designing of buildings that are interactive, inflatable and flexible. The overlap and mix of ideas has led to divergence in the creation of exquisite buildings in the architecture department as well as clothing in the fashion sector in depicting space (Rosa 2004, p. 67-70). While looking at fashion and architecture one cannot avoid looking at the overlap in spatial boundaries and structures that make up some of the common guidelines for architects and fashion designers. It has been labeled as a symbiotic interaction of two fields in the design world, which have overlapped to create exquisite designs. Architecture has helped to improve on the field of fashion design and taken it beyond an expression of the upcoming trends. The fashion industry through the influence of architecture has reinvented the fashion structures used in making garments as a sensual transaction for the eye, the body and the interior space. The modern fashion designs are obsessively detailed on design and involve an intricate layer of textures in the designs that appear deceptively playful and light. Most of the designs have turned to modular interconnection that was once only common in architecture. Some of the fashion designers have also opted for the recombined and disassembled mode of design that involves multiple sculptural forms (Parish 2012, p. 4-16). In conclusion, changes that have been experienced in the field of architecture can be attributed to the overlap with the fashion industry that is set on the use of space. A look at Ronald Barthes classic notion reveals his interpretation on what is fashion and how it is defined. His arguments on fashion are quite similar to architecture especially in the filed of design. Architecture and fashion have been seen to affect people in creations of similarity and arguments as well as having certain effects on our emotions. The use of geometry in both forms of design shows an excess of space that exist between architecture and fashion. It is the overlap in architecture and fashion that is also seen in the similarities that encompass both in structural and design to bring out the theme of space. Lastly the inclusion of architecture materials in fashion and introduction of the curvilinear from fashion to architecture shows the overlap and its influence to create the effect of space. List of References Barthes, R 1990, The fashion system, University of California Press, Berkeley. Breward, C & Evans, C 2005, Fashion and Modernity, Berg, Oxford. Carter, M 2003, Fashion classics from Carlyle to Barthes. Berg, Oxford [u.a.]. Castets, S 2009, Louis Vuitton: art, fashion and architecture. New York, Rizzol. P. 214-235 Colquhoun, A 2002, Modern Architecture, Oxford University Press, Oxford. Fausch, D 1994, Architecture, in fashion, Princeton Architectural Press, New York. Fletcher, K 2010, “Slow Fashion: An Invitation for Systems Change,” Fashion Practice, Vol. 2, No. 2. Hanisch, R & O'Donovan R J 2006, Absolutely fabulous! architecture and fashion, Munich, Preste. Hodge, B & Mears, P 2006, Skin + bones: parallel practices in fashion and architecture ; [published on the occasion of the exhibition Skin + Bones, Parallel Practices in Fashion and Architecture, The Museum of Contemporary Art, Los Angeles, 19 November 2006 - 5 March 2007 ; The National Art Center, Tokyo, 6 June - 13 August 2007], Thames & Hudson, New York. Lee, P 1997, “Modern Architecture and the Ideology of Influence,” Assemblage, Vol. 34, No. 34. Parish, P 2012, Pattern Cutting The Architecture of Fashion, UK, Ava Pub. SA. Mahall, M., & Serbest, A. (2009). How architecture learned to speculate. Stuttgart, Institut Grundlagen moderner Architektur und Entwerfen (IGMA). P. 133 Pawley, M & Castle, H 2000, Fashion + architecture, Wiley-Academy, Bognor Regis, England. Quinn, B 2003 The fashion of architecture, Berg, New York. Rosa, J 2004, Glamour: fashion, industrial design, architecture, San Francisco Museum of Modern Art, San Francisco. Thomas, K 2003, Architecture and fashion: industry sisters or distant cousins?: a research report submitted [to the Victoria University of Wellington] in partial fulfilment of the requirements for the degree of Bachelor of Architecture. Research Report (B. Arch.)--Victoria University of Wellington, 2003. Read More