Destructiveness of garment structure - Dissertation Example

Deconstruction -----------------------12 2.2 Identification of Conceptual and Functional Fashion----14 2.3 The Idea of Experimental Design in Fashion-------------15 2.4 Architectural Deconstruction in the Structure of Fashion Apparel---------17 Chapter 3: Case Studies-------------------------------------------------------------24 3.1 The Impact of Japanese Designers-------------------------24 3.1.1 Rei Kawakubo, Founder of Commes des Garcons----------27 3.1.2 Yohji Yamamoto--------------------------------29 3.

2 The Influence of Experimental Designers-----------------31 3.2.1 Martin Margiela----------------------------------32 3.2.2 Hussein Chalayan---------------------------------35 Chapter 4: Fashion Collection on Deconstruction of Garment Design: Origami Art and Geometric Patternin-----------37 Chapter 5: Conclusion---------------------------------------------------------------42 REFERENCES----------------------------------------------------------------------43 REFERENCES FOR ILLUSTRATIONS------------------------------------------46 List of Figures Fig. 1a. Sydney Opera House: Section Drawing------------------------------------------19 Fig.1b. Sydney Opera House: Photo-------------------------------------------------------19 Figs. 2a., 2b., 2c.Ozezen’s Dress Designs Inspired by Sydney Opera House--------20 Fig. 3. A-POC Clothing Line by Issey Miyake, 2004-----------------------------------22 Fig.4. Testa’s Carbon Tower---------------------------------------------------------------23 Figs. 5a, 5b. Rei Kawakubo: The Lumps and Bumps Collection----------------------28 Figs. 6a, 6b. Yohji Yamamoto: Spring 2012, Ready to Wear---------------------------30 Figs. 7a, 7b. Maison Martin Margiela: Spring 2012 Ready to Wear-------------------34 Figs. 8a, 8b. Chalayan: Fall.

Gill (1998) argues that clothes are not liberated from funtionality because of deconstruction as an external causal force. On the other hand, the elimination of functionality from clothing is achieved through a complex interaction between bodies, clothing and their different settings of use (Gill, 1998). Salingaros and Alexander (2004) state that deconstruction is a new concept that denotes the breaking up of coherent forms; it takes apart traditional literature, art and architecture.

In buidling construction, the concept has become increasingly influential among architects, scholars, educators, decision makers, policy makers, and developers of prestigious construction projects. Deconstruction in architecture is more than mere visual fashion, and contributes extensively to form, function and aesthetics (Salingaros & Alexander, 2004). It is characterized by broken lines and lopsided asymmetrical shapes portraying the destruction of conventional principles. Other possible elements of architectural deconstruction include a building construction of unsuitable scale for human use, either two small or excessively big, disconnected and unrelated components and surfaces, along with highly polished metal work and sparkling glass, state Saligaros & Alexander (2004).