Today’s lecture was on fashion and architecture and their links to each other in the design industry. It was led by architect Meline Goode.

Throughout the lecture Meline kept referring back to the word ‘phenomenology’ and so I have decided to start with that. I looked up its direct meaning and found;

1. the science of phenomena as distinct from that of the nature of being
2. an approach that concentrates on the study of consciousness and the objects of direct experience from the first-person point of view

Phenomenology is linked with architecture in the way that architecture not only has a visual impact but also a physical and mental one in the way you utilise its space. The experience it gives you. With fashion it is the same, the way you express yourself and the experience you have from doing so. The philosophical study of design focuses on human experiences gained from historical buildings and the lessons it taught, which was in sharp contrast with postwar modernism and its anti-historicism.

This leads to Zeitgeist which is known as ‘spirit of the age or spirit of the time’ – the design outcomes are influenced by surrounding culture or another period in time. It looks towards people’s wants and needs during that moment and to the effect it has on the people – whether it be due to a building someone has been in or an item of clothing they have worn or seen. It can be hard to measure if the social and cultural aspects of that time are so diverse.

On the other side is the Genius Loci which is the ‘protective spirit of a place’ and has been around from as far back as the Romans. It is the idea that buildings act as protection and a closure from the elements of the world surrounding us, just like fashion – how a coat would protect us and keep us warm. It focuses on how different buildings have different purposes which allows for certain activity to take place inside. This leads to specific structures, forms and rules. In fashion, certain rules and dimensions are followed to create an item – a skirt is made differently from a jumper as they have different purposes.

But can these rules be experimented with to inspire and create new ideas and forms? The Great Exhibition which took place in Crystal Palace was to express the exercise of experimentation with numerous new materials and techniques. They showcased the best of British manufactured goods. However, this was not welcomed by all as they did not like the foreign competition it would bring within design.

The Great Exhibition,1851

Competition links with branding, in wanting to be known and succeed in the creative industry. A brand for a company is the overall perceived emotional corporate image and if they are successful the way they are identified should not be from its logo (although this mark or icon is its most simplified form of recognition), but from their products characteristics, such as aesthetics, its content and the message/story they are telling. Burberry, for example are known for the checkered pattern and certain colours they use. This is the same in architecture where architects might focus on using certain materials and techniques or where their inspiration is gained from. In fashion, items of wear begin at the top and filter their way down to the stores on the highstreet. Designers begin with big aims and visions which then move down to simpler and cheaper designs so that when it hits the highstreet the product is something worth bothering with.

Collaborations occur a lot in the design industry. It is ‘the action of working with someone to produce something.’ It doesn’t have to just be people from the same field of work can come together, but from all over. A fashion designer could work with an architect to create an innovative catwalk which succeeds by not only with the clothes on show but the atmosphere and arrangement of the room. Designers collaborate so they can explore lots of different ideas – this also goes back to phenomenology where experience is looked at. They want the surrounding people to be satisfied with what they have witnessed. Designers have to create these surroundings themselves to create the response they want.

An example of a fashion designer who has succeeded in doing the above is Alexander McQueen. On his website it wrote ‘his shows are known for their emotional power and raw energy, as well as the romantic but determinedly contemporary nature of the collections. Integral to the McQueen culture is the juxtaposition between contrasting elements: fragility and strength, tradition and modernity, fluidity and severity. An openly emotional and even passionate viewpoint is realised with a profound respect and influence for the arts and crafts tradition. Alexander’s collections combine an in-depth working knowledge of bespoke British tailoring, the fine workmanship of the French Haute Couture atelier and the impeccable finish of Italian manufacturing.’ A famous exhibition piece for Spring Summer 1999 was a dress which was practically made in front of the viewers – creating fashion whilst you’re watching it. A plain dress rotated as paint was sprayed at it. A lot of emotions were felt here, not only by the audience but by the model who wore it at the time (her name was Shalom Harlow). She wrote about her experience saying ‘and when they (the robots spraying the paint) were finished, they sort of receded and I walked, almost staggered, up to the audience and splayed myself in front of them with complete abandon and surrender.’ Fashion can’t be made any faster than this. We can’t keep up with the Zeitgeist theorum, but here it is being made right in front of our eyes.

CatwalkingDress, No. 13, spring/summer 1999 | Alexander McQueen

A collaboration I found interesting, yet slightly gory was that of Faye Toogood and Hermès. The designers at Studio Toogood created Hermes installation at the London flagship store. Blood appears to drip from display units and the clothing on show hangs from meat hooks. Blown up templates of a Hermès bag creates red structure for the space. Toogood say their inspiration came from the craftsmanship that goes into creating the Hermès products: “It goes without saying that this brand is truly inspiring in the way it relentlessly pushes the boundaries of craftsmanship and materials,” The blood red colour used continuously throughout the installation is a reference to Hermès’s previous branding.

Toogood Studios and Hèrmes

The development of new and exciting materials and techniques is fueling the design world to create more innovative and experimental designs. It allows for completely new rules and ideas to be formed, along with enabling fast work through temporary composes. There is an ongoing debate on materials versus fashion/architecture – How far can you really go until it is unwearable and not an item of clothing anymore or a building which has lost its ability to function? The associations with certain materials and techniques in craft and technology is continuously changing. Materials and processes such as leather, fabric, glass, metal, plastics, timber, laser cutting and 3D printing can work together to create new meanings.

There is also an ongoing debate whether fashion is with the time or with the future. How can designers be with the time if they cannot think ahead and produce before that trend of the time has moved on? I believe they go hand in hand.

To conclude, both architecture and fashion can be a response to Zeitgeist, which can also generate Genius Loci. Fashion is temporary but cyclical and the discussion between innovation and aestheticalisation is always ongoing.

References

Dress, no. 13, spring/summer 1999 | Alexander McQueen: Savage beauty | the metropolitan museum of art, New York (1999) Available at: http://blog.metmuseum.org/alexandermcqueen/dress-no-13/ (Accessed: 9 November 2015).

Howarth, D. (2013) Studio Toogood creates a blood red installation for Hermès. Available at: http://www.dezeen.com/2013/11/27/studio-toogood-creates-a-slaughterhouse-installation-for-hermes/ (Accessed: 9 November 2015).