Abstract The social need for expression in this new age especially in the field of architecture has seen some recent developments; although architecture and fashion
seem to be independent of each other, architecture deals with the constructed environment while fashion is the motivating factor behind the dress making business, they share in common common similar ideas ideas and principles which are are based on structure, form, art, science, technology and aesthetics. A study of the connection between fashion and architecture would be investigated in this this research and to what extent the relationship between fashion and architecture has affected each other and in what kind of pathways, has the effects benefitted the designers studying in fashion institutes, on which a comparative case study would be conducted.
Introduction
FASHION
Throughout history, fashion has been a means of identifying an era and making a reasonable determination of individual social status and personality. personality. Although Although social pressures influence style choices, personal fashion decisions are a matter of self-esteem and individual comfort. Certain fashion elements create a look that instantly identifies a particular culture or indicates membership in a subculture. t is about the societal and individual styles of clothing and accessories that reflect the current nature of the world.
Fashion is the most powerful art there is. It's As said by !lair "aldorf, Fashion “
movement, design, and architecture all in one. It shows the world who we are and who we'd like to be.”
#ashion is a language which tells a story about the person who wears it. There are many reasons we wear what we wear.
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$rotection from cold, rain and snow% mountain climbers wear high-tech outerwear to avoid frostbite and over-exposure. $hysical attraction% many styles are worn to inspire &chemistry.' (motions% we dress &up' when we)re happy and &down' when we)re upset. *eligious expression% +rthodox ewish men wear long black suits and slamic women cover every part of their body except their eyes. dentification and tradition% udges wear robes, people in the military wear uniforms, brides wear long white dresses. “The apparel oft proclaims the man.”
-hakespeare, /amlet #ashion is something we deal with everyday. (ven people who say they don)t care what they wear choose clothes every morning that say a lot about them and how they feel that day. +ne certain thing in the fashion world is change. "e are constantly being bombarded with new fashion ideas from music, videos, books, and television. 0ovies also have a big impact on what people wear. #ashion is a state of mind. A spirit, an extension of one)s self.
EVOLUTION OF FASHION
#ashion, by definition, changes constantly. #ashions are a social psychological phenomena common to many fields of human activity and thinking. #or some, modern fast-paced changes in fashion embody many of the negative aspects of capitalism% it results in waste and encourages people as consumers to buy things unnecessarily. +ther people, especially young people, enoy the diversity that changing fashion can provide, seeing the constant change as a way to satisfy their desire to experience new and interesting things. t is ama1ing to see how the different events in history have influenced and changed the way people have dressed throughout time. ome of the most popular fashions are classic, they can stand the test of time and hardly ever 2go out of style2, only experiencing minor changes to keep up with the trends. +ther clothing items could be considered 2fads2, styles that are only popular for a short season and then never worn again. +ften certain fashion trends are dependent on the tastes of particular groups of people or cli3ues and are usually associated with social status or cultural preferences like the type of music a person likes. #ashion can also be influenced by world events such as war or the economy. #or example, during "orld "ar , people were only allowed a certain amount of fabric so they were forced to create simple outfits that were practical enough for wartime duties. #rom the 4566s to the 4556s, popular fashions reflected the mood of each decade and showcased changes in society as the styles of clothing and accessories evolved with the times. 1900s-1920s
!y the end of the 45th century, the hori1ons of the fashion industry had generally 2broadened,2 partly due to the more stable and independent lifestyle many well-off women were beginning to adopt and the practical clothes they demanded. /owever, the fashions of the !elle 7po3ue still retained the elaborate, upholstered style of the 45th century. 8uring the early years of the 4546s the fashionable silhouette became much more lithe, fluid and soft than in the 45th century. imple felt hats, turbans, and clouds of tulle replaced the styles of headgear popular in the 96th century. Two of the most influential fashion designers of the time were ac3ues 8oucet and 0ariano #ortuny. Changes in dress during "orld "ar were dictated more by necessity than fashion. As more and more women were forced to work, they demanded clothes that were better suited to their new
activities. ocial events had to be postponed in favor of more pressing engagements and the need to mourn the increasing numbers of dead, visits to the wounded, and the general gravity of the time meant that darker colors became the norm. A new monochrome look emerged that was unfamiliar to young women in comfortable circumstances. !y 454: fashionable skirts had risen above the ankle and then later to mid-calf.
1920s-1940s
The 4596s brought fashion into the modern era. *eferred to as the &*oaring Twenties', women began to wear skirts and dresses that were comfortable rather than constricting. And men dressed in more casual suits rather than the formal wear that was the norm. The most defining style of the 96s was the #lapper. #lappers were women who dressed in short skirts, had a bobbed haircut, smoked, and showed their discontent with the mainstream society. Actress orm Talmadge was known as your prototypical #lapper. /ere we see her wearing a #lapper 8ress, showing her arms, wearing heels which was also a new style to emerge in the 96s. 45<6s known as the &tylish Thirties' was the return of a more contemporary lady like look whose main stylistic feature for this period was the emphasis on the shoulders. The 45=6s continued this look while experimenting with more synthetic fibres, the introduction of nylons and the use of the 1ipper. !athing suits were also a huge trend as traveling became part of orth Americans >ifestyle. #ashion icons included actors #red Astaire and >auren !acall.
1950s-1970s
The 45:6s was the &?lamour 8ecade'. The designs of Christian 8ior was largely influential to the style of the period as his designs came after the war and emphasi1ed women)s figures something that hadn)t been done in a while. #ashion trends of the :6s included the ever famous Audrey /epburn little black dress, shaped fitted ackets, A line skirts to emphasi1e a women)s waist, as well as hairstyles which included the beehive and the classic tight curls. cons included, 0arilyn 0onroe, !rigette !ardot, Carey ?rant. "ith the rise of new music and talian inspired mod fashion the 45@6s was a time for change in the fashion world. Tons of trends emerged included the mini skirt, bare legs instead of stockings, usage of lace, and hats for both women and men. 0aor fashion icon was skinny model Twiggy. "ith the /ippie movement in the late @6s and traveling into the early 456s, fashion became a large statement of an individual. "ith the summer of love, light airy fabrics, tie die and baby doll tops were huge trends. >ate 6s again was influenced through music. 8isco fashion was introduced with high platforms, flashy colours and tight clothing for both women and fashion. cons of this era were #arrah #awcett, and ohn Travolta.
1980s-present
The 45B6s were full of emerging trends that came and went. #rom big shoulder pads to even larger hair, the B6s were all about making a large statement. Accessori1ing also became a huge trend in the B6s. #rom earrings, to hair pins, to fishnet stockings accessories were what made the outfit, especially it was flashy and bold in colour. A maor icon was of course 0adonna, whose fashion style was copied by thousands. #rom the 4556)s to the present, we see new trends forming but we also see a huge comeback of many of styles from the previous fashion decades. *ock music of the 56s had an influence in style including the creation of the grunge) and emo) scene. ew trends also include dark denim eans especially the famous skinny eans, high fashion gym wear, the flat shoe and the scarf or pashmina that goes with every outfit not ust your outdoor wear. /owever the present has definitely become a collection of trends from previous decades. *ay ban sunglasses, Audrey /epburn)s tiny black dress, B6s accessories, hippie inspired bohemian dresses, the 45:6)s hairstyle and so many more.
FASHION DESIGNING
#ashion design is the art of application of design and aesthetics or natural beauty to clothing and accessories. #ashion design is influenced by cultural and social attitudes, and has varied over time and place. #ashion designers work in a number of ways in designing clothing and accessories such as bracelets and necklace. !ecause of the time re3uired to bring a garment onto the market, designers must at times anticipate changes to consumer tastes. 28esigners conduct research on fashion trends and interpret them for their audience2. They attempt to design clothes which are functional as well as aesthetically pleasing. They consider who is likely to wear a garment and the situations in which it will be worn. They have a wide range and combinations of materials to work with and a wide range of colours, patterns and styles to choose from. Obe!t"#es $% F&s'"$n Des"(n"n(
#ashion designers sketch and design clothing items and collections. 8esigners may work independently or for bouti3ues, manufacturers and other fashion retailers. All designers, regardless of where they work, have virtually the same goals and obectives in their careers. Anticipating Consumer Trends A fashion designer canDt sell or profit from her designs if the public isnDt interested in buying them. uccessful designers make predicting consumer trends a primary obective in their work. 8esigners study current consumer trends and identify target demographics that are likely to purchase their clothing. #or example, some designers create clothing for teenage girls, while others focus on business professionals. 8esigners use their findings and knowledge of their target demographic to determine which designs are likely to appeal to consumers in the future. Creating Clothing 8esigns !efore a dress, suit or sweater can go on display in a store, it starts out as a sketch in a designerDs idea book. 8esigners spend most of their time thinking of themes and design for their clothing collections, and may use computer software to assist them during the design process. (very designerDs primary obective is to design clothing that will sell, and designs may undergo multiple revisions before a designer settles on a final design. ome designers are involved in the construction of their designs and may work directly with production teams, while others may simply supervise the production process and trust the sewing to other professionals.
0arketing Clothing and Accessories A designer canDt sell his clothing if the public never sees his creations. 0arketing is a huge priority for fashion designers, whether theyDre selfemployed and selling their clothes online or trying to find work at an international fashion retailer. Aspiring designers starting out in their careers spend a considerable amount of time marketing themselves and their products to attract public attention. (stablished designers continue marketing themselves through advertisements in print and online. #orming etworking Connections A fashion designer can never have too many friends, as every professional she meets in the fashion industry could help further her career. #ashion designers make a point to form strong, lasting connections with a variety of other fashion professionals. These include fabric manufacturers and trade show runners, who supply the fabric and embellishments designers need to see their designs come to life. 8esigners also aim to form connections with creative directors for maga1ines and other publications so they can share their creations with a wider audience. HO) A*+HITE+TU*E INFLUEN+ES FASHION,
The relationship between fashion and architecture is not a particularly obli3ue one. !oth are based on structure, shape and prettying up basic necessities clothes and shelter. The relationship between fashion and architects is less discussed. Eet even a glance at your garden-variety modern architect proves this is a group who are ust as style-conscious as fashion designers. #ashion and architecture are both based on basic life necessities - clothing and shelter. /owever, they are also forms of self-expression - for both the creators and consumers. !oth fashion and architecture affect our emotional being. #or example, fashion refers to the actual articles one wears, but style is how you put it together and how confident you feel when you are going about your daily life. imilarly, our moods are affected by our living and work conditions - sunlight, cleanliness and comfort. +n a deeper level, fashion and architecture both have less to do with luxury and design, but everything to do with feeling comfortable in your own skin and in your habitat. +ver the past centuries, the connections between architecture and fashion 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. /ence, their connection is inclined to constant changes in styles and taste based on the architect and designer. #ashion has a huge influence on architecture and vice versa.
The various trends between fashion and architecture are as a result of the following% Des"(n T'e$r-
!oth architecture and fashion have in common the concept of design theory. ndividuals refer to design as a problem resolving process. $roblems with clothing caused by the designer need to have a resolved aesthetics. This solution may have a connection with the human body in terms of design lines, colour, fabrication, proportion and pattern. The concept of design in architecture is the solution to the environmental problems surrounding us. Architects deal with design situations related to the surrounding environment. Creating a solution is the basic concept of design theory present in both fields. Art-
!oth 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 professions. #ashion designers and architects can be seen as artists 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. Architecture is also seen taking elements of fashion design as
concepts and inspiration, the elements of fashion design includes the idea of wrapping, folding, weaving, pleating and draping. ometimes the form and structure of the architectural building itself can be a source of inspiration to fashion designers.
S!"en!e-
mprovements in science go beyond improving the 3uality of our lives, thus the belief in art and science by diverse cultures are 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. !oth science and art value creativity which proposes innovation, improvement and change over what exist through the use of abstract models to comprehend the world. As a result one of the new materials which have found its way on fashion catwalks and architecture is the media faFade). This faFade is produced with small >(8 lights and can photograph anything the designer wants. n architecture the >(8 light when applied to the building faFade reflects natural light during the day and during the night it gives different colour scheme with the aid of a computer program.
Te!'n$/$(-
Technology is a physical obect 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. 0etal as a material has been in existence in architecture over the past centuries and is still been in use till date.
Case Study
NATIONAL INSTITUTE OF FASHION TE+HNOLOG NE) DELHI
ntroduction The ational nstitute of #ashion Technology, a premier academic institute of design, management and technology, aims at establishing the benchmark for the 3uality of professionals that go into the fashion industry. The nstitute provides comprehensive and state-of-the-art infrastructure and e3uipment to impart both practical and theoretical training. The facilities and services offered to the students allow them the freedom to experiment and generate creative ideas. >ively and vibrant campuses are complemented with facilities that e3ual the best in the world at #T. Creative architecture and spaciousness defines all #T buildings, which house fully e3uipped lecture rooms, design studios and laboratories, resource centres, activity centres and hostels. The education structure emphasises hands-on experience through practical set-ups and state-of-the-art technology.
*O3E+T % #T, ew 8elhi O)NE*SHI% 0inistry of Textiles, ?overnment of ndia A*+HITE+T% tein, 8oshi and !halla SITE A*EA 44,:@6 s3.mt G< acreH UILT U A*EA 4<,:6 s3.mt Gincluding basementH LO+ATION /au1 Ihas, ew 8elhi EA* OF +O6LETION 45B@
>ocation The institute is situated in the /au1 Ihas institutional 1one. t lies on the way to Asian ?ames Jillage from green park. Access is from north east and south west side
of the campus. ite is irregular in shape and is surrounded by classical dance institute, /au1 Ihas housing, ?ulmohar park.
The main access is from the 0ehrauli *oad which goes from A0 to Kutab 0inar. t can also be accessed from the Ihel ?aon 0arg which goes to the Asian ?ames Jillage, surrounded by /au1 Ihas Apartments, pastic ociety building and the Classical 8ance nstitute.
!uilding The building covers almost the entire site leaving very less green area. The plan follows the site boundary with a setback of @m maintaining its character. The openings are designed such that they maintain a visual unity in their form and proportion. Academic clusters have been grouped together to form units comprising class rooms, labs, common lobby, and service spaces.
+rientation and tructure
The building is aligned with its long sides along " and ( axis, facilitating good exposure to the sun and bree1e, at times causing glare. 8ifferent blocks of building complex are placed according to the site lines. All the peripheral building lines are parallel to the site lines. +penings for light and ventilation have been sacrificed for aesthetic considerations than climatic comfort. This complex is based on frame structure - s3uare module has been followed up.. The roofing is done with waffle slabs G4.mx4.mH thus providing a column free space of @.B: s3.m The external thickness acts as ade3uate sun protection for the windows, providing insulation.
ite $lanning L #lat land with artificial contours L $roper segregation of functions as building blocks are places in certain set of 1ones which is determined by the function character of the building block. L The planning revolves around the two courts- the sunken cover with a stepped kind and the amphitheatre. L Although apart from the 1onal green there is not any substantial green area to be landscaped, the institute gives a feeling of richly landscaped environment. L Two types of circulation pedestrian and vehicular. L An inner road leads to the main car park ust outside the main entrance. L The entry to the campus is from two sides- #ront and back.
Moning The site is basically divided in to three basic 1ones%
L A!&e"! b/$! are similar in plan and in function also, occupies the left portion of the site. L A"n"str&t"#e b/$! along with canteen and library is in right hand side. L T'e H$ste/ b/$! is placed right at the back of the site.
!uilding >ayout 8ifferent blocks ac3uire different shapes and forms depending upon the functions they are accommodating. There is permeability of the blocks, due to accessibility from all the sides. !uilding blocks are concentrated around the sunken court thus generating activity and creating a lively environment.
Gr$:n F/$$r /&n "
F"rst F/$$r /&n ""
Se!$n F/$$r /&n """
(ntrance $la1a and #oyer
T'"r F/$$r /&n "#
The double heighted gateway gives way to the academic as well as administrative block reached by a series of steps. The #oyer is a series of steps with seating at various levels from the entrance pla1a giving an informal atmosphere to the area. t leads to the reception and also opens out of the sunken courtyard.
Academic !lock The whole complex forms a vibrant composition. Academic blocks are connected through different systems of circulation overlooking the central court. #acilities have been provided in the areas oined together in the form of a cluster, comprising of lobby, lecture rooms, labs and toilets.
F&!"/"t"es
>ively and vibrant campuses are complemented with facilities that e3ual the best in the world at #T. Creative architecture and spaciousness defines all #T buildings, which house fully e3uipped lecture rooms, design studios and laboratories, resource centres, activity centres and hostels. The education structure emphasises hands-on experience through practical set-ups and state-of-the-art technology. ;+re&te< &t Des"(n St:"$s = Te!'n$ L&bs
The design studios on campus offer ample opportunity to students to experiment and innovate, while the laboratories provide hi-technology work areas covering real-time aspects of the industry. H"(' >:&/"t Le!t:re *$$s
"ell-e3uipped classrooms use advanced teaching methodology, designed for highly interactive sessions. IT S&## E:!&t"$n
The success of fashion professionals rests on their ability to integrate #ashion and nformation Technology in a meaningful way. T support is a critical feature at all #T centres and the computer labs are e3uipped with state-of-the-art hardware and software. *es$:r!e +entre
The ational *esource Centre at ew 8elhi and the *esource Centre at each #T centre are pillars of information and knowledge management. (ach *esource Centre has an integrated collection of print, visual and creative material resources% the only systematically documented source of information available in ndia for study of international and contemporary ndian fashion. The *esource Centres also provide information services to the design community, industry practitioners and entrepreneurs. The collections at the *Cs include% !ooks and periodicals ational and international fashion and textile ournals Audio-visuals nternational collections of E>, Chanel, Armani, Christian 8ior, 8olce N ?abbana, etc. ndian collections of *itu Iumar, /emant Trivedi, *ohit !al, unit Jerma, etc., and collections of #T students Textile collections ervices offered% *eference ervice +nline $ublic Access Catalogue G+$ACH !ibliographic ervice ndexing ervice Circulation service. *eprographics ervice. Colour ervice. • • • •
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+$n%eren!e H&//s
The nstitute houses spacious conferenceOseminar halls that serve as perfect meeting grounds for presentations, interaction and discussions. S'$?!&se
The amphitheaters and auditoria at #T centres are ideal for student presentations and collection showings. *e!re&t"$n @$ne
The tudent activity clubs, namely, Cultural N 8ramatic Club, ports, Adventure N $hotography Club, >iterary Club and (nvironment N ocial ervice Club organise a wide spectrum of entertainment, sports and leisure activities on a regular basis. The #T campuses have ample space to host events, allowing students to pursue their individual interests and work towards social concerns. +'"//-$:t
A variety of food and a friendly atmosphere make the cafeterias ideal for students to relax and interact with their peers. He&/t' +&re
0edical aid is provided on the campus. A doctor and nurse are available to take care of general and specific ailments. A psychologist is also available on campus to counsel the students. H$ste/s
#T provides residential accommodation at all centres. $ermanent hostel facilities are available within the campus. All the hostel premises, including the ones being run by hiring private residential accommodation, are provided with round the clock professional security, a doctor on call and hostel wardens. *ecreation facilities like T.J., maga1ines, some indoor and outdoor games are also available at the hostels.
Amphitheatre
The amphitheatre has a total seating capacity of <66 students and the area covered by it is <45.<: s3. mts.
0aterial used in the building Str:!t:re - *.C.C and brick walls. +/&"n( - *andom rubble stone masonry on
some part of the plinth, walls in some places, imported float glass used as a special material as a non-reflecting glass used as a complete wall, steel frame screened with reflected glass, and use of vibrant colors in the interiors spaces. F/$$r F"n"s'- !lock granite and white marble check
flooring in reception hall, Iota green and aisalmer yellow in corridors, plain cement floor finish in classrooms and laboratories, chip flooring in exhibition hall, stone in open spaces.
F&B&e Tre&tent- The exterior although uniformly finished in
grey-colored grit, the interiors come as a surprise, with composition in white, grey and greens of the court reflected in the glass wall. )"n$?s- harokhas of traditional architecture and
new materials and expression,
creating an interesting blend.
>andscaping The institute gives a feeling of richly landscaped environment. ite boundary is lined with deciduous and evergreen trees. A series of high and low platforms, soft and hard landscaping have been used in the amphitheatre court. n surrounding areas of kund, soft landscaping is done and it is paved with cut outs for basement lighting.
