ARTICLES
UPCOMING EVENTS
Takuma Johnson: Why more monks should play football.
November, 11
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Sebastian Hitchcock: Booming tailor business in South Africa.
November, 25Lorem ipsum dolor sit amet, consectetur adipiscing elit. Maecenas urna nibh, dapibus non turpis at, venenatis lobortis neque. Duis maximus tellus sed sollicitudin efficitur. Nunc vitae pretium felis. Aliquam erat volutpat. Nam aliquet commodo diam in congue. Cras blandit ultrices consectetur. Duis a lacus vel augue ultrices tincidunt. Vestibulum dictum vel est et ultrices. Morbi ac quam non massa efficitur finibus eu in libero.
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Fashion House
On architecture and urban design
in relation to the fashion industry in Europe’s Red Thread
Fashion House
On architecture and urban design
in relation to the fashion industry in Europe’s Red Thread
Collective Description
Fashion House is a collective project that speculates on the spatial implications of a redesigned fashion industry by envisioning a pan-European cooperative and regulatory body to address the damaging effects of fast fashion within the contemporary global fashion industry across five former post-industrialized cities — Berlin, Marseille, Rotterdam, Valencia, and Zurich — that are emerging fashion hubs that together form the Red Thread. The Red Thread - like the Blue Banana preceding it - is an imagined discontinuous urbanized corridor connecting these five cities - which have made deliberate municipal efforts to shift their economies towards creative industries - that operates as a confederation throughout their provincial regions that encourages intercity exchange of resources, services, and expertise to enable brands to operate within the “Made in Europe” framework, while simultaneously regionalizing production and consumption chains within a decentralized network towards the European Union’s goal for a climate-neutral future by 2050.
Fashion House challenges the existing paradigm of the contemporary global fashion industry by articulating the necessity for mutual cooperation between all participants that is integrated into an emphasis on regionalized production networks that curtail the distances traveled and minimize the complexities and vulnerabilities associated with the procurement, manufacturing, and consumption of fashion products. Within the cooperative, regional brands synergistically supply, produce, and retail for each other within their immediate locales or in remote European regions and everywhere in between. To facilitate cross-fashion brand cooperation and ensure minimum
Fashion House is a collective project that speculates on the spatial implications of a redesigned fashion industry by envisioning a pan-European cooperative and regulatory body to address the damaging effects of fast fashion within the contemporary global fashion industry across five former post-industrialized cities — Berlin, Marseille, Rotterdam, Valencia, and Zurich — that are emerging fashion hubs that together form the Red Thread. The Red Thread - like the Blue Banana preceding it - is an imagined discontinuous urbanized corridor connecting these five cities - which have made deliberate municipal efforts to shift their economies towards creative industries - that operates as a confederation throughout their provincial regions that encourages intercity exchange of resources, services, and expertise to enable brands to operate within the “Made in Europe” framework, while simultaneously regionalizing production and consumption chains within a decentralized network towards the European Union’s goal for a climate-neutral future by 2050.
Fashion House challenges the existing paradigm of the contemporary global fashion industry by articulating the necessity for mutual cooperation between all participants that is integrated into an emphasis on regionalized production networks that curtail the distances traveled and minimize the complexities and vulnerabilities associated with the procurement, manufacturing, and consumption of fashion products. Within the cooperative, regional brands synergistically supply, produce, and retail for each other within their immediate locales or in remote European regions and everywhere in between. To facilitate cross-fashion brand cooperation and ensure minimum
standards to achieve Europe’s broader ambitions, Fashion House introduces a certification system that establishes a single baseline criteria for how regionalized and sustainable production operates - from production-quality standards to garment sizing, from protections of craft knowledge to authenticating resources’ provenance among others - while also providing small and medium-sized brands economic incentives, industry services, and consultancy to grow their businesses while also meeting the criteria for 2050.
Fashion House operates physical locations across all five cities in the Red Thread, recalibrating the spaces in which the products and services from the future fashion industry - including made-to-order production, certification facilities, showrooms and wholesale retail, and training - exist, while also providing an attractive destination in each city that functions as both public disseminator and gathering-place, and collective workshop for fashion practitioners.
Fashion House considers the spaces of a reconfigured fashion industry across the Red Thread at all scales - ranging from the components within Fashion House locations (S), the building types and programs associated with production and consumption supply-chains (M), the civic presence of the fashion industry’s extended [network/community] within urban centers (L), to the extensive repositioning of supply chains and knowledge-sharing networks (XL), all the while framed by the redefinition of a “house of fashion” (OS).
Waste
Made in Europe
Production Network
Organization & Certification System
Case Study
Atlas of Elements
Shared Elements
Protagonists
Narrative Elements
Staging Elements
Materials & Backgrounds
| Crafting Heritage |
Alejandra Huesca (MX)
| More than a House |
Takuma Johnson (US)
| Try it Out |
Cristhy Mattos (BR)
| Sky's the Limit |
Mariano Cuofano (IT)
Built to Crack |
Adi Samet (IL)
Equity Road |
Nigel Alarcon (MX
The Establishment |
Sebastian Hitchcock (ZA)
| Shelf Life |
Preradon Pimpakan (TH)
| Make Scents |
Kulaporn Temudom (TH)
With Love |
Xiaoyu Ding (CN)
Retro-Prospective |
Rongting Xiao (CN)
Aporia |
Raymond Tang (US)
| Ready to Rent |
Inés García-Lezana (ES)
Out of the Fabric |
Martino Greco (IT)
| The Journey of Your Life |
Fabiola Cruz (PE)
| Scale to Feet |
Paola Tovar (MX)
| The Unmentionables |
Sandra García (ES)
The First Resort |
Jesse Verdoes (NL)
Yours, Forever |
Pooja Bhave (IN)
Hair Bank |
Non-fungible Cult |
Alonso Diaz (MX)
| Bone to be Natural |
Yesah Hwangbo (KR)
Viaduct...53 |
Danai Tsigkanou (GR)
| The Journey of Your Life |
Fabiola Cruz (PE)
| Tailor Printed |
Paola Tovar (MX)
| The Unmentionables |
Sandra García (ES)
| Try it Out |
Cristhy Mattos (BR)
| Shelf Life |
Preradon Pimpakan (TH)
| Bone to be Natural |
Yesah Hwangbo (KR)
| Make Scents |
Kulaporn Temudom (TH)
| Crafting Heritage |
Alejandra Huesca (MX)
| Ready to Rent |
Inés García-Lezana (ES)
| Sky's the Limit |
Mariano Cuofano (IT)
Fashion Shows
The first assignment examines twelve fashion shows spanning the past one-hundred and twenty years that changed the spatial
relationships first between the dressmaker and the
client at the beginning of the twentieth century and then
between the displayed product and the spectator in the twenty-first century. Students are asked to reconstruct
these shows through a set of speculative architectural
drawings. Each reconstructed drawing set will articulate how each fashion show regulates the relations between
product and spectator, between model and audience, between fashion and space, between architecture and
culture.
01 Lucile Ltd., Gowns of Emotion, London, 1901
02 Cunard Cruise Liner Deck Fashion Show 1925
03 Barkers of Kensington 1928
04 Dior 1947
05 Balmain 1965
06 Thierry Mugler 1984
07 Yves Saint Laurent 1998
08 Fendi 2007
09 Chanel 2016
10 Loewe Show-in-a-box 2020
11 The AZ Factory Show Fashion by Alber Elbaz 2021
12 Balenciaga "clones" Deep-fake Show 2021
Fashion Brands
In the second assignment the reconstructed fashion
shows of the first assignment will be further explored,
researched, and dissected. The aim will be to gain
further insight into the “spatial ecology” surrounding
the particular “brand.” Students are asked to develop
a comprehensive understanding of the full range
of the brand’s architectural, spatial, typological,
programmatic, strategic, and quantitative aspects—both
contemporaneously to the studied fashion shows as well
as the evolution and transformation over time.
From production and distribution, to mediation and consumption, these findings will be drawn into “visualized evidence” that clearly articulate complex findings in a comprehensive visual way. This “evidence” can be historical, contemporary, and/or speculative, indicating how certain issues related to the fashion industry are transposed to architectural and spatial conditions.
In parallel, key themes that play a role in the fashion industry’s future—which have been identified through the literary study of the State of Fashion reports by the Business of Fashion and McKinsey and Company— are discussed within the historical framework of the studied shows to facilitate speculation on the spatial impact of these issues pertaining to the future of the fashion industry.
From production and distribution, to mediation and consumption, these findings will be drawn into “visualized evidence” that clearly articulate complex findings in a comprehensive visual way. This “evidence” can be historical, contemporary, and/or speculative, indicating how certain issues related to the fashion industry are transposed to architectural and spatial conditions.
In parallel, key themes that play a role in the fashion industry’s future—which have been identified through the literary study of the State of Fashion reports by the Business of Fashion and McKinsey and Company— are discussed within the historical framework of the studied shows to facilitate speculation on the spatial impact of these issues pertaining to the future of the fashion industry.
01 Lucile Ltd., Gowns of Emotion, London, 1901
02 Cunard Cruise Liner Deck Fashion Show 1925
03 Barkers of Kensington 1928
04 Dior 1947
05 Balmain 1965
06 Thierry Mugler 1984
07 Yves Saint Laurent 1998
08 Fendi 2007
09 Chanel 2016
10 Loewe Show-in-a-box 2020
11 The AZ Factory Show Fashion by Alber Elbaz 2021
12 Balenciaga "clones" Deep-fake Show 2021
Pattern Book
This pattern book provides a set of
guidelines and tools —derived from
the Red Thread member cities and the
core principles influencing the future
of the fashion industry— that inform
the extensive and minute specificities
of design and planning principles for
Fashion House locations across the five
cities of EuroMayorFive. The pattern
book is organized in five chapters that
individually focus on discrete scales for
design production: small (S), medium
(M), large (L), extra large (XL), and one-size fits all (OS).
Fashion House
On architecture and urban design
in relation to the fashion industry in Europe’s Red Thread
Fashion House
On architecture and urban design
in relation to the fashion industry in Europe’s Red Thread
Collective Description
Fashion House is a collective architectural project that anticipates an alternative future for the fashion industry in five emerging fashion centers in and around Berlin, Marseille, Rotterdam, Valencia, and Zurich. These five cities–each the focal point of formerly post-industrialized regions that are undergoing shifts toward creative and service industries–form the Red Thread, an imagined discontinuous urban corridor that encourages intercity exchange of products, services, and expertise to collaboratively introduce a paradigm shift away from the traditional “big four” global fashion capitals of London, Milan, New York, and Paris which are the exemplars of a global fashion industry laced with untenable practices, ranging from resource over-extraction to exploitative labor practices.
The project explores topics including garments’ utility, trend making, and mass-customization to examine the economic, environmental, and cultural implications of a fashion industry that has slowed and contracted as a result of global efforts to regionalize economic networks in response to 2050 climate goals. In particular, the European Union’s climate-neutral goals for 2050–made possible by the implementation of its “Made in Europe” by 2030 framework–establish the backdrop in which this project is situated. Fashion House establishes a pan-European cooperative and regulatory body–entitled Fashion House–that intensifies regional production and reinforces conscientious consumption patterns within the Red Thread and beyond by granting certifications to products and businesses and by providing consultancy and industry services to smaller-scale regional designers, producers, and suppliers via membership.
The certifications–a combination of universal certifications, that dictate bare-minimum requirements for participation within the Red Thread network, and discretionary certifications, that certify specific processes and products for brands that surpass universal requirements–establish a single baseline standard across the Red Thread. These standards include extended garment lifespan through commonplace repair and recycling infrastructures, only made-to-order production in a seasonless and limited production calendar at close-to-home fabrication sites, and harnessing fully-automated technologies and expert hand-craft in specialized facilities to improve quality standards and discontinue sizing standardization.
In each city within the Red Thread, Fashion House operates a physical location–modeled after, and reinterpreting the medieval guild house–that provides small batch and prototyping services, workshops, and gathering spaces for regional members alongside the certification and administrative facilities necessary to operate the cooperative. Like the guild house before it–and in contrast to the contemporary fashion brand headquarters–each location is designed as a place where all constituents within the fashion industry congregate to exchange expertise, eliminating the binary distinctions of production and consumption by overlapping the “workshop” with the “showroom.” In this new model, the fashion house is relieved of its retail functions–which is now conducted only on digital platforms–emphasizing a shift away from the point-of-sale as the defining moment of a garment’s life.
Each Fashion House location is designed to contextually implement the design principles, guidelines, and standards of the Pattern Book, a set of manuals conceptualized to establish a consistent vocabulary for Fashion House—from architectural detailing and programming to daily operations and letterhead design. Divided into four primary chapters—Design & Implementation, Certifications, Governance & Operations, and Red Thread Atlas—the Pattern Book is the template for Fashion House, ensuring that—like the guild house before it—each Fashion House location simultaneously maintains universal standards and context-specific character.
Through the research and design of the Pattern Book, five Fashion House locations, and twenty-three contributions, the project anticipates that decentralized economic networks will span across national borders—led by joint efforts from cities and regions—to become instrumental in delivering a fashion industry that operates within the ecological limits set by a slowed global economy. Paradigm shifts including the quality in a wardrobe becoming more coveted than its quantity, circular and fully-traceable processes that eliminate new resource extraction, and international infrastructures for textile waste collection and garment-sharing will replace persistent procurement of new garments and refocus the entire process of garment creation—from fabrication to fitting, showcasing and its maintenance—towards its continual alteration from one state to another: initial construction, to repair, to upcycling, to decomposition. From topics ranging from aspiration and authority to fanaticism and fetish, Fashion House explores the spatial implications of a fashion industry that is no longer “fast.”
Fashion House is a collective architectural project that anticipates an alternative future for the fashion industry in five emerging fashion centers in and around Berlin, Marseille, Rotterdam, Valencia, and Zurich. These five cities–each the focal point of formerly post-industrialized regions that are undergoing shifts toward creative and service industries–form the Red Thread, an imagined discontinuous urban corridor that encourages intercity exchange of products, services, and expertise to collaboratively introduce a paradigm shift away from the traditional “big four” global fashion capitals of London, Milan, New York, and Paris which are the exemplars of a global fashion industry laced with untenable practices, ranging from resource over-extraction to exploitative labor practices.
The project explores topics including garments’ utility, trend making, and mass-customization to examine the economic, environmental, and cultural implications of a fashion industry that has slowed and contracted as a result of global efforts to regionalize economic networks in response to 2050 climate goals. In particular, the European Union’s climate-neutral goals for 2050–made possible by the implementation of its “Made in Europe” by 2030 framework–establish the backdrop in which this project is situated. Fashion House establishes a pan-European cooperative and regulatory body–entitled Fashion House–that intensifies regional production and reinforces conscientious consumption patterns within the Red Thread and beyond by granting certifications to products and businesses and by providing consultancy and industry services to smaller-scale regional designers, producers, and suppliers via membership.
The certifications–a combination of universal certifications, that dictate bare-minimum requirements for participation within the Red Thread network, and discretionary certifications, that certify specific processes and products for brands that surpass universal requirements–establish a single baseline standard across the Red Thread. These standards include extended garment lifespan through commonplace repair and recycling infrastructures, only made-to-order production in a seasonless and limited production calendar at close-to-home fabrication sites, and harnessing fully-automated technologies and expert hand-craft in specialized facilities to improve quality standards and discontinue sizing standardization.
In each city within the Red Thread, Fashion House operates a physical location–modeled after, and reinterpreting the medieval guild house–that provides small batch and prototyping services, workshops, and gathering spaces for regional members alongside the certification and administrative facilities necessary to operate the cooperative. Like the guild house before it–and in contrast to the contemporary fashion brand headquarters–each location is designed as a place where all constituents within the fashion industry congregate to exchange expertise, eliminating the binary distinctions of production and consumption by overlapping the “workshop” with the “showroom.” In this new model, the fashion house is relieved of its retail functions–which is now conducted only on digital platforms–emphasizing a shift away from the point-of-sale as the defining moment of a garment’s life.
Each Fashion House location is designed to contextually implement the design principles, guidelines, and standards of the Pattern Book, a set of manuals conceptualized to establish a consistent vocabulary for Fashion House—from architectural detailing and programming to daily operations and letterhead design. Divided into four primary chapters—Design & Implementation, Certifications, Governance & Operations, and Red Thread Atlas—the Pattern Book is the template for Fashion House, ensuring that—like the guild house before it—each Fashion House location simultaneously maintains universal standards and context-specific character.
Through the research and design of the Pattern Book, five Fashion House locations, and twenty-three contributions, the project anticipates that decentralized economic networks will span across national borders—led by joint efforts from cities and regions—to become instrumental in delivering a fashion industry that operates within the ecological limits set by a slowed global economy. Paradigm shifts including the quality in a wardrobe becoming more coveted than its quantity, circular and fully-traceable processes that eliminate new resource extraction, and international infrastructures for textile waste collection and garment-sharing will replace persistent procurement of new garments and refocus the entire process of garment creation—from fabrication to fitting, showcasing and its maintenance—towards its continual alteration from one state to another: initial construction, to repair, to upcycling, to decomposition. From topics ranging from aspiration and authority to fanaticism and fetish, Fashion House explores the spatial implications of a fashion industry that is no longer “fast.”
Propositions
1. The future fashion industry must dislocate the trendsetting dominance of the global big four fashion capitals of Paris, New York, Milan and London–that perpetuate practices of resource over-extraction and exploitative labor conditions—by dispersing manufacturing and design centers into interconnected and specialized European regions.
2. In 2040, the European fashion industry will achieve self-sufficiency by reconfiguring material sourcing landscapes to altering climate conditions and establishing a circular continental network for collecting and reusing textile waste and other raw materials, thereby eliminating the need for non-renewable resource extraction.
3. Shifts in automated and handcraft manufacturing processes—bolstered by re-shored operations, the resurgence of vulnerable craft-trades, and the harnessing of local thriving industries—enable a slower-paced fashion industry to revitalize Europe’s emerging fashion hubs—which include Berlin, Zurich, Marseille, Rotterdam and Valencia—toward an economy that emphasizes design and fabrication.
4. An interconnected system of waterways and high-speed railways, in addition to commonplace infrastructures of repair, alteration, recycling, and reuse facilities, will create a synergetic collaboration between regions to increase lifespan of products while minimizing carbon emissions.
5. Inspired by the role of the medieval guild house as a node within a regulatory network that served as a hub for civic activity, a decentralized fashion industry requires a regulatory body with administrative centers scattered throughout its network to certify small and medium-sized enterprises—ranging from hyper-personalized services to durable, long-lasting production—and provide spaces for regional members to prototype, meet, and showcase innovative industry practices that promote degrowth.
1. The future fashion industry must dislocate the trendsetting dominance of the global big four fashion capitals of Paris, New York, Milan and London–that perpetuate practices of resource over-extraction and exploitative labor conditions—by dispersing manufacturing and design centers into interconnected and specialized European regions.
2. In 2040, the European fashion industry will achieve self-sufficiency by reconfiguring material sourcing landscapes to altering climate conditions and establishing a circular continental network for collecting and reusing textile waste and other raw materials, thereby eliminating the need for non-renewable resource extraction.
3. Shifts in automated and handcraft manufacturing processes—bolstered by re-shored operations, the resurgence of vulnerable craft-trades, and the harnessing of local thriving industries—enable a slower-paced fashion industry to revitalize Europe’s emerging fashion hubs—which include Berlin, Zurich, Marseille, Rotterdam and Valencia—toward an economy that emphasizes design and fabrication.
4. An interconnected system of waterways and high-speed railways, in addition to commonplace infrastructures of repair, alteration, recycling, and reuse facilities, will create a synergetic collaboration between regions to increase lifespan of products while minimizing carbon emissions.
5. Inspired by the role of the medieval guild house as a node within a regulatory network that served as a hub for civic activity, a decentralized fashion industry requires a regulatory body with administrative centers scattered throughout its network to certify small and medium-sized enterprises—ranging from hyper-personalized services to durable, long-lasting production—and provide spaces for regional members to prototype, meet, and showcase innovative industry practices that promote degrowth.
3 Universal Certifications
Sustainablity
Traceablity
Ethical Labour
23 Certifications
Nowhere to Hide
certifies the breeding, raising and dignified euthanization of animals, within a natural habitat
Perfect Matchcertifies a wedding ceremony of local traditions and contemporary protocols that leaves no trace on the surrounding landscape |
Made to Last
certifies a product lifespan of at least 60 years for garments by ensuring their durability and that they can be altered and repaired |
Ready to Growcertifies that an individual has completed two years of training in the wool textile industry |
End-to-Endcertifies that textiles have been produced with grown methods and are completely biodegradable |
With Lovecertifies that a garment has been carefully repaired by local repair experts or qualified customers |
Digital Vaultcertifies the security of a minted digital fashion asset that has undergone a process of authentication of its rightful designer |
Classifiedcertifies a one directional spatial organization to ensure anonymity and limit the exposure of the client |
Made form Scratchcertifies the production of modifiable digital mannequins according to autonomously collected user data |
Sweep Upcertifies the collection of human hair for safekeeping and in return to production of hair by-products |
Sorted Outcertifies that all textiles and garments collected have been sorted according to local standards of health, safety and hygiene |
Savoire - Fairecertifies that products have been crafted according to local ancestral know-how |
Good as Newcertifies the sanitization and restoration of pre-loved products to the same quality as the shopping floor |
As Foundcertifies shared locations as suitable for use within the hospitality industry |
Off the Shelfcertifies the elimination of all deadstock through the hyper-personalization of products |
Know it Allcertifies knowledge and skills competency in at least five couture garment or accessories production. |
On the Housecertifies production not intended for profit |
Clothes the Loopcertifies new acoustic material products that have been created using recycled textiles |
Shamelesscertifies designers that stay in residency for four months immersing themselves in, in-depth understandings in contemporary norms and body types |
Extra Ordinarycertifes the suitability of garments within extreme conditions |
Re-Scentscertifies that synthetic essential oils have been reproduced from local and upcycled raw materials |
Proof of Pastcertifies the historic record of fashion items which are to be accepted by an archive |
Growing the Scenecertifies locations as suitable for the hosting of fashion events by ensuring the necessary facilities |
Rotterdam
Rotterdam has, in recent years, spearheaded efforts to reuse vacant buildings and districts to refashion itself as a maker’s hub, while, at the same time, also taking advantage of its global logistical connectivity through the Rotterdam Port.
Site Documentation
Fashion House Rotterdam
Contribution Location
| 01 The Establishment |
Sebastian Hitchcock (ZA)
| 02 The Unmentionables |
Sandra García (ES)
| 03 Ready to Rent |
Inés García-Lezana (ES)
| 04 Shelf Life |
Preradon Pimpakan (TH)
Locations
Berlin
Berlin has witnessed an economic shift toward the creative industry after becoming the first European city to be awarded the UNESCO Cities of Design title in 2006. Today a dense network of design start-ups, trade fairs, andshowrooms are spotlighted at the annual Berlin Fashion Week, attracting large international audiences.
Marseilles
Marseille, with its storied history as a port city and former capital of French denim, is challenging Paris as the capital of French design. French brands, combined with emergent grassroot designers, are relocatingtheir studios and headquarters away
from Paris to the Marseille region to flee expensive taxes, real estate prices, and the compounding effects of Brexitthat have made the French capital unaffordable.
Rotterdam
Rotterdam has, in recent years, spearheaded efforts to reuse vacant buildings and districts to refashion itself as a maker’s hub, while, at the same time, also taking advantage of its global logistical connectivity through the Rotterdam Port.
Valencia
Valencia, awarded World Design Capital of 2022, is a center for skilled textile, silk and leather artisans, and a hotspot for emerging designers that has made the city an attractive venue to host new festival events like CLEC Fashion Festival.
Zurich
Zurich has invested, over the past years, in research and development of innovative products and methods across various sectors. Its central European location—paired with advantageous taxation andbureaucratic regimes—provides a strategic position to attract investors and companies. The city is ranked as one of the most innovative and technologically important cities in Europe.
Zurich
Zurich has invested, over the past years, in research and development of innovative products and methods across various sectors. Its central European location—paired with advantageous taxation andbureaucratic regimes—provides a strategic position to attract investors and companies. The city is ranked as one of the most innovative and technologically important cities in Europe.
Site documentation
Fashion House Zurich
Contribution Location
| 01 Sky's the Limit |
Mariano Cuofano (IT)
| 02 Hair Bank “Maintenance” / Hair Bank Yi-Ni Lin (TW) |
| 03 Tailor Printed |
Paola Tovar (MX)
| 04 Try it Out |
Cristhy Mattos (BR)
| 05 Viaduct...53 |
Danai Tsigkanou (GR)
Marseilles
Marseilles, with its storied history as a port city and former capital of French denim, is challenging Paris as the capital of French design. French brands, combined with emergent grassroot designers, are relocatingtheir studios and headquarters away from Paris to the Marseille region to flee expensive taxes, real estate prices, and the compounding effects of Brexitthat have made the French capital unaffordable.
Site Documentation
Fashion House Marseilles
Contribution Location
| 01 The Journey of Your Life |
Fabiola Cruz (PE)
| 02 Non-fungible Cult |
Alonso Diaz (MX)
| 03 Crafting Heritage |
Alejandra Huesca (MX)
| 04 More than a House |
Takuma Johnson (US)
| 05 Retro-Prospective |
Rongting Xiao (CN)
Valencia
Valencia, awarded World Design Capital of 2022, is a center for skilled textile, silk and leather artisans, and a hotspot for emerging designers that has made the city an attractive venue to host new festival events like CLEC Fashion Festival.
Site Documentation
Fashion House Valencia
Contribution Location
| 01 Bone to be Natural |
Yesah Hwangbo (KR)
| 02 Equity Road |
Nigel Alarcon (MX)
| 03 Built to Crack |
Adi Samet (IL)
| 04 The Standard Resort |
Jesse Verdoes (NL)
03
Berlin
Berlin has witnessed an economic shift toward the creative industry after becoming the first European city to be awarded the UNESCO Cities of Design title in 2006. Today a dense network of design start-ups, trade fairs, andshowrooms are spotlighted at the annual Berlin Fashion Week, attracting large international audiences.
Site Documentation
Fashion House Berlin
Contribution Location
| 01 Yours, Forever |
Pooja Bhave (IN)
| 02 With Love |
Xiaoyu Ding (CN)
| 03 Out of the Fabric |
Martino Greco (IT)
| 04 Aporia |
Raymond Tang (US)
| 05 Make Scents |
Kulaporn Temudom (TH)
Assignment 2: Fashion brands
In the second assignment the reconstructed fashion
shows of the first assignment will be further explored,
researched, and dissected. The aim will be to gain
further insight into the “spatial ecology” surrounding
the particular “brand.” Students are asked to develop
a comprehensive understanding of the full range
of the brand’s architectural, spatial, typological,
programmatic, strategic, and quantitative aspects—both
contemporaneously to the studied fashion shows as well
as the evolution and transformation over time.
From production and distribution, to mediation and consumption, these findings will be drawn into “visualized evidence” that clearly articulate complex findings in a comprehensive visual way. This “evidence” can be historical, contemporary, and/or speculative, indicating how certain issues related to the fashion industry are transposed to architectural and spatial conditions.
In parallel, key themes that play a role in the fashion industry’s future—which have been identified through the literary study of the State of Fashion reports by the Business of Fashion and McKinsey and Company— are discussed within the historical framework of the studied shows to facilitate speculation on the spatial impact of these issues pertaining to the future of the fashion industry.
From production and distribution, to mediation and consumption, these findings will be drawn into “visualized evidence” that clearly articulate complex findings in a comprehensive visual way. This “evidence” can be historical, contemporary, and/or speculative, indicating how certain issues related to the fashion industry are transposed to architectural and spatial conditions.
In parallel, key themes that play a role in the fashion industry’s future—which have been identified through the literary study of the State of Fashion reports by the Business of Fashion and McKinsey and Company— are discussed within the historical framework of the studied shows to facilitate speculation on the spatial impact of these issues pertaining to the future of the fashion industry.
01 Lucile Ltd., Gowns of Emotion, London, 1901
02 Cunard Cruise Liner Deck Fashion Show 1925
03 Barkers of Kensington 1928
04 Dior 1947
05 Balmain 1965
06 Thierry Mugler 1984
07 Yves Saint Laurent 1998
08 Fendi 2007
09 Chanel 2016
10 Loewe Show-in-a-box 2020
11 The AZ Factory Show Fashion by Alber Elbaz 2021
12 Balenciaga "clones" Deep-fake Show 2021
Assignment 3: Site Documentation
Within the Red Thread, the
collaboration of the five cities, led by
the EuroMayorFive Council, challenges
the hegemony of the traditional “Big
Four” global fashion capitals of London,
Milan, New York and Paris by attracting
emerging talent and intensifying local
production. Each city within the Red
Thread offers unique expertises that
address components of the fashion
industry, ranging from longstanding
histories with textile industries and
celebrated resale markets, to favorable
tax regimes and significant logistical
infrastructures, which that—when
coordinated together—can implement
an alternative future for the fashion
industry.
Valencia, ES
Berlin, DE
Rotterdam, NL
Marseilles, FR
Zurich, CH
Assignment 4: Pattern Book
This pattern book provides a set of
guidelines and tools —derived from
the Red Thread member cities and the
core principles influencing the future
of the fashion industry— that inform
the extensive and minute specificities
of design and planning principles for
Fashion House locations across the five
cities of EuroMayorFive. The pattern
book is organized in five chapters that
individually focus on discrete scales for
design production: small (S), medium
(M), large (L), extra large (XL), and one-size fits all (OS).
Title
Tailor Printed
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Title
Hair Bank |
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Title
Crafting Heritage
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Title
More than a House
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Title
The Journey of your Life
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Title The
Unmentionables
Keyword
“Enhancement”
Building Type Clinic
Contributor
Sandra García
(ES)
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Title
Equity Road
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