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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.

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).

Teaching team

Salomon Frausto
Benjamin Groothuijse
Contributors

Nigel Alarcon (MX), Pooja Bhave (IN), Mariano Cuofano (IT), Fabiola Cruz (PE), Alonso Díaz (MX), Xiaoyu Ding (CN), Ines Garcia‑Lezana (ES), Sandra Garcia (ES), Martino Greco (IT), Sebastian Hitchcock (ZA), Alejandra Huesca (MX), Yesah Hwangbo (KR), Takuma Johnson (US), Yi-Ni Lin (TW), Paola Tovar (MX), Cristhy Mattos (BR), Preradon Pimpakan (TH), Adi Samet (IL), Raymond Tang (US), Kulaporn Temudom (TH), Danai Tsigkanou (GR), Jesse Verdoes (NL), Rongting Xiao (CN)