Collide Magazine | The Magazine Where Architecture & Fashion Collide

COLLIDE IS YOUR STYLE HIGH FASHION OR STREET? THIS MONTH’S STYLE QUIZ HAS THE ANSWER

CATCH UP ON ALL THE LATEST TRENDS

WHO WORE IT BETTER? LATEST TRENDS IN EVERY FASHION CATEGORY IMAGE 1

COLLIDE

THE MAGAZINE WHERE ARCHITECTURE AND FASHION

ISSUE 1 + MAY 2020 WHAT’S THE SCOOP

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WHO WORE IT BETTER

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FAST FASHION

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questions, so many questions

the reviews are in and the people have chosen... it’s a no from me dawg

CASUAL

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POP-UP

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STREET WEAR

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AVANT GARDE

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HIGH FASHION

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END NOTES

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the looks we all can afford what’s poppin’ today? what is in style?

they are doing what?!?! time to break the piggy bank time to fact check

WHAT’S THE SCOOP?

IS FASHION STILL IN A RELATIONSHIP WITH ARCHITECTURE?

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The bridge between architecture and fashion has long been traversed.

Moreover, the two entities have merge to become inseparable. Each taking notes and cues from the other. What is fashion?

What is architecture? Are they one in the same?

It is no surprise to see people study architecture, initially, then branch off into other fields, where they excel in tenfold because of their education. Of the multitude of fields that architects have inhabited, the world of fashion has always and will always be one of great interest. The parallels between the two industries cannot be ignored. There are many similarities in their usage, strategies or techniques and their clients or employers. Gwyn Miles, the Director for the exhibition titled Skin and Bones: Parallel Practices in Fashion and Architecture organized by The Museum of Contemporary Arts in Los Angeles, writes, “both fashion and architecture express ideas of personal, social and cultural identity, reflecting the concerns of the user and the ambition of the age,”1 we have seen both address political issues and as a method of reform, causing an uproar in the media, be used as self-expressions, and most often as a mesmerizing depiction of art to gawk at.

It is extricable factual that the two – architecture and fashion are inseparable.

For years, architects have written about and alluded to fashion in their work, be it for inspiration or out of mere fascination.

Especially as architecture transitioned toward a more modern aesthetic the connection between the two reached new heights. This modernist shift came with the rebranding of architect, whereby the architects of this time felt the need to match what they were creating. This shift resulted in the adaptation of blending stylistics dress with architectural creation. Leila Kinney, the Executive Director of Arts Initiatives at Massachusetts Institute of Technology, writes that the modern architects of this period were “deeply engaged with the temporal problematic of creating a modern style, their debates betray an interesting conflation of clothing as artifact and fashion as process, which in other fields has created ambiguity.”2 These debates were used as a method of aligning their architectural knowledge with that of the fashion and design world. In turn, resulting in the findings that can be understood as the basic relationship between the professions. Creating shelter is understood as the fundamental role of the architect, simply put by Moholy-Nagy, “that the basic task of the builder, the task which distinguishes him from the engineer and the contractor, is still the sheltering of man, his work and his possessions.”3

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The same can be said for clothing, it is intended to shelter and protect man from the elements of nature. The added bonus within the two is the degree of aesthetics and uniqueness that are applied to their exterior, giving it identity4 While the basic tenant of the two sanctions is shelter, this is not were the resemblance ends. They both share a vocabulary which have transcended into the other, where it has been picked up and repackaged to best suit the qualitative desires of its creator. Fashion related techniques normally used in the construction of garments like wrapping, pleating, folding, and draping can now be seen on any given building or structure as a way of attacking the much needed façade.5 Subsequently, these techniques are endorsed and implemented over a much larger surface area creating a skin like and sculptural appearance.

Coincidingly, terminology more commonly associated with architectural practices such as, massing, volumetric, additive form or subtractive forms can be spotted on today’s runways. Not only has fashion borrowing form techniques, it is also taking notes from the methods as to which architects construct and complete a build.

Gwyn Miles writes, “fashion designers are looking to architecture for ways to build or engineer garments which present new and provocative ideas about volume and structure, and in many cases also draw on the intellectual principles and concepts inherent in architecture.”6 It is evident that both practices emphasize materiality and texture, to produce sensory effects, draw attention to the project and push the design.

Materials too, are not limited to a specific medium, whether it be cloth, metal, wood, you name it, there is no end to the abundance of ways of interpreting the use of a material. The methods or design strategies employed in the construction of the projects within each design discipline, further conveys this idea of unity between the two fields, especially as more and more advances are made in technology and other software, allowing for more opportunities of growth.

The distinguishing factor separating the two disciplines is time. Although, both are in a continuous state of evolution, there is a permanence to architecture that otherwise is not present in the world of fashion.

Whereby, architecture and its constituents are solid, they can be understood as permanent and stagnant. Contrarily, fashion comes in waves, it is of the season, constantly being reproduced in various forms to stay current with the times and what is in and out of style.7 While both crafts experience change, be it a new era or the resurgence of a previous epoch, it is easy to declare that one is more fleeting and temporary than the other.

To answer the burning que fashion, the easy answe

the two w establishe bond tha two have out of infa ities are s with each

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Much to this affect, it is plausible to quantify architecture and fashion into the following categories, considering their relationship with one another and the way as to which the jargon of each could be understood within each profession because, “both address the human scale,” however, they differ in “proportions, sizes and shapes.”8 The categories chosen to represent the various degrees of architecture and fashion and highlight specific projects that convey the following: Fast Fashion, Casual, Pop-up, Streetwear, Avant Garde, and High Fashion. All of which showcase the duality between the temporary and the fixed.

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estion, is architecture still in a relationship with

YES,

er is in fact, it is hard to believe that were never not together. They have created and ed a life with each other that has produced a at cannot be broken. From the wedding of these e spawn many children that are still being raised ancy, whereby, new and inconceivable possibilstill arising as the two continue to grow into and h other.

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FAST FASHION FASHION NOVA THIERRY MUGLER KNOCK-OFF If imitation is the highest form of flattery, then Fashion Nova must love Thierry Mugler.

Fashion Nova, a company known for their cheap prices and making the unobtainable obtainable for the average person, not only took inspiration from the Mugler 1998 archived dress, but it completely knocked off the dress in its entirety, even down to the accessories worn by Kim Kardashian. The brand even went as far as to name the dress after Kim herself, titling it the “Kim dress” however, maybe out of fear or out of lack of creativity, renamed the dress in correspondence to the event that Kim was attending when she stepped out in it, calling it the “Winning Beauty Cut Out Gown.” In the lenses of architecture, this could be seen as the equivalent of repetition, that is repeating what has already been done and putting one own personal spin on it, in this case the only new or different element distinguishing it from its predecessor is the choice of shoe and essentially the price tag.

A dress that was once considered invaluable and most definitely not for sale can now be bought for the very low price of fifty dollars.20

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VINTAGE THIERRY MUGLER BLACK DRESS Kim Kardashian rocked a vintage Thierry Mugler cutout dress from 1998 for the 5th Annual Hollywood Beauty Awards. The beauty of the dress lies in its simplicity and honors the themes of the Mugler brand, creating an architecturally crafted silhouette for the female body that exudes confidences and seduction.21 That merger between architectural design and clothing design captured the intended emotional responses as intended. The sculpture like qualities of the bustier with intricate cutouts both draws the eye, which is another core theme for the brand – creating a visual impact, and cinches Kim alluding to a more hourglass figure.

Materially, the garment plays with two textures, contrasting the velvet corset with and an almost satin-esque fabric, which too plays with the eye.

To pull of this architectural masterpiece, requires a lot of guts, making Kardashian the ultimate candidate, she is no stranger to attention nor causing an uproar all over social media. The dress is a performance, a spectacle, on one of fashions greatest stages, the red carpet.

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BIO: Casey

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Cadwallader graduated with his BArch from Cornell University.

Afterwards, he pursued fashion, interning at Marc Jacobs, sparking his longstanding career in the profession. He is currently the Creative Director of MUGLER.

CASEY CADWALLADER

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ounder of the Mugler label, Thierry Mugler’s creative spirit has been a constant in his life, his bold and unorthodox outlook on life transported and thrusted his brand, being the actual Mugler brand and Thierry himself, into stardom. The approach to design and the designer himself were lightyears ahead of its climate. The extravagant nature of the products exemplifies an architectural spirit and exposes an “intense sensuality to transform the body, capturing and intensifying it captivating magnetism”9 as it brings the female body into the future. Between the companies use of oversized shoulders and tapered waistlines Monsieur Mugler’s visionary fantasies are brought to life. Taking inspiration from not only art, dance, performance but also from architecture. Mugler claims hat he is “an architect who completely reinvents a woman’s body.”10 Carefully crafting the female silhouette through materiality, precision, and aerodynamic cuts to produce complex yet seductive figure.

Carrying this vision in to present as of December 2017, is Casey Cadwallader. The newly appointed creative director has and is shining light on an industry that is encapsulated in the discipline of architecture.

Having studied the discourse at Cornell University, Cadwallader’s understanding of form and materiality anchor his designs and approach to the Mugler brand. In his introductory interview with the company, announcing him to the world, he mentions how he approaches his work and states,

SPOTLIGHT ARTIST

“My process begins with the fabric, I guess that’s the architect in me talking: everything starts with the material. I love seeing and discovering new fabrics, textures, colors.”11

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CASUAL

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AIR JORDAN 11

The Air Jordan 11s are synonymous to its creator, Tinker Hatfield, originally released in 1995, the shoe has continued to a staple to sneakerheads everywhere. Not to mention the name that is attached to the shoe, giving the owners the fantasy, every basketball fan wants to live out – being like Mike and or associating themselves with the legend himself, Michael Jordan. Built in collaboration between Jordan and Hatfield the duo pushed the limits of shoe design far past its intended use of simply sheltering the foot, creating a product amongst a series that both redefined Nike’s aesthetic and generated a mass following. Hatfield comments and claims that this shoe in particular is his favorite of the 20 sneaker series, stating, “That shoe has just a ton of innovation: It was the first basketball shoe that ever had a carbon-fiber shank, the first that ever used patent leather and it was largely made out of nylon cordura -- kind of a lightweight hiking boot.”22 The color palate lends itself to making the shoe essential and the materiality of the patent leather give off a sense of elegance.

Architecturally combining form with aesthetics and more importantly function has been Hatfield’s mantra has he continues to reimagine shoes design.

NIKE NEW YORK FLAGSHIP STORE

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Nike’s New York flagship store, also known as Nike House of Innovation 000, was built to be a retail experience showcasing innovation, environment and service while embodying the aesthetics of Nike. This specific Nike store conveys almost all of the design strategies that are common amongst all of the brand’s headquarters and other flagships, some of those being: having an “open plan”, taking “inspiration from human movement”, and being sustainable. The façade bears the second of the listed strategies, made from a custom carved yet slumped insulated glass, creating an energetic and beautiful façade that resembles the motion of a “runner in stride.”23 The open plan aspect is evident on each floor plate of the six-story retail center, each housing a different layout to coincide with the various programs established offering “immersive experiences like no other store in the world, serving NYC athletes on every step of their journey.”24 The collaboration that went into producing this ultimate merger of fashion and architectural exceeds far beyond the relationship between one architect and the client but required the help of multiple architects with backgrounds in engineering, glass work, technology and manufacturing, resulting in an architecture that broken up the rigidness of all the masonry and concrete that surround it.

TINKER HATFIELD

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SPOTLIGHT ARTIST

he genius behind the majority of footwear we deem cool or of popular culture is accredited to the legend Tinker Hatfield, the resident designer for all that is Nike sneakers. Tinker’s education and creatively led him into the world of fashion where his talents have seamlessly manifested to iconize a brand we are all way too familiar with. Through the lenses of his job description, there are clear traces of what can also be expected through the job title held by an architect. From working side by side with a particular client to design a product that best represents their style and desires to also producing products that can be utilized and become an essential to the daily lives of the masses. Just because he is not making buildings does not take away from the fact that Tinker is an architect, he simply is an architect of shoes. Much to the effect of architecture, with shoe design, there too is a degree of storytelling. Whenever we produce, there is a narrative that we curate as well, and that same narrative drives the project into its fullness. Hatfield claims that his background in architecture plays a crucial and invaluable role in his line of work, stating, “As an architect, you’re educated to solve problems not only technically, but environmentally and esthetically. We don’t treat shoes as apparel items only, but as part of the fabric of our time. Our direction in designing products is based on attitudes, images and current events.”12 This further highlights the synchronic nature of the two fields that we have grown to understand as one and the same.

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BIO:

Tinker Hatfield was an architec of the University of Oregon prior to workin was orignially the company’s corporate of their retail stores, however, he quickly using his architectural background to de

cture student ng for NIke. He architect for all found himself esign shoes IMAGE 14

POP-UP IMAGE 15

NIKE TECH PACK POP-UP SHOP The Nike Tech Pack pop-up took place in Moynihan Station, celebrating the release of the brands latest lightweight series of six fleece jackets, with a slogan of “warmth without weight,” a moniker that would be a driving force in the studio’s design response. The result, being a pop-up that exudes warmth figuratively, being red in color and illuminating, while also emphasizing the weightlessness of the product through a series of “jewel boxes” that house the jackets and give off the illusion of them floating.25 After asking Jonathan Jackson, the founder of the studio, how he and his team are merging architecture with the work they have produced for the popup, his response was simply, “well I think architecture isn’t just building at ‘building scale’. The education is vast, and the manifestation of architecture lives in multiple scales, from exhibition design to skyscrapers. We are still dealing with how human occupy and move through space through exhibitions, retail design and displays, etc.

For us, it’s not ‘combining’ architecture to something else. it simply is architecture and the making of space.”

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Each project employs a series of boxes the hold and display fashion, and it is interesting to see the two approaches to retail yet understanding that one lives only for a short period of time, while the other is indefinite, however, it is evident that no matter the timeframe, architecture and fashion can be and is consistent in all agents of design.

R13 DEMIN FLAGSHIP STORE R13, a premium shop for all that is denim, recently acquired its first flagship store in SoHo New York and the company sought out the brother duo of Dominic and Chris Leong, of the architecture firm Leong Leong to renovate the storefront. The design aspires to create an atmospheric environment that harmoniously “weaves together visual content, the clothing, and the existing architecture.”26 In doing so, the retail flagship is in a direct conversation with its context, materially, historically, and visually. The only factor breaking up the rigidness of the context and the store is the minimalistic, yet monolithic box displays, showcasing the brands products and whatever is currently being projected onto the LED screens. Leong Leong claim the “clothes and architecture are in a dialogue with each other and tell a story about R13 sensibility through the tension between precise geometry and the frayed texture of the clothing.”27 The project much like many others effortlessly and faultlessly argues the relationship between the two professions, the brothers even had the chance of diving further into the fashion world when R13 presented them with the opportunity to design purchasable products.

BIO:

As an architecture major graduate of Kent State University, Jonathan Jackson co-founded WeShouldDoItAll, a multifacted studio, after working in the field for 2 years.

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JONATHAN JACKSON/ WESHOULDDOITALL

he multidisciplinary approach to design was not a foreign concept to Jonathan Jackson, co-founder of his own multidisciplinary studio, WeShouldDoItAll, considering his introduction into the practice of architecture post graduating from Kent State University was an internship with Studio Archea in Italy. However, he has forged a new lane and redefined what it means to be multidisciplinary through his studio that implies, “designers should not be constrained to a singular expertise.”13 This methodology aligns perfectly with that off the cross-contamination of architecture and fashion, a detour that this studio has often taken on their trip towards this wholly and ever encompassing “all”. A project that merges these worlds, is the studio’s rebranding for a female streetwear company, Scapes in New York. The brand tries to emphasize the juxtapositions of opposites, thus in WSDIA curated a series of responses that architectural convey the notion of counterparts using the example of landscapes and seascapes and signifying them through typefaces.14 Coincidingly, the studio heavily engages with Nike, producing pop-up stores, window displays, specialty products and more. Their popup for the Nike Tech Pack can be argued as one of the more “architectural”, in the direct meaning of the word, projects the team has produced, whereby, their contribution to the pop-up was curating a floor plan and designed environmental rollout to promote Nike’s latest design package.

Highlighting the permanence versus the temporality that comes with the fusion of architecture and fashion.

SPOTLIGHT ARTIST

Much like fashion, architecture is and can be used to make political statements, much to the effect of the studio’s project collaboration with Nike, in making the 2014 Nike World Basketball Festival hosted in Chicago, where they paired local Chicagoan youth with basketball players like Kevin Durant on billboards to shed light on the possibilities that are not that far off for the adolescents of the city. The projects use of mirrored materials aims interject positivity and showcase the inner-strength and self-importance within the people of Chicago and show them that they are not bound to the climate that is stereotypes and associated with the city.15 Creating a hub of self-reflection and community.

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STREETWEAR

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OFF-WHITE BELT Virgil Abloh’s brand Off-White strives to stay up to date with the latest trends within popular culture. The Yellow Carryover Industrial Belt can be considered as one of the most frequently purchased items the brand has to offer.

It offers a unique and modern twist on a basic necessity making it a must have and epitomizes Abloh’s definition of streetwear. Virgil claims that “streetwear is using whatever means to make something that is impactful, something super niche and that you are emotional attached to.”28 His approach to design can be considered a play on Louis Sullivan’s coined phrase “form follows function,” whereby Abloh says “aesthetics on top of function.”29

This methodology is apparent in all of the work produced by the multi-talented designer.

He argues, for designing in a way that is familiar to everyone, rather than trying to reinvent the wheel, like most naïve designers – architects, fashion designers, or anyone of that degree – attempt to do, we should add to it. Everything needs a reason to exist and if it doesn’t than it has no place.30

KITH BROOKLYN FLAGSHIP STORE

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Snarkitecture, like WSDIA, prides itself on crossing the boundaries of every discipline, striving to approach every project conceptually prioritizing the “importance of experience, the studio creates unexpected and memorable moments that invite people to explore and engage with their surroundings.”31 Which is evident in their design for Kith, a multifunctional brand that aspires to operate as a progressive retail establishment, in that the stores Brooklyn brick-and-mortar flagship store, along with it other four flagships, produce a sensory effect on all whom may experience it. The retail experience exemplifies an architectural approach to streetwear, between the custom installations allowing for flexibility and movement to display the owners extensive hat collection or store products to the use of minimalistic materials like solid metal rods painted white, marble countertops and glass that not only bring attention to the colorful and exuberant streetwear products but also act as a director, causing the space to feel larger than it truly is. likewise, the main focal point of the project is the Kith’s signature stamp of hanging white sneakers from the ceiling, Snarkitecture claims this too plays tricks on the customers eye, saying the arrangement of the showpiece “creates a forced-perspective when one stands at either end of the store.”32 The alliance between retail and architecture here results in a product that best suits the desires of the brand and the philosophy of Ronnie Fieg, the founder, which is to give the consumer what they are paying for and disrupt the scene of fashion. 33

VIRGIL ABLOH

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SPOTLIGHT ARTIST

or a person who did not realize architecture was a field that could be studied, he sure has taken advantage of the revelation and quickly enrolled, forging a career driven off the discipline he fell in love with. Virgil Abloh’s contributions to the world of fashion have and cannot go unrecognized, he along with the help of mentors, both dead and alive, young and old have pushed him further and further into the limelight as he paved the way for the resurgence of streetwear and all that is popular culture. Claiming that much like in an architectural arena where one “solves problems in a very structural way – that logic works in an analogous way in every other aspect of culture.”16 This methodology allocates Abloh to transcend even beyond simply architecture and fashion, but into furniture design, developing himself as a DJ, and as a director. In fact, his approach to multidisciplinary learning and working methods are a direct reflection of the education he received when pursuing his master’s degree in Architecture.

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BIO:

Virgil Abloh a longstanding icon in the world of fashion attened the Illinois Insitute of Technology where he studied architecture, a discipline he worked in for 2 years prior to transitioning to the world of fashion. He went on to work with the likes of Kanye West, become the Artistic Director of Louis Vuitton, and found multiple of his on brands including Off-White.

AVANT GARDE YOKE RAINCOAT

Prada, a fashion house known for its eccentric and out of the box designs set out to honor the brand’s long going appreciate for the material, nylon. In doing so, Miuccia Prada announced the company’s initiative “Prada Invites”, where three female architects, Elizabeth Diller, Cini Boeri, and Kazuyo Sejima, wher tasked with the opportunity to “reimagine the fabric through a contemporary lens.”34 The results were seen on the runway along with the rest of the Spring and Summer 2019 collection. Each of the ladies attacked the brief as a way of understanding the necessities of a modern woman on the go, creating elaborate designs ranging from a neck pillow that doubles as a carry-on or travel pouch, to a reinterpretation of a messenger bag with intentional compartments, to a garment bag that “functions to protect clothing during travel—both on the hanger and on the body,”35 as seen above. Diller dubbed the product The Envelope and the Yoke, playing with the idea of wearing luggage, crossbreeding the two functions into one. The explorative nature of each of the responses allude to the ultimately endless possibilities of hybridizing the two disciplines.

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DIAGRAM OF PRADA EPICENTER NEWYORK Of the multiple Prada Epicenters, the New York location personifies the shift from architecture to fashion, in that the 23,00 square-foot site prior to Prada’s inhabitance, the property belonged to the Guggenheim Museum, another project Rem Koolhaas has a great relationship with.

Nevertheless, the center intends to be an exclusive retail boutique, a gallery, a lab, and a place for gathering and performance.36 The spectacle of it all lies in what Koolhaas likes to refer to as the “Wave”, operating both as a stage and a grand staircase, making it the optimum location for screenings, lectures, and any other public presentation. A particular element of construction that seamlessly combines the benefits and technological advances of architecture with a necessary restriction in apparel is the innovative design used to

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craft the centers dressing rooms. The fitting rooms doors are made of a uniquely crafted transparent glass that with a push of a pedal shifts to become opaque, blocking the view of pedestrians.37 Likewise, the lengthy entrance onto the center epicenter leading to the wave can be considered the equivalent to a runway, though it is currently used to display products and drive traffic toward the other attractions the store provides.

BIO:

Rem Koolhaas, a household name in the world of architecture, founded his firm OMA in 1975. As graduate of the Architectural Association in London, he has gone on to design some of the most famous and loved pieces of architecture, that can be expericened all over the world.

Koolhaas is notorious for the CCTV Headquarters in Bejing, the Seattle Public Library in Seattle, the Embassy of the Netherlands in Berlin, and Casa da Musica in Portugal. At the age of 75, he is still practicing and currently holds a postion as a professor at Harvard University.

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REM KOOLHAAS

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SPOTLIGHT ARTIST

oolhaas and his firm OMA have a longstanding relationship with Prada and has used his knowledge and expertise in architecture to promote the avant garde brand over the last 20 plus years, be it in the retail sector, fashion shows, and at times even products. Koolhaas’s architectural education combined with Miuccia Prada and Patrizio Bertelli expertise in fashion allocated for a series of Prada Epicenters intended to “redefine the shopping concept and try out inventive ways to interact with customers,”17 each of which is unique to the parameters of its environment. Whereas, the Los Angeles center features a façade-less façade, claiming “this absence of facade to let the public enter absolutely freely, to create a hybrid condition between public and commercial space,”18 that is only attainable on the pretense of the ever so perfect weather that is synonymous with the city. As for its New York location, the desire of making an architectural statement took precedent over simply creating a beautiful retail experience that only cared for showcasing clothing. On the contrary, the epicenter strives to contradict the very notion of selfishness and capitalistic mindset that encompasses the fashion industry as other brands strive for growth, establishing the center as a family oriented brand that is trying to maintain its intimate and sophisticated roots, while still crafting high quality products, making it a place of gathering and allure.19

HIGH FASHION

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As the late French fashion designer Pierre Balmain once said, “Dress-

making is the architecture of movement.�

ENDNOTES & IMAGE SOURCES

Miles, Gywn. “Skin Bones.” Somerset House, January 19, 2017, 2.

Kinney, Leila W. “Fashion and Fabrication in Modern Architecture.” Journal of the Society of Architectural Historians 58, no. 3 (1999): 472–81, 473.

3 Moholy-Nagy, Sibyl. Native Genius in Anonymous Architecture, by Sibyl Moholy-Nagy. New York: Horizon Press, 1957.

4 Lobo, Theresa Beco. “The Fashion of Architecture.” Global Fashion Conference, 2012, 2.

5 Lobo, 5.

6 Miles, 2.

7 Miles, 2.

8 Miles, 2.

9 “Vision.” Mugler.

10 “Heritage.” Mugler.

11 “Interview of Casey Cadwallader.” Mugler, June 19, 2018.

12 McGILL, DOUGLAS C. “STYLE MAKERS; Tinker Hatfield: Sports-Apparel Designer.” New York Times, Jul 23, 1989, Late Edition (East Coast).

13 Jackson, Jonathan. “Studio.” WeShouldDoItAll. 14 Jackson, Jonathan. “Jonathan Jackson: ‘WeShouldDoItAll: Of One or More Things.’” Syracuse Architecture Lecture Series. October 26, 2018.

15 Jackson 16 Abloh, Virgil. “Harvard’s Graduate School of Design: Core Studio Public Lecture.” Harvard’s Graduate School of Design: Core Studio Public Lecture. October 28, 2017.

17 “Prada Group - History.” PradaGroup. Accessed May 4, 2020.

18 Hawthorne, Christopher. “Capt. Koolhaas Sails the New Prada Flagship.” The New York Times. The New York Times, July 15, 2004.

19 Moore, Booth. “Mrs. Prada’s Epicenter Shakes up L.A.” Los Angeles Times. Los Angeles Times, July 14, 2004.

20 Fisher, Lauren Alexis. “Is Kim Kardashian Helping Fast Fashion Sites Knock Off Her Designer Looks?”

Harper’s BAZAAR. Harper’s BAZAAR, February 20, 2019.

21 “Savoir-Faire.” Mugler.

22 Russak, Brian and Jennifer Carofano. “AIR JORDAN AT 20: TINKER HATFIELD ON NIKE’S STAR PLAYER.” Footwear News : FN 61, no. 8 (Feb 21, 2005): 1. ProQuest.

23 “Nike House of Innovation 000.” Heintges Consulting Architects & Engineers P.C. 24 “Nike NYC House of Innovation 000.” Nike NYC House of Innovation 000.

25 Jackson, Jonathan. “Nike Tech Pack.” WeShouldDoItAll. Accessed May 5, 2020. https://wsdia.com/ work/nike-tech-pack.

26 Leong, Christopher, and Dominic Leong. “R13 Flagship – NEW YORK, NEW YORK.” Leong Leong, 2019.

27 Leong, Leong 28 Abloh 29 Abloh 30 Abloh 31 “Profile.” Snarkitecture. Accessed May 5, 2020. http://www.snarkitecture.com/profile.

32 Howarth, Dan. “Snarkitecture Creates Bright Shoe Display in Kith’s Los Angeles Store.” Dezeen, February 23, 2018.

33 Fieg, Ronnie. “About.” Kith.

34 McGrath, Katherine. “Prada Invites Three Female Architects to Re-Imagine Their Signature Bag.” Architectural Digest. Architectural Digest, September 26, 2018. https://www.architecturaldigest.com/ story/prada-invites-female-architects-imagine-their-signature-bag-milan.

35 McGrath 36 “Prada Epicenter New York.” OMA. Accessed May 5, 2020. https://oma.eu/projects/prada-epicenter-new-york.

37 “Prada Epicenter: Architecture Research Office.” Archinect.

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ENDNOTES & IMAGE SOURCES 1.“Home.” Form Follows Fashion, September 27, 1970. https://formfollowsfashion.gr/?utm_medium=website&utm_source=archdaily.com.

2.“WeShouldDoItAll.” WeShouldDoItAll. Accessed May 5, 2020. https://wsdia.com/.

3.“WeShouldDoItAll.” WeShouldDoItAll. Accessed May 5, 2020. https://wsdia.com/.

4.Menkes, Suzy, Ellie Pithers, and Julia Hobbs. “Manfred Thierry Mugler: Back in Fashion.” British Vogue, July 16, 2018. https://www.vogue.co.uk/article/manfred-thierry-mugler-back-in-fashion.

5.Fisher, Lauren Alexis. “Is Kim Kardashian Helping Fast Fashion Sites Knock Off Her Designer Looks?”

Harper’s BAZAAR. Harper’s BAZAAR, February 20, 2019.

6.Jackson, Danielle. “I’m on Edge Just LOOKING at Kim Kardashian in This Vintage Thierry Mugler Cutout Dress.” POPSUGAR Fashion, February 23, 2019. https://www.popsugar.com/fashion/Kim-Kardashian-Vintage-Thierry-Mugler-Gown-2019-45807682.

7.“Mugler’s Casey Cadwallader Embraces the Future with Function.” Cultured Magazine, October 29, 2018. https://www.culturedmag.com/mugler-casey-cadwallader/.

8.“The Spring Summer 2020 Collection.” Mugler. Accessed May 5, 2020. https://www.muglerusa.com/ article?cgid=mugler-mag&fdid=mugler-mag-inspiration&aid=article-magbrand-inspiration-ss20.

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