'Fashion Embodies Art'

CELINE YONG 16AAD049Y GLASGOW SCHOOL OF ART INTERIOR DESIGN 17/18

‘FASHION EMBODIES ART’ A CURATED RETAIL EXPERIENCE

Content ‘A CURATED RETAIL EXPERIENCE’

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PRECEDENT STUDIES

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-Studies on local and overseas retail and gallery spaces

MANIFESTO, ‘FASHION EMBODIES ART’

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-Fashion influence from post-modernism art -Andy Warhol, ‘Souper dress’

EXHIBITION CONCEPT , ‘ENDLESS LANDSCAPES’

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-Exploration of layerings -Studies of Robert Irwin, ‘Scrim walls’ -Studies of Olafur Eliasson , ‘Reimagine’

SHOP WINDOW DESIGN

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-Retail shop window -Gallery shop window

SITE, NATIONAL DESIGN CENTRE

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-Site analysis

EXHIBITION JOURNEY

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-Exhibition systems for fashion and art pieces -Fashion runway -Purchasing fashion and art

CONCLUSION

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Relation between both Store & Window display

Visual Merchandising & Galleries

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Being a person who loves shopping and also viewing art galleries, i am interested to find out the relations between the 2 areas to create a space that combines both the element of shopping and a gallery.

Thus, the intention of this project is to combine both of the elements of shopping and a gallery to create a space that will break the usual conventions of shopping and also exploring a gallery space. The relation between these 2 areas would help create a new ‘shopping gallery identity’ that evoke a whole new experience that would attract both shoppers and artists, and also to bring about the ideas of combining fashion and art.

Trying on products

USER EXPERIENCE

Purchasing items

PRODUCT INTERACTION

Journey

Specific target audience

FORGING AN IDENTITY

Broadcast publicly

Stock room

LIGHTING

Educating purpose

Cashier & other staffs

MATERIALS & TEXTURES

Enticing the audience

THEMES & MOODS

Interaction

Visual Merchandising

Various kinds of display platforms

“ A C U R AT E D R E TA I L E X P E R I E N C E ” In visual merchandising, we focus on the customer experience, product display, different identities, and also paying attention to minute details such as lighting, materiality and textures to provide a unique experience for the customers. All of these examples listed are also related to exhibition and gallery designs where the focus is on how the people walk in the space, how the people interact with the display or products, and most importantly, the human relations to the and product and the journey that leads them through the entire space.

Galleries & Exhibitions

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VA R I AT I O N I N M AT E R I A L S

ORIGINALITY All the above case studies has allowed me to understand 4 key points that should be present in a retail store and i believe would help me to better design the retail part of the shopping gallery space. Having products that are one of a kind and original would attract people to buy the items cause of its uniqueness.

The placement of the product is an important factor as well, because that is what shapes the jouney of the space. For example, items placed at various angles and height would create a different experience for the users and will form various kinds of interaction possibilities.

In this fast pace society, we always tend to miss out the small little details, thus the planning of the journey of a retail store or a gallery is very important so we can determing the pace of the users that explore the space.

The slower the pace, the more the users will be able to think and imagine, and pay attention to the interesting details of the apparels and the designs.

VA R I AT I O N S O F P R O D U C T S

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Shops & Galleries

L I G H T I N G I N T H E S PA C E

(Refer to A5 booklet attached)

S L O W I N G D O W N T H E PA C E

Shops i’m inspired by

P R O D U C T R E L AT I O N

PRODUCT INTERACTION

These art galleries that i have researched on have various methods and designs for their galleries however there are similarities among them and these 4 points that i have shortlisted are also commonly used in other spaces as well. Thus, i intend to use these methods in my shopping gallery space that i will be designing. I will be focussing on exploration of different kinds of materials with relation to the kind of lighting in the space, and also breaking the usual conventions of a retail and gallery space by creating a series of new display methods and furniture pieces which would relate back to my client study and how i intend to curate my products to create a seamless journey.

D I S P L AY M E T H O D S

Galleries i’m inspired by

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WHERE IS THE LINE BETWEEN FASHION AND ART? W I T H M O R E A N D M O R E A R T I S T C O L L A B O R AT I O N S AND DESIGNER RETROSPECTIVES, THE TWO WORLDS ARE CLOSER THAN EVER BEFORE

Pop Art Post Modernism Andy Warhol, The Souper Dress (1965)

The intention of this exhibit is to not only promote the local crafts and designers but also an exhibit that focuses on how fashion and art can be fused together to be seen as one. The items that i have selected to create all ties between fashion and art which helps to form a story and a journey to bring the users through the space while they explore the variations of both fashion apparels and art pieces that showcases how both elements can come together and fuse together to be seen as one.

Visual merchandising and the way we display a product can be seen as a form of art too which is why i intend to fuse both elements together to not only attract the people to admire the ‘art pieces’ but to attract and entice time to purchase the products as well.

When Fashion & Art Collides

Andy Warhol (1928-1987) was an American artist, a leading figure of the Pop Art movement. He was known for probably being the first major pop art icon to become the influential figure in the fashion world and also one of the first artists to turn his art into fashion items.

The Souper Dress is a classic example where fashion, art and industry intersect into one image. The paper dress captures the vibrant, youthful, optimistic and consumerist zeitgeist of the 1960s in America to perfection.

Fashion industry Postmodernism can be seen as an artistic style or an approach to the making of things. The way something is constructed, the silhouette created and the status it gives the wearer or user.

The art forms in postmodernism rethink the relationship between art and popular culture and reconsider the supposed differences between works of art and other consumer goods.

As mentioned above, postmodernism embraces all art forms and one of those is fashion. Not always seen as ‘art’ and still frowned upon in this context by many traditional art lovers, fashion embodies many of the key elements of postmodernism. Evidence of this can be seen on the international catwalks of the veteran and latest fashion designers.

American pop artist Roy Fox Lichtenstein, inspired by the in-vogue pop art style Jeremy Scott’s Fall 2014 collection for eclectic Italian fashion house Moschino Philip Colbert, the label is inspired by the Post Pop Art movement. ‘The Rodnik Band’

Collage to show my interpretation of fusing both fashion and art

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Stolen conceptual art pieces Grace ciao fashion illustrations

I have chosen to work with a few of the Singapore local designers because i feel that their works and achievements are very much underrated here in Singapore and they deserve some form of recognition. In addition this would be a platform where the individuals can express their creativity and to allow the artists and shoppers that visit the space to understand their thought processes behind their works and designs or rather a chance to also educate the young and aspiring designeres here in Singapore.

The various designers i have picked out are actually inspired by some very interesting topics and concepts such as minimalism, femininity, fashion and art, gender and womanhood and modernism. These topics would help me to further enhance the story and journey that i would be creating for this ‘shopping gallery’ space.

Local Designers & Artists

Stolen Fashion apparels

Fashion

Kwodrent textile manipulation (non-wearable fabric sculptures) Skye Jefferys paintings Izziyana Suhaimi embroidery

Max Tan Fashion apparels Exhibit Fashion apparels

Art

Teresa Lim embroidery Anthony Poon paintings Iskandar Jamil pottery

(similar fabric and fashion principles)

(comparisons of the paintings and pottery works to the fashion apparels)

HOW FASHION & ART CO-ESXIST (Blurring the lines between fashion and art)

‘Stolen’ conceptual art piece

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Art Embodies Fashion

Fashion Embodies Art

C U R AT I O N S

C U R AT I O N S

Fig 1. Stolen concept art pieces, ‘Spaces’ collection size, material varies

Fig 1. Fahion apparels from Exhibit collection, size, material, prices varies

Fig 2. Grace Tan, Kwodrent, Textile manipulation, size and material varies, not for sale

Fig 2. Fashion apparels from Max Tan collection, size, material, prices varies

Fig 3. Anthony Poon, 4p Waves, size 183cm x 183cm x 17cm, Acrylic paint on canvas, not for sale

Fig 2. Fashion apparels from Stolen collection, size, material, prices varies

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Fig 4. Skye Jefferys, size 61cm x 71cm, Acrylic paint on canvas, price according to custom design and size Fig 5. Iskandar Jamil, Pottery work, size varies, price unknown, not for sale

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Fig 2.

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Fig 2.

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Fig 5.

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Concept ‘ENDLESS LANDSCAPES’ -Exploration of layerings -Studies of Robert Irwin, ‘Scrim walls’ -Studies of Olafur Eliasson , ‘Reimagine’

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Endless Landscape Fabric & lighting

VISUAL EXPERIENCE Display methods Angle of the object being viewed Items displayed are viewed with different perceptions through the layers

PHYSICAL ASPECT Forces visitors to walk through the exhibition through the layers

ENHANCING A VIEWER’S P E R C E P T I O N O F S PA C E

IDEA OF TIME The layers encourages the visitors to slow down their pace Every corner and turn is filled with anticipation with a glimpse of the artwork

M AT E R I A L Experimenting with translucency, opacity and porosity through the use of fabric layers

LIGHTING Depth of space Affects a viewer’s perception of space Spatial boundary with the use of physical materials

‘ENDLESS LANDSCAPES’

The main concept of this exhibition is to enhance a viewer’s perception of space through a series of ‘Endless landscapes’ which captures both the essence of a retail and gallery space. It focuses on physical aspects, creating visual experiences, playing with the lighting, materials and the idea of time which are all important and essential factors for both a retail and a gallery space.

Light is able to diffuse through the layers, which create a sense of ‘openess’. Thus, visitors will be able to explore the ‘never ending walls’.

This concept is further conveyed through the explorations of layerings together with the studies of the works of ‘Robert Irwin’ and ‘Olafur Eliasson’.

Combining the concept together with my manifesto ‘Fashion embodies art’, it shapes the way how fashion and art pieces will be seen and it accentuates the experience of being in both a retail and gallery space at the same time.

Hence, this concept was derived from the intention of creating a curated retail space using fabric as the main design element to create a seamless experience through the means of ‘layering’ to bring out the concept of ‘Endless landscapes’.

The variation of the sizes and height of layers incoporates light and movement of shadows, it also affects how the lighting would behave.

Spatial collage to represent the idea of “Endless landscapes” through the layering of fabric and lighting

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“I do not want to make a painting; I want to open up space, create a new dimension, tie in the cosmos, as it endlessly expands beyond the confining plane of the picture.”

FLEXIBILITY Ability to manipulate the material easily Strength and stretchability

-Lucio Fontana

T E M P O R A R Y WA L L S Through the ideology of Fontana, it inspired me to come up with the concept of creating a series of endless landscapes in my retail exhibition, to break away from the usual boundaries that are present and create an experience that expands further.

Instead of using canvas, i used fabric as my design medium because it allows me to reveal an object behind not just by manipulating it physically but providing me the opportunity to explore how light can diffuse through the transparency of the fabric to reveal the artwork displayed behind.

Design Medium

‘The cut itself would serve as the concept, the process, and the product all in one, creating a new image out of both the desire to break apart assumed barriers and the gesture to open up new visible and invisible spaces.’ Hence, the notion of cutting to reveal whats behind reflects on how i will be using light to shape the space through the opacity and transparency of the fabric.

Lucio Fontana Signature tagli cuts, (1960)

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Layering into spaces Temporary partitions Versatile element

POROSITY Variation of fabric types Netting, webs, ropes Transparency of fabric under light

FABRIC AS A DESIGN MEDIUM

I N C O R P O R AT E L I G H T Using light as a naural filter for the exhibits Diffuse lighting

O P E N N E S S O F A S PA C E Incorporating public and private spaces Layering of the fabric layers Ability to adapt into any space

Robert Irwin @ Sprüth Magers in Los Angeles (2018) ‘Scrim’, a flexible fabric that can be stretched across a large surface, it is appears opaque at some angles and translucent at others. It functions as a series of squares nested together creating layers that are both translucent and transparent.

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“The art of seeing” Robert Irwin

POROSITY OF FABRIC Exploring the effect of light on fabric After analyzing the projects of Irwin, i explored on the different kind of effect light has on fabric and its porosity.

Robert Irwin @ Chinati (2006) Using floor-to-ceiling-length “walls” of translucent white and black scrim, as well as window-tinting film, Irwin transformed the space into a unified-yet subtly changing—experience of light and space.

When light shines through the ‘scrims’, the fabric becomes more translucent thus the user is able to see through all the layers, providing a seamless visual experience

L AY E R I N G S PA C E S Personal sketches inspired by Irwin nylon scrim walls Exploring how a space can enhance a viewer’s perception through the concept of layering the ‘scrim walls’ by experimenting the different ways to position these walls to create spaces within the exhibition.

Robert Irwin + James Turrell @ Villa Panza (2013) Irwin and Turrell Transformed a space into an emotive, immersive labyrinth shaped by natural light.

Robert Irwin (born September 12, 1928) is an American installation artist who has explored perception and the conditional in art, often through site-specific, architectural interventions

When light is not present, the user will only be able to see the very first layer because of the opacity of the fabric. This effect would then be useful in creating private spaces and lighting projections

that alter the physical, sensory and temporal experience of space.

Like Minimal artists, Robert Irwin broke with figuration, searching for a new way to make the work of art autonomous in content. He sought to heighten and alter the viewer’s awareness of a space using light, nylon scrim sheets, and other unobtrusive structural components.

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Layerings

Concept model

L AY E R I N G S PA C E I am exploring how the concept of spatial layering can be applied to my project and the space i am creating. In a retail store, everything is very transparent and everything can be seen even when you are standing outside the stall thus making a point of customers not entering because everything is shown already. Thus, to entice the customers to move into the space, i am intending to break up my space and my art pieces to seperate them into layers so it brings out a sense of ambiguity which will entice the people to explore and walk towards that particular art of fashion piece. This concept can be applied to how i will be designing my spaces and how i will be laying out my curations to form a journey.

I am interested to explore the various possibilities of designing a space using fabric as a design medium. The exploration varies from the different fabric types, sizes and thickness. An example is how thinner fabrics woulg give the illusion of a public space and a thicker fabric would help to create a tighter and more private space. I also intend to use other form of materials that are commnlny found in fabrics, threads, strings, ropes etc.

Collage to show my interpretation of layering both fashion and art

Conceptual models to experiment the concept of layering through the use of sheer stretchable fabric

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REVEALING THROUGH POROSITY

Porosity

Concept model

In Robert Irwin’s words, a scrim “is both there and it’s not” He explores how the position of his scrim walls are being placed in each site specific exhibitions. He mentions that it is not an experience that can be repeated in some other room, at some other time. It is designed to root the viewer in that particular moment. The amount of light that enters, the thickness and the placement of the scrim walls affect how the exhibit will be viewed.

The lighting in the exhibit would serve as a very important factor when i use various fabrics to create the space. The amount of light shining through the variation of thickness of fabrics would help to bring out different moods for the space. An example is how cutting holes or tightening thin fabrics can help to create more transparency and variation in porosity.

Thus, i explored the variation of spaces that the porosity of a fabric can offer within a space. An example is how when light diffuses through the fabric layers, it it able to naturally lit up the space and this is essential in lighting up an exhibit in an exhibition. In contrast, when light is absent, the fabric layers becomes ‘temporary walls’ which forms natural spatial boundaries which is useful in creating private spaces.

In relation to the ideology of Fontana, the idea of revealing can now be controlled with the usage of light which can be altered to slowly reveal in a composed manner what is meant to be shown to the viewers.

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Conceptual models to experiment the types of spaces that are created with the porosity of a fabric

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Manipulation

Fabric layering

Olafur Eliasson

Olafur Eliasson, ‘Reimagine’ (2002)

Layering variations

Concept model

Conceptual models that experiments with the effect of light through layers of translucent fabric to find out the porosity

The fabric layerings help to create interesting lighting and shadow reflections and it also brings out the sense of being in a bigger space. With the translucency of the fabric chosen in the concept model, lighting is able to shine in from all sides which creates a very nice ambience. I intend to use this technique in my exhibition design.

Concept model

Conceptual models that experiments with the effect of light through the variation of thicknesses of fabrics

The difference in the thicknesses of the fabrics creates a variation that affects the porosity and transparency of the layers when they are arranged together. This would allow me to play with the amount of light that gets to shine through the thinner fabrics and layer on the thicker ones to block out the lighting.

Seven spotlights cast shifting and overlapping rectilinear patterns across a gallery wall, creating the illusion of depth, of what’s real and not.

This project has allowed me to understand the role of lighting and the impact it has in a confined space. By combining it with fabric, light is able to manipulate the space by allowing the user to percieve the size of the space they are in. The models i experimented on shows how light and fabric correlates with each other in enhancing and altering the spatial experience a user would have in a space.

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‘Layering’ ‘Porosity’ ‘Revealing’ Through the works of Irwin and Eliasson, combined with the ideology of Fontana, i was able to explore through a series of models how layering spaces with the use of light and fabric can shape a space.

The role of light in layering is emphasized on lighting up the space naturally and also to reveal an object that is displayed behind the fabric layers. The lighting also plays a part in manipulating how a space is being perceived and anticipated.

The porosity of the fabric, helps to control how much light is shone through the fabrics and how much can be revealed through the thickness of the layer itself.

The manipulation of the fabric would then create variation of spaces and shadows casted from the light.

These methods would be explored further through the design of the shop windows and the exhibition space.

Model that reflects the concept of how lighting reveals the artwork

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Shop Windows ‘LAYERING SPACES’ -Retail store shop window -Gallery-like shop window

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Layering

Applied concept C R E AT I N G N E W S PA C E S

SHOP WINDOW

A diagram that shows the comparison of spaces created with the layers and without (which represents the current concept of a shop), these layers would encourage the visitors to walk through the spaces

Target audience: Students/ Tousrists/ Shoppers Cars/ Forms of public transport Interesting factor:

Shop Window Middle Road

Removable partitions from the back Window display is viewed both from the front and back

BLOCKING OUT THE VIEW The layers would also ensure that the visitor or shopper would not be able to see the final product, which would thus create anticipation while walking through the spaces.

Purpose of window display: Represent the manifesto of the exhibition , Fashion embodies Art Reflects the concept of how fashion is being sold as art

L AY E R I N G I N R E TA I L Window displays are usually very transparent in the shops thus no one wants to enter them cause the items can already be viewed from the outside.

Thus, incorporating the different layers encrouages the visitors to walk and explore the shop to see whtat the store is selling.

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C R E AT I N G N E W P E R S P E C T I V E S The audience are also encourage to admire the artworks with their own perspectives based on the way they walk pass the window display. The different angles, lighting and height plays a difference on how a person will view the layers.

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Max Tan

Armour zip cardigan S$319/-

Max Tan is a local found designers but he describes himself to be more as a garment engineer. His real talent is revealed through the unexpected silhouettes generated through the twists in his designs.

“SERIOUS BUT NEVER SEVERE, MINIMAL BUT NEVER SIMPLE, FRAGILE BUT NEVER WEAK�

His garments are infused with a touch of contemporary art, and he plays with volume ,modified shapes, oversized, undersized, deconstruction , reconstruction and transformation. His designs also revolves around the theme masculinity and femininity

F A B R I C L AY E R S The different layers slowly unfolds the design of the apparel shown at the back. The first and second layers show the cut out frame of the apparel which gives the idea of the form of the apparel displayed while the last layer actually displays an abstraction of the fabric used in the apparel, which is also used to mask the remaining part of the apparel.

Conceptual model to showcase the idea of applying the concept of layering onto the design of the window display

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“ P L AY S W I T H T H E C O N C E P T OF REFLECTION THROUGH T H E L AY E R I N G S �

1:75 scale model to represent the window display design

The idea behind this window display is to create sihouettes with the apparels that plays with the concept of reflection.

The visitor or passersby just have to step into position of the cut out apparels through the multiple layers and the shadow cast onto the person would reflect how the apparels would look like on him/her. The multiple layers also help to create different perspectives for the passersby when the shadow is cast onto them while moving.

Collage perspective to show an ideation of the retail shop window displayed at the left side of National Design Centre

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Layering

Applied concept

W I N D O W D I S P L AY Target audience: Students/ Tousrists/ Shoppers Cars/ Forms of public transport

Window display Victoria Street

The light that is shone onto the artwork will cast a shadow through the layers on the walls and columns that are outside the window display.

The transparency of certain fabric types that are used would create different effects.

Removable partitions from the back that opens up to the main exhibition space Window display is viewed both from the front and back

Showcase the idea of how and exhibition and retail space collides Reflects the design of the exhibition

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The cars and visitors who are passing by will get a glimpse of the artwork being displayed through the different angles created with the layers.

Some angles would form a clear view of the artwork, whereas some would block it out or just give a glimpse of it.

LIGHT AND SHADOWS

Interesting factor:

Purpose of window display:

C R E AT I N G M O V E M E N T

L AY E R I N G I N E X H I B I T I O N S Every turn, every corner made by the visitor in the exhibition determines how the displayed artwork is viewed, and the different corners or different methods of displaying the artworks will bring out various perspectives. The corners helps to pace the audience by slowly revealing the artwork which evokes a sense of anticipation and curiosity.

U N C O V E R I N G T H E L AY E R S The layers help to form the various movable partitions where the visitors in the exhibition can interact with to create their own interpretation of the artwork displayed. The moving of the partitions would also affect how the visitors outside will view the interior of the exhibition and the exhibits too.

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Stolen, “Spaces”

Conceptual art piece & branding campaign

P L E AT S / T E X T I L E S

FABRIC NETTING

CURVES / “ I T ’ S T H E S PA C E T H AT I S L E F T B E H I N D T H AT M A K E S O N E A P P R E C I AT E W H AT I S N O T T H E R E : N E G AT I V E S PA C E ”

DRAPING OF FABRIC

Singapore based womenswear founded by Elyn Wong who is established in the local design and art industries. Stolen is a ode to architecture and the feminine allure, and its silhouettes are therefore pure and minimalist rather than superflous. Elyn’s approach to garment construction is informed by her passion for architecture, invoking a structured rather than decorative form.

Ideation of the different fabric layers and other materials that can be used to represent fabric are extracted from the different clothing collections chosen to be displayed and sold in the exhibition.

ABSTRACT EDGES

Conceptual model to showcase idea of window display

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T H E E S S E N C E O F T H E S PA C E

The different layers reflects the different fabric layers extracted from the collections. The intention of this gallery-like shop window is to showcase the essence of the gallery and a glimpse of the art works displayed behind in the main exhibition space.The visitors inside the exhibition will then be able to walk through and uncover the different layers to get different perspectives of the art work.

1:75 scale model to represent the gallery-like shop window

Collage perspective to show an ideation of the gallery-like shop window displayed in front of National Design Centre

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Shop window

The shop window explores how the concept of layering can be applied to both a retail space and a gallery space in relation to what was earlier explored based on the studies of Robert Irwin and Olafur Eliasson.

The exploration of layering in a retail space allowed me to understand how the new spaces created with the layers can bring out a new perspective of how a visitor can admire an artwork and these spaces alter how the visitors walks through the space. This would then help to shape how i layout the exhibit for the fashion pieces where i can explore how the manipulation of layers can not only hide but reveal the displayed art piece.

On the other hand, the exploration of layering in a gallery space provided the chance for me to understand how lighting plays a part with the fabric in a confined space. Other than fabric, lighting and shadows that is altered by the fabric layers contributes to the overall ambience of the space as well. These layers would also help to pace the visitors in the exhibition while they explore and slowly uncover the directed views created with the layers.

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Exhibition Journey NATIONAL DESIGN CENTRE -Site analysis

‘DIRECTIONAL VIEWS’ -Spatial diagrams -Fashion influences on art -Overall section of exhibition journey

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National Design Centre Chosen Site

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4 National Design Centre 111 Middle Road Singapore Architect: Soo. K Chan (SCDA), 2013 Centrally located in the arts, cultural, learning and entertainment district in the Bras Basah Bugis area, the National Design Centre will be a nexus for all things design, serving as a lecture hall, space for public exhibitions, and think tank for Singapore’s growing design culture. As Singapore’s primary hub for design, the National Design Centre serves to foster a strong design culture in Singapore and deepen the appreciation of good design through community engagement activities and design showcases.

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R E TA I L S H O P S 1. Bugis Plus 2. Bugis Street 3. Bugis Junction 4. Bugis Cube 5. Bras Basah Complex

H O T E L S / A PA R T M E N T S

ART SCHOOLS/ DISTRICT

1. Blk 261-264 Waterloo Centre 2. Hotel Royal, Hotel Grand 3. Blk 231-233 Bras Basah Complex 4. Intercontinental Singapore 5. Backpacker Cornerhouse

1. NAFA campus 1 2. Stamford Arts Centre 3. NAFA campus 5 4. Singapore National Library

E X H I B I T I O N S PA C E NDC provides many varieties of spaces when it comes to planing an exhibition. With the 5 storey high building, visitors can explore the entire space and admire the exhibition from the various levels which provides a whole different perspective as compared to viewing it from the first floor.

HEIGHT

CABLE SYSTEM

D AY L I G H T

With a five storey interior space, it provides me with chance to explore the variations in height and allows me to shift away from the usual conventions of a retail space which is usually only one to two storeys high

The cable system that is situated at the highest level of NDC gives me the chance to hang up my fabric and artworks freely without worrying of how it will be supported unlike usual small confined gallery and retail spaces

The natural daylight gives me the potential to experiment and play with light and shadows which also helps to create various kinds of moods within the space. This would be extra benefinicial since my main design element is fabric and light.

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Circulation

Stolen conceptual art pieces Grace ciao fashion illustrations

Stolen Fashion apparels

Fashion A diagram that explains how the Manifesto, ‘Fashion embodies art’ is being applied on the plan. The fashion and artworks are being planned out spatially according to the themes and the relation of each brand to another. Since the exhibition space of the National design centre is opened up to natural skylight, the layout of the art pieces are being strategically placed according to the lighting requirements..

Kwodrent textile manipulation (non-wearable fabric sculptures) Skye Jefferys paintings Izziyana Suhaimi embroidery

Max Tan Fashion apparels Exhibit Fashion apparels

Exhibits

Cashier

Art

Teresa Lim embroidery Anthony Poon paintings Iskandar Jamil pottery

(similar fabric and fashion principles)

Spatial layout

Visitor path

Max Tan

Grace Ciao Embroidery works

Paintings Fitting rooms

Exhibit Anthony Poon

Stolen Stolen Art Kwodrent Skye J Iskandar Jamil

(comparisons of the paintings and pottery works to the fashion apparels)

HOW FASHION & ART CO-ESXIST (Blurring the lines between fashion and art)

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Directional views Endless Landscapes

Directional views that are strategically placed so a viewer will be able to see both fashion and art at a certain angle which encourages them to cross reference the similarities between these two art platforms. To create a better experience for the visitors, the art pieces are being displayed next to similar fashion apparels which uses the similar concept, thus the views would not be obstructed by the contrast of the differnet art mediums.

Segregating the spaces for the various collections of fashion and art pieces

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Creating directional views for the users

Overlapping views to allow the visitors to cross-reference the art pieces being displayed

Main viewing points

Main viewing points

Position of fashion and art exhibits

Position of fashion and art exhibits

Direction views , Proposed circulation

Direction views , Proposed circulation

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M A X TA N

Black and white colour palette Minimal furnitures Loud fashion statements

Relation of spaces

Abstractive and plays with various forms

Forging one identity

Maximising on minimalist ideas

ANTHONY POON S T O L E N A P PA R E L S Pink, nude, grey colour palettes Focuses on forms and expressions Abstract forms

Sellable Fashion and art Abstractive,

Challenging the distinction

playing with various forms

KWODRENT

between fashion and art Fabric

Maximising on

manipulation

Experiment

minimalist designs

Fabric manipulation and construction

Process emphasis

Minimal but distinctive and pristine silhouette

Minimal but distinctive and pristine silhouette

E X H I B I T A P PA R E L S Exciting colour palettes Plays with shadows and silhouettes DIstinctive forms

Abstraction

with forms

FASHION INFLUENCES ON ART To forge the concept of ‘endless landscapes’, i focus on relating each fashion and art piece together by grouping them through the similarities in terms of design concepts.

This would ensure a seamless flow of visual connections from one art medium to another.

Through the studies of the designers, i took the identity of the fashion apparels and design similar exhibition systems for both art mediums to reflect how these fashion and art pieces are related.

STOLEN ART SKYE JEFFERYS Emphasis on process and experimenting with forms

Fashion influences on art pieces in terms of exhibition display methods explained in space through the plan view

Abstractive forms Process emphasis Combination of different art mediums

ISKANDAR JAMIL

Mindmap with sketches to explain how the identity of the fashion apparels is related to the artworks

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Inspired by non art related topics such as architecture and mathematical equations

Abstraction, expression and process emphasis

STOLEN, FASHION & ART

SKYE JEFFEREYS, ART

Abstractive and plays with various forms, maximising on minimalist designs

Minimal but distinctive, pristine silhouettes

KWODRENT, ART

EXHIBIT, FASHION

KWODRENT, ART

ANTHONY POON, ART

M A X TA N , F A S H I O N

Themed fashion runways and dressing rooms for the fashion brands

F A S H I O N R U N WAY , F A S H I O N

DRESSING ROOMS, FASHION

Stitched up sections to present the entire journey of the retail exhibition ‘Fashion Embodies Art’

EXHIBITION JOURNEY

Visitors will be exploring the spaces through the relations of each art or fashion pieces that are inspired by similar concepts and identities. This will allow the visitors to witness how ‘Fashion emobdies Arts’ based on the way the art and fashion pieces are display. The exhibition is specifically structured to allow the visitors to see the connection between this two to realise how fashion and art can overlap and influence each other even in a same space.

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Fashion in Space STOLEN

-Client study -Furnitures -Fitting room

SKYE JEFFERYS -Client study -Exhibition display

KWODRENT

-Client study -Exhibition display

EXHIBIT

-Client study -Furnitures -Fitting room

MAX TAN -Client study -Furnitures -Fitting room

ANTHONY POON -Client study -Exhibition display

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Stolen

Fashion to space

Stolen

Nila Dress Grey S$369/-

“ I T ’ S T H E S PA C E T H AT I S L E F T B E H I N D T H AT M A K E S O N E A P P R E C I AT E W H AT I S N O T T H E R E : N E G AT I V E S PA C E ”

Stolen is an ode to feminine allure in all its strength and fragility. Deriving its name from the teachings of Mahatma Gandhi, who proposed that taking more than what is needed equates to stealing, Stolen stands for pure and timeless design.

Singapore based womenswear founded by Elyn Wong who is established in the local design and art industries. Stolen is a ode to architecture and the feminine allure, and its silhouettes are therefore pure and minimalist rather than superflous. Elyn’s approach to garment construction is informed by her passion for architecture, invoking a structured rather than decorative form.

First directional view upon entering the retail exhibition 57

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‘Directional views’ are strategically placed so that the visitor will be able to cross-refernce the art works to the fashion pieces

‘STOLEN’

‘Openings’ through the fabric to enhance concept of ‘endless landscapes’ by allowing constant visual connections

CONCEPT OF EXHIBIT Applying the concept of layering spaces with the use of fabric, i started with the plan view of the selected area for the ‘Stolen’ collection and work my way through finding the ‘directional views’ as mentioned earlier.

Earlier sketches on exploring the variation of layering spaces with fabrics from the studies of Robert Irwin ‘scrim walls’.

Through the exploration of spaces, i was inspired to go on to manipulate the fabric walls to enhance the exhibition concept of ‘endless landscapes’ through opening new views in relation to how the artworks are being displayed.

To further enhance the concept of ‘endless landscapes’ through the fabric layers, more openings have been introduce to allow a more pleasant experience while viewing the exhibit without any abrupt turns and visual interruptions. Through viewing these openings, artworks by the same artist are being hung up and displayed which would encourage the users to cross-reference these artworks with the displayed apparels.

Perspective plan view of ‘Stolen’ retail exhibit

Robert Irwin, ‘Scrim walls’, precedent reference mentioned, pg. 16-17 ‘Directional views’ , forging directional views as shown on concept plan, pg. 49=50 ‘Endless lanscapes’, Exhibition Concept, pg. 13-16

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‘STOLEN’ L AY E R I N G E X T R A C T E D F O R M S Returning to the concept of layering, a similar approach that was used to design the ‘Stolen’ gallery-like shop window is being applied to the exhibit as well. The concept for the ‘Stolen’ exhibition system is to showcase only the highlighted form of the apparel before revealing the rest of it. This is to encourage the viewers to interact with these extracted forms before viewing the end product. These forms are then staggered among the exhibit space for the visitors to uncover the concept and the process of ‘Stolen’, where there is a strong emphasis on the processes and the manipulation of the various fabric forms.

‘Stolen’ gallery-like shop window, Previous explorations on layering extracted forms

Retail exhibit space of ‘Stolen’ collection

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STOLEN FURNITURE Concept: Fabric cut outs of the structure is meant to highlight the distinct forms of the displayed apparels to engage people to interact with the extracted forms. Upon closer look at the apparel, the light that shines onto the thin fabric structure will reveal the entire form of the apparel itself Collection: 1. Suspended Fabric stuctures with cut outs that holds and displays the apparels Materials used: Iron black steel frame covered with thin fabric layers Cable wires to support the various structures

In addition to the layering of the retail exhibit, the concept of layering is applied to these fabric frame stuctures. The forms of these fabric frames are extracted from the forms of the selected apparels displayed within. The sheer linen fabric helps to hide the rest of the apparel while the ‘opening’ on the frame highlights the main form that is extracted for people to come forth and interact with it, and to admire it like a piece of art that is disaplyed in a gallery. Upon closer approach, the light that is shone above will slowly reveal the rest of the apparel through the translucent fabric.

Series of exploration with the design for both a retail and exhibition system for the ‘Stolen’ fashion apparels to be displayed

Sectional elevation of the ‘Stolen’ retail exhibit space

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Linen Fabric (6m) attach to rod wtih lighting (Diameter 15mm) supported by cable system

Clothes and artworks are either hung up or attached to the fabric panels

Suspended fabric coated steel structures that hangs from the suspended cable system

Furniture (Chair and standing mirror) designed specifically for ‘Stolen’, also present in the dressing room

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‘STOLEN’ PROPOSED

FURNITURES

M AT E R I A L S Pink linen fabric, firm and pleated, suppported by wall.

3m x 3m (height x width) White casted aluminum, used for chair and ceiling light size varies

White linen fabric, used to coat hangers 15mm x 300mm (width x diamter)

‘STOLEN’

Grey concrete floor smooth and polised 3m x 2m (length x width)

DRESSING ROOM

Tension cable support hangers 500mm x 5mm (length x diameter)

Black brushed aluminum used for framings and lighting size varies

Section of fitting room design

The concept behind the design of this fitting room is to reflect the identity of the ‘Stolen’ collection which is using one simple form and maximising on it to keep things simple and minimalistic. In addition, ‘Stolen’ also focuses on fabric manipulation for their garment design and pleating is one form of manipulating the fabric.

‘Stolen’ apparels are designed in a way that the silhouette are always kept simple so as to not distract the main form of it. Thus, the furnitures are designed with the concept of maximising on one simple form. Making use of one simple form such as curves and clean cut lines, i came up with a series of furnitures to complement the apparels when they are being tried on by the customers.

Thus, pleating of the sheer linen fabric and furnitures are specially designed to accompany the form of the selected apparels by ‘Stolen” without taking away too much attention from the apparels itself. The entire ambience of the room is similar to the ‘Stolen”’ exhibit display which reflects the idea of combining both the element of a retail and gallery space.

Furniture plan

Fitting room design for ‘Stolen’ apparel collection

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The Useless Machines, 1984

SKYE JEFFERYS, ART

Bruno Munari

KWODRENT, ART

ANTHONY POON, ART

Munari, responds to the principle based upon the concept that painting should be freed into space and transported into a temporal dimension.

These geometric mobiles create kinetic compositions in threedimensional space, breaking free from the traditional static forms of painting and sculpture. It is then joined together so they might inhabit the environment with us, such that the angle where a viewer looks at is constantly changing.

The concept that Munari uses is reflected on some of the artworks that are being displayed. Some are similar to his methods of extracting the forms, whereas some focuses on the explorations of various art mediums to represent their art works.

Bruno Munari, The Useless Machines (1951-1993)

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Initial sketch processes for the planning of the exhibition systems of the artworks

Skye Jefferys paintings focuses on abstraction through the use of various art mediums to breathe life into her paintings . This resembles one of the few methodologies of Munari where he experiments with several art forms employing ingenious ideas.

Kwodrent focuses on creating fabric manipulation and construction. A fundamental aspect of kwodrent is the focus on the interdependency and inherent relationship between making and thinking, physical and abstract, as well as, analogous and digital. This method is similar to the process of Skye Jefferys paintings.

Anthony Poon broke free of the constraints of the two-dimensional surface and began creating relief paintings using aluminum strips that perforated stretched canvas forming an armature. Through these threedimensional works, Poon toyed with optical effects and spatial perceptions of painting. This example of extracting art from a two-dimensional form and changing it to a three-dimensional form is reflected in the methodology of Munari in his collections of ‘Useless machines’

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Skye Jefferys Works on paper 2015

“ I WA N T T H E PA I N T I N G T O B E I M B U E D WITH POTENTIAL TWISTS AND TURNS, P O S S I B I L I T I E S T H AT M I G H T B R E AT H E BEYOND THE WORKS’ BOUNDARIES.”

‘SKYE JEFFERYS’ ART EXHIBIT

Jefferys create paintings that are non-representational and that combine gestural freedom with vivid colour. She also make mixed-media collage works which allow her a place to experiment with new ideas and materials.

As mentioned previously, the concept of the paintings by Skye Jefferys resembles one of the few methodologies of Munari where he experiments with several art forms and mediums to come up with his sculptures.

She relates to abstraction as a means of re-working and re-imagining experiences of the world. Jefferys’ interest lies in the nature of the paint itself, the act of painting, of pushing paint onto the canvas, drawing, layering, adding, subtracting, building and inally allowing a composition to develop from this engagement with her medium.

Previous explorations on how lighting is able to reveal the artworks behind the fabric layers

The idea of creating the exhibit for Jefferys painting is to extract certains forms of the artwork to accentuate it with the method of cutting out openings on the fabric layers to outline the specific forms to highlight. This would engage the visitors to come forth and view the art piece from afar where only the highlighted forms are being revealed. Upon closer approach, the light from the hanging cable system (that is supporting the artwork) slowly reveals the rest of the art piece. I derived this concept of the exhibit from previous model explorations based off the ideology of Lucio Fontana where i experiment how light is able to ‘reveal’ the artwork behind the layers.

The relation between ‘Skye Jeffery’ paintings and ‘Kwodrent’ artworks

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Kwodrent

Women on Women 2008, Fost Gallery

“ T H E T R U T H O F M AT T E R I S T H E R E F O R E ABOUT THE ESSENCE OF THINGS; A KIND OF NEBULOUS QUALITY AND DEEP B E A U T Y W H E N M AT E R I A L S R E V E A L T H E M S E LV E S . ”

‘KWODRENT’ ART EXHIBIT Grace Tan, is a multi-disciplinary artist whose works often blur the lines between design and art. Formally trained in fashion design, she presented a series of works based on the study of rectangles, materials, and construction methods.

The concept of the two brands ‘Kwodrent’ and ‘Stolen’ are similar in terms of creating fashion pieces that are derived from non-art related topics such as mathematical equations and architecture.

The kwodrent series is a progressive and empirical body of works based on the study of rectangles, referenced to materials and construction methods. Each piece of work is numbered and dated to form a chronological record of its development. The series is defined and shaped by the pivotal working process, an intuitive and tactile approach derived from working hands-on with the medium.

Thus, the concept of the ‘Kwodrent’ exhibit draws influence from the ‘Stolen’ exhibit where the forms are the main emphasis of the work and these forms are then being articulated through their exhibition systems. In addition, the layout of the ‘Kwodrent’ exhibit follows the entire concept of the exhibition which is to create a series of ‘Endless landscapes’. This exhibit is laid out in a way that it corresponds to the surrounding brands because it ties in how Fashion truly embodies art.

Previous explorations on the concept of the ‘Stolen’ exhibit

The layers are being arranged similarly to how the layers were arranged for ‘Stolen’, according to their ‘Directional views’. These views that are forge will allow smooth and seamless visual connections between the art and fashion pieces.

The relation between ‘Stolen’ and ‘Kwodrent collections

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Exhibit

Fashion to space

“VERY MUCH ABOUT THE E X P L O R AT I O N O N M O D E R N F E M I N I N I T Y W H I L E S TAY I N G T R U E T O O U R I N S P I R AT I O N O F M I N I M A L I S M ”

Exhibit

Toga Shoulder Linen Top S$119.90/-

Exhibit, Singapore based womenswear founded by Yoyo Cao with the goal of bringing labels from all over Asia to the local market with androgyny and minimalism as a starting point

Exhibit garments consists of luxe basics that are mandatory in modern women’s wardrobe, cleverly tailored pieces that boast of clean-cut lines and pristine silhoulettes. Yet as minimal as they are, each aspect of the collection is given a distinctive feature.

“Each piece becomes a statment”

Perspective view of ‘Exhibit’ retail and gallery space

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The silhouettes of the ‘Exhibit’ statement pieces are being reflected on the 6m long suspended linen fabric

The forms of these display stands and pedestals are being extracted from the form of the apparels

‘EXHIBIT’ Bruno Munari, The Useless Machines (1951-1993) These geometric mobiles create kinetic compositions in threedimensional space, breaking free from the traditional static forms of painting and sculpture.

It is then joined together so they might inhabit the environment with us, such that the angle where a viewer looks at is constantly changing.

The concept of the ‘Exhibit’ revolves around the concept of viewing things at a different perspective (bearing in mind the concept of the entire exhibition of forging endless landscapes).

Thus, reflects the ideology of Munari where the apparels that are being displayed are seen from various angles and views to allow the visitors to have various interpretations of the different forms displayed.

CONCEPT OF EXHIBIT Targeting the ‘directional views’ that were placed earlier, i decided to stagger the height variations of the fabric walls so that more attention is given to the selected apparels being hung up. These 6m long supspended fabric would be the point of attraction to captivate the visitors.

Upon entering the retail exhibit, the space is specially designed to allow the visitors to see things differently from the different angles that are being crafted out. Visitors will be able to notice how at the various angles, the shape of the apparels and the forms of the display stand changes.

Hence, making the journey through this exhibit ever changing with the play of angles to complement these statament peices and silhouettes.

Perspective plan view of ‘Exhibit’ retail exhibit

Similar works that reflects the ideologies Bruno Munari, pg. 67-68

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‘EXHIBIT’ EXTRACTING FORMS The apparels of ‘Exhibit’ resembles those of Jefferys paintings which reflects the ideology of Munari.

Forms of the ‘Exhibit’ apparels are being extracted to form the furnitures and the display stands for the exhibit itself.This idea of ‘extracting’ the forms are similar compared to the ‘Useless machines’ sculptures by Munari, that represents the art works and paintings that are being translated into a three-dimensional form where it inhabits with the environment how alters how a person may view an object or in this case, how they view an art piece and apparel.

‘Skye Jefferys’ Abstractive art works

Perspective that showcases the play of colours and forms through the display methods and materials

Similar works that reflects the ideologies Bruno Munari, pg. 67-68

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EXHIBIT FURNITURE Concept: Extracting the forms of the various selected apparels Collection: 1. Built in mirror with clothes rack, hangers and shelves for folded clothes 2.Clothes rack with hangers 3. Built in mirror with clothes rack and hangers Materials used: Iron black steel frame Mirrors mounted onto frames Fabric coated pedestals

Sectional elevation of ‘Exhibit’ retail exhibit Linen fabric (6m) attach to rod wtih lighting (Diameter 15mm) supported by cable system

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Furnitures mounted onto the fabric coated ply wood pedestals

Sheer linen fabric (4m) attach to standing rods (Diameter 10mm) with selected apparels hung up onto the railing above

Pedestal plywood lacquer with paint with linen fabric hammered down

Clothings hung and attached to the translucent suspended fabric panels

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PROPOSED M AT E R I A L S Primrose yellow sheer canvas fabric used as a cover for the standing lamp 350mm x 350mm x 15mm (length x width x thickness) Champagne pink sheer canvas fabric used as a cover over the lighting 300mm x 500mmx 15mm (length x width x thickness)

‘EXHIBIT’ FURNITURES

Semi-glossy ivory wall paint to be painted across wall 3m x 3m (height x length)

Coral orange sheer canvas fabric used as a cover over the lighting 500mm x 300mm x 15mm (length x width x thickness)

Pale green canvas fabric used to cover the black frame 300mm x 300mm x 15mm (length x width x thickness)

‘EXHIBIT’

Cotton twill denim fabric fabric used for the chair 350mm x 450mm x 30mm (length x width x thickness)

DRESSING ROOM The concept behind the design of this fitting room is ‘individuality’ which is practice in the design for ‘Exhibit’ apparels where their apparels are one of a kind statement pieces. Thus, the furnitures that are designed here are only uniquely based off the form of the selected apparels being displayed in the exhibition.

White casted aluminum, used for chair and ceiling light size varies

Grey concrete floor smooth and polised 3m x 2m (length x width)

Black brushed aluminum used for framings and mirror frame size varies

Section of fitting room design

Furniture plan

‘Exhibit’ apparels are designed as minimal but distinctive pieces in every collection. Each piece then becomes a statement, giving the wearer that distinctive silhouette.

Thus, by complementing to the statement apparels, the furnitures are specially designed in a way that is unique with no duplications of the pieces. This is accomplished by extracting the various forms of selected apparels and applying it to the form of the furnitures.

In addition to the distinctive forms of the furnitures, the colour palette of the entire dressing room is also influenced by the choice of colours use in the best selling collections of ‘Exhibit’. Similar colour schemes and forms are being applied in the retail exhibit itself which reflects on the brand’s identity.

Fitting room design for ‘Exhibit’ apparel collection

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Anthony Poon White on 2P waves 1976 National museum

“EVERYTHING CAN BE SIMPLIFIED IN THE BASIC SHAPES OF LINES AND ANGLES”

‘ANTHONY POON’ ART EXHIBIT Anthony Poon was one of the pioneer abstract artists in Singapore best known for his paintings in the “Wave Series” That spirit of experimentation, characteristic of the abstract art movement in the 1960s and 1970s, is highlighted in a major retrospective of the work of the late Singaporean artist.

The concept of the display system is influenced by the concept of ‘Max Tan’ where the fashion apparels are being displayed like statement art pieces. Similar framing system is used for the artworks of ‘Anthony Poon’ . By framing it from both sides of the art works, the visitors are encourage to view the artwork from both side since the art work is being appreciated from various angles.

Anthony created a sculptural effect of sinuous wave patterns by using aluminum strips under the stretched canvas. If the viewer moves from one side to the other, the metal strips that push the canvas forward transform it into an attractive sculpture. The artist purely used light to create different values on the canvas without any paint.

Referencing back from the comparison of Poon’s painting to Munari’s sculptures, both artworks are being viewed from various angles for the viewers Previous comparisons to appreaciate the entire form, two dimensional to three-dimensional. to works of Munari The relation between the collection of ‘Anthony Poon’ and ‘Max Tan’ through the display methods

Similar works that reflects the ideologies Bruno Munari, pg. 67-68

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Max Tan Fashion to space

Max Tan Armour zip cardigan S$319/-

“SERIOUS BUT NEVER SEVERE, MINIMAL BUT NEVER SIMPLE, FRAGILE BUT NEVER WEAK”

Max Tan is a local found designers but he describes himself to be more as a garment engineer. His real talent is revealed through the unexpected silhouettes generated through the twists in his designs.

His garments are infused with a touch of contemporary art, and he plays with volume ,modified shapes, oversized, undersized, deconstruction , reconstruction and transformation. His designs also revolves around the theme masculinity and femininity

Directional view of ‘Max Tan’ apparels with relation to the artworks of ‘Anthony Poon’

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Overlapping layers that allows continuos view of artworks

‘Frames’ that not only frame up what is displayed in it but also acts as a frame to the next artwork in relation for easier cross-reference

‘ M A X TA N ’ OVERLAPPING VIEWS

‘Max Tan’ Retail store-like shop window Previous explorations on layering for ‘Max Tan’

By incorporating ‘frames’ into the layers, it allows the visitors to have a glimpse of the artwork from a different perspective before approaching the actual artwork.

Hence, both the layers and the displayed artworks are being overlapped.

This perspective shows the overlapping layers and the potential views that the ‘framings’ create. Positioning at this angle would allow the viewer to view both the collections of ‘Anthony poon’ and ‘Max tan’ whilst cross referencing it with the suspending art works of ‘Kwodrent’. Thus, the concept of ‘Endless landscapes’ is not only being forge within the design of the exhibition systems for the various brands but also for the entire experience for the exhibition visitors.

Another way to reinforce the concept of ‘endless landscapes’ is to provide a series of never-ending views. Thus, to achieve this i created overlapping layers which intersects at certian points through the openings of the frames with visual connections. These ‘frames’ not only display the apparels but form as another way to view the next related art piece displayed. Visitors will then be exploring through these overlapping layers with constant views of surrounded art pieces

Perspective plan view of ‘Exhibit’ retail exhibit

The relation between the artworks of ‘Anthony Poon’ and ‘Kwodrent’ collections

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M A X TA N F U R N I T U R E Concept: The selected apparels are displayed as art pieces individually so that the identity of the apparel is shown based on how it is displayed. Light that is able to shine through the fabric structures will then cast a shadow through the individual frames which is then reflected onto the passer by.

Collection: 1. Framed up fabric strctures with individual apparels being hung up, with clothes rack and hangers

Materials used: Two Iron black steel frame welded together covered with thin fabric layers Cable wires to support the various structures

A series of sketches exploring the different variation of displaying the ‘Max Tan’ apparels using these fabric and steel structures

Sectional elevation of ‘Max Tan’ exhibit space

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Transluent fabric stretched with supported steel frame with selected apparels displayed inside

Similar display techniques are being applied to the ‘Anthony Poon’ collection to show how the identity from the fashion apparel is reflected onto the art piece

Steel frame which supports a suspending mirror and clothes rack attached to the overall structure

Suspended clothes rack that holds up folded clothes within the fabric and steel structure

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‘ M A X TA N ’ FURNITURES

PROPOSED M AT E R I A L S Plane mirror supported with black aluminum framing size varies

‘ M A X TA N ’

Grey concrete floor smooth and polised used for floorings and walls 3m x 2m (length x width)

DRESSING ROOM

Dark grey linen fabric fabric used to cover flat white painted walls 3m x 3m (height x length)

‘Max Tan’ apparels experiments with quirky cuts and maximises on minimalistic ideas by using extremely simple forms and expanding on it. Thus, the concept of this dressing room and its furnitures focuses on keeping things to the minimum while still being essential. The design of the furnitures are based off the exhibit frames where the frames provide a platform to display and support. The idea is to allow the wearer to imagine as if the apparel that they are trying on is being seen and displayed just like an art piece.

Black satin fabric used to cover framings and clothes hangers size varies Black brushed aluminum used for framings and lighting size varies

Section of fitting room design

The concept behind the design of this fitting room is centered around the apparels and the wearer.

The design of the dressing room itself is kept as minimal as possible while still retaining what is essential in a usual dressing room. The mirrors are placed in a way that focuses on the form and the silhouette of the apparel instead of giving attention to the wearer which gives them a different perspective while viewing the apparel to encourage them to appreaciate the details and the forms of it.

This would ensure that there would be little to no distractions that might affect how the wearer views the apparel in the dressing room itself.

Furniture plan Fitting room design for ‘Max Tan’ apparel collection

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STOLEN

EXHIBIT

M A X TA N

Sketches to express the idea of how the projector projects the form of the apparel

F A S H I O N R U N WAY The concept of layering is also being applied to the design of the fashion runway where fabric is being draped down with a projector attached to the suspending cable system, to project a visual representation of the apparel that is being worn by the model. This would allow the audience to view the form of the apparel first bearing in mind of the concept of that particular brand before the fashion model is being revealed. This would provide more emphasis on the apparels instead of the models.

The dressing rooms are located at the back of the fashion runway stage for easier access for the fashion models to change in and out of their outfits.

An ideation of the fashion runway

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Fashion runway stage (raised) 0.5m x 10m x 3m (H x L x W) High gloss roll out vinyl flooring

Draped sheer linen fabric Supported with suspending cable system (8m height)

The projector that is being hung up will project a visual representation of the apparel that is being worn by the model. This is also another platform to sell the apparels by displaying information of the apparel such as prices, sizes and availability. The main idea of the projections is to highlight the form of the apparel design before revealing it fully to the audience.

The fabric that is being draped down changes during the different fashion show timings for the different fashion brands. This would showcase the brand’s identity better and for easier reference to the actual exhibit that is being displayed.

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Purchasing Fashion & Art CASHIER METHODS OF PURCHASE -Cashier check out counter -Lounge area -Pre-order online services

IDEATIONS BASED ON CLIENTS

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Cashier

Proposed materials

Cashier

Primrose yellow sheer canvas fabric used as a cover for magazine fixtures 350mm x 350mm x 15mm (length x width x thickness)

Purchasing fashion & art

Semi-glossy ivory wall paint to be painted across false ceiling 0.25m x 3m (height x length)

Champagne pink sheer canvas fabric used as a cover over the magazine fixtures 300mm x 500mmx 15mm (length x width x thickness) Coral orange sheer canvas fabric used as a cover over the magazine fixtures 500mm x 300mm x 15mm (length x width x thickness) Ivory cream brown rough linen fabric used as a cover for lighting fixtures size varies

CONCEPT

Ocean Grey limestone slab smooth and polised used for counter top 1.5m x 3m (height x length)

The concept of the Cahier area is to fuse all three fashion brand’s identity into this space, and reflect the overall concept of the exhibition, ‘Fashion embodies Art’ through a series of ‘Endless Landscapes’.

Grey concrete floor smooth and polised across entire floor base

Overall view of Cashier counter Black brushed aluminum used for framings and mirror frame size varies

PRE-ORDERS / EXIT

LOUNGE CORNER

CASHIER COUNTER / EXIT

Section perspective of cashier and lounge

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Cashier

Purchasing Fashion

Perspective view of art lounge area

‘STOLEN INSPIRED’ CASHIER COUNTER The design of the cashier counter is derived from the concept of Stolen where similar fixtures and materials are being used. The backdrop of the cashier counter represents the pleated layers that are being used in the ‘Stolen’ exhibit itself.

Perspective view of pre-orders area

‘ M A X TA N I N S P I R E D ’

‘EXHIBIT INSPIRED’

LOUNGE AREA

PRE ORDER AREA

The lounge area is designed after the exhibit of ‘Max Tan’ where the monochromatic colour palette is being applied to it and the furnitures are inspired by the ‘frames’ that were being used to display the apparels of ‘Max Tan’.

The notion of buying apparels in a retail store is a little different compared to buying art in a gallery where there might be a need to wait for the artwork to be delivered to your place. Thus, i created an area for people to be able to browse through catalogues and online websites to research before purchasing the items. The catalogue holders are modeled afted the ‘Stolen’ fabric frames structures with the same concept. Whereas the seats and the lighting is designed based on the ‘Exhibit’ concept and colour palette.

Perspective view of cashier area

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Conclusion ‘FASHION EMBODIES ART’ Through the studies of Robert Irwin, Olafur Eliasson and Lucio Fontana, i was able to come up with the concept of ‘Endless Landscapes’ for my exhibition through the methods of exploring with fabric as my main design element. Such methods includes layering, revealing and experimenting with the porosity of fabrics.

The explorations that were done were translated into physical retail and gallery spaces which were represented through the forms of shop windows. After the explorations, i went on to apply this concept of layering, revealing and porosity into the context of an exhibition where i challenged to manipulate a person’s perception of space, targetting at the various brand’s identity.

The exhibition ‘Fashion Embodies Art’ emphasizes on how fashion pieces are able to influence art pieces and also be influenced by art at the same time. Fashion and Art are all tied together by very similar methods, mediums and processes which was able to be conveyed through the concept of ‘Endless Landscapes’ which highlights the seamless experience of viewing these two art mediums through similar concepts that were being applied.

I believe that this concept of ‘Endless landscapes’ can be applied to many other interiors but i strongly feel that the best medium to represent this concept is through fabrics because of its versatility and ability to manipulate to suit the space.

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