Personal Project - Research

How can innovative exhibition stands be designed to showcase the connection between fashion and architecture to promote the profession and craftsmanship of tailoring?

MA Interior Design

Hedi, Ming-Lun Jhang Parsonal Project - Research

Executive Summary This report explores the promotion of the craftsmanship of tailoring within contemporary spaces. Tailoring has a long history of professionalism and was founded in the UK. This technique has now expanded to Asia and become a worldwide craft. Therefore, this report will analyse the industry’s historical development and consider how the fashion industry can present and promote the appealing facets of tailoring. Therefore, within the context of Interior Design, this research report aims to discover new potential opportunities related to the design of new exhibition stands which can engage people to experience an emotional narrative journey within the context of tailoring.

First of all, this report will explore strands of the research aims that demonstrate how the tailoring industry has been influenced. Additionally, it will attain key findings that will inform ideas for the final design of a new exhibition stand. Thus Chapter One will evaluate innovative and effective ways to present narratives in fashion orientated exhibition stands. Following on from this, in Chapter Two this report will analyse the craft of tailoring comparing and contrasting the UK and Asian markets from a socio-cultural as well as economic perspective. Finally in Chapter Three, tailoring environments in terms of designing, working to showcase and sell spaces and an interpretation of the UK retail market are considered.

Thus, the key findings of the report are drawn from research taken from fashion, design and architecture spaces and considered in the context of presenting tailoring craftsmanship and narrative architectural considerations. Then the feasibility of three design concepts are unpicked.

After the analysis of the three chosen design concepts are considered a final signature project is chosen called the “tailoring trunk. This chosen exhibition stand is military style the truck is mobile and can be driven around whilst presenting the mobile tailoring exhibition. The design of emotional experiences has played an important role in the overall design concept. This concept brings people into a new multisensory experience.

In sum, this report will present new opportunities to the design of contemporary spaces that relate both fashion and narrative through space this promoting tailoring industry.

Personal Project - Research 2014

CH 00 Introduction 006

0-1 Introduction

008

0-2 Research Methodology

C H 0 1 I n n o v a t i v e P o p - u p A r c h i t e c t u re a n d Fa s h i o n o r i e n t a t e d E x h i b i t i o n S t a n d s 014

1-1.1 Definition of Architecture and Fashion

016

1-1.2 Definition of Pop-up Architecture and Fashion Orientated Exhibition Stands

018

1-2.1 Catwalks, Runways and Fashion Stages

020

1-2.2 Evolution of Pop-up Architecture and Fashion Orientated Exhibition Stands

024

1-3 Theorists of Pop-up Architecture and Fashion Orientated Exhibition Stands

026

1-4.1 Dior Exhibition Stages 2014ss

030

1-4.2 Alexander McQueen's Fashion Stand 2009

034

1-5 Futures of Pop-up Architecture and Fashion Orientated Exhibition Stands

CH 02 The Craft of Tailoring 040

2-1 Definition of The Craft of Tailoring

042

2-2 Evolution of The Craft of Tailoring

046

2-3 Theorists of The Craft of Tailoring

048

2-4.1 Gieves and Hawkes Tailoring Store

052

2-4.2 Scabal Tailoring Store

056

2-5 Futures of The Craft of Tailoring

Fashion

Tailoring Architecture

002

C H 0 3 T h e A r c h i t e c t u re o f S p a c e s f o r T a i l o r i n g 062

3-1 Definition of The Architecture of Spaces for Tailoring

064

3-2 Evolution of The Architecture of Spaces for Tailoring

070

3-3 Theorists of the Architecture of Spaces for Tailoring

072

3-4.1 215 Years of Denman & Goddard Ltd.

076

3-4.2 Ozwald Boateng Tailoring Store OBE

080

3-5 Futures of The Architecture of Spaces for Tailoring

CH 04 Conclusion 086

4-1 Conclusion Summary

C H 0 5 T h re e D e s i g n C o n c e p t s 090

5-1 Design Project Rational

092

5-2.1 Concept 1 - Bespoke Class

098

5-2.2 Concept 2 - Craftsmanship Station

104

5-2.3 Concept 3 - The Tailor's Trunk

110

5-3.1 Conceptual Brief of The Tailor’s Trunk

111

5-3.2 The Concept Proposal and Hypothesis

111

5-3.3 Design Principles

111

5-3.4 Key Findings of The Design Concept

CH 06 Appendices 112

References

Contents 003

00 The Introduction

Agenda This report will review areas of exhibition stands and look back at the important principles of the tailoring industry. Secondly, it will connect fashion architectural space designs for promoting tailoring will explored core aspects which can be used to draw positive experiences in spaces. Afterwards, this report will consider different opportunities for design exhibitions and convey some principle concepts for promoting positive aspirations for the craft of tailoring. Finally, this report will consider the purpose of space that will allow for high quality products to be seen in an accessible and every day context.

Issue Nowadays, people believe that boutique products are hard to access because they are expensive and conveyed as exclusive. However, more and more designers are considering how to make these products easily accepted and used by consumers as part of their everyday life. Therefore, this exhibition will promote luxury goods through a contemporary showcase design to promote such products. However, designers very often only focus on form and the process of design and not always consider the users’ emotional experiences and relationship with the product. What is more, the new exhibitions and showcases should connect to elements such as culture, and the delight and users’ experiences. Therefore, this report should exhibit the luxury element of “tailoring” and is a fantastic opportunity to create a new space that can draw attention to potential design innovations promoting the bespoke and advanced skills that exist within this craft. Finally, people will have an opportunity to further understand the industry and gain insight and awareness of the craftsmanship.

Pr inciple Research Question How can innovative exhibition stands be designed to showcase the connection between fashion and architecture to promote the profession and craftsmanship of tailoring?

006

Introduction

Research Proposal and Hypothesis There are opportunities to design spaces that can connect fashion themes in order to promote the tailoring industry and make luxury products easier to accept. Furthermore, the boutique production and experiences can be made more mainstream so that people can develop their own personal style in a positive and interactive way.

Contr ibution/ Innovation/ How The innovative outcome of this report is to explore and develop a new exhibition stand to showcase designs and promote the craft of tailoring. Thus, the contribution provides a positive boutique experience whilst incorporating an interior design strategy that makes optimum use of the station setting. In fact, locating a pop-up stand in a busy everyday public venue can make it immediately accessible to people and it can attract their attention and interest.

S t r u c t u re There are five chapters in this research report. Chapter One is preceded by an Introduction which describes the structure and research methods then introduces the research proposal and hypothesis. Following the Introduction there are three sub-questions, one in each chapter.

Chapter One- Innovative Pop-up Architecture and Fashion- orientated Exhibition Stands.

Chapter Two- The Craft of Tailoring Chapter Three- The Architecture of Spaces for Tailoring Each sub-question includes considered information about Definition, Evolution, Theories, Precedents and Future. This research helps to understand the past, present day and future focus of the question. The key findings of these three chapters are summed up in Chapter Four.

Finally, Chapter Five defines and analyses three concepts and then selects the most practical concept with the most potential; it will then thoroughly analyse, considering the following aspects: Concept Proposal, Design Hypothesis, Design Principles and Final Key Findings.

Executive Summary 007

0-2.1 Research Methodology - Primary Research

Site Visit 01 Ozwald Boateng OBE Tailoring Store (30 Savile Row, London UK) 08.03.2014 Visited this pop tailoring to inspire author to consider bring fashion elements into tailoring store and this is also a case study for chapter two.

02 Gieves and Hawkes Tailoring Store (Savile Row London W1S 3JR, UK) 09.03.2014 Gieves & Hawkes has over two centuries of trading history in the capital and he has been suppliers to the court of St James' since 1809 and the brand makes British style and expertise brought to China. It is a case study for chapter two.

03 Scabal Tailoring Store (12 Savile Row,W1S 3PQ London, UK) 09.03.2014 This brand was started from 1938. Nowadays, the stores exist from to Asian which is a big group in tailoring and fabric. Thus, it is analysis for chapter two.

04 Denman & Goddard Tailoring Store (11 St George Street Hanover Square) 08.03.2014 This shop was founded in 1853 and was originally described as “Tailors and Drapers”. This store has always serviced client’s needs both civil & military from Europe, Russia to America. It is a case study for chapter three.

05. 06 Fashion Retiles (Dover Street Market 01.03.2014& Liberty Store 01.03.2014) Author met the famous fashion retiles in London which is not using in any case studies but it will inspire author’s design concepts.

08. 09 Other Typical Tailoring Store (Kilgour 01.03.2014 & Richer James 01.03.2014) Author visited a great number tailoring stores in London and understand different designs skill of these stores.

07. 10 Fashion Exhibitions : Paul Smith: My Name is Paul Smith 08.03.2014 & Isabella Blow: Fashion Galore 01.03.2014 Fashion Exhibition not only shown products but also shown the space designs.

Both of them are contemporary style and it is helpful for designing thinking for the author.

Interview Mail to Tailors and Retilers such as Ozwald Boaten, Timothy Everest and Jaff Kindleysides Author met the store and sent the interview mail to tailors and retailers. Unfortunately, these people are too busy to reply. However, the author learned about how to communicate in these experiences.

008

Introduction

01 06

0203 0708

0405 0910 Primary Research

009

0-2.2 Research Methodology - Secondary Research

Books & Magazine 11 Frame magazine # 96 Frame (2014) - Article This is the newest publication for fashion stages & interior designs, which is talking about the elements and forms of fashion stage. This article is inspired author’s design concepts.

12 Skin + Bones: Parallel Practices in Fashion and Architecture Hodge, B. (2006) - Book This book is a brilliantly researched exploration of the confluence of fashion and architecture. Author of this report learning about the relationship between architecture and fashion.

13 The London cut: Savile Row bespoke tailoring Sherwood, J. B. (2007) - Book This book is a portrait of modern Savile Row, and contains detailed information on London’s premier tailors. The information is used in both chapter two and three which is included evolutions and precedents.

14 Savile row:The master tailors of British bespoke Sherwood, J. (2010) - Book This book is the definitive story of Savile Row which discuss different tailoring styles from past to present day. The information is using in evolution of the report chapter two and discussed in definition of the report chapter two.

15 Bespoke Tailoring in London's West End City Planning Group: (2006) - Book This is a government industry report which was undertaken in response to development pressures on tailors' premises, then discussed the developing and the current future focus themes.

010

Introduction

11

12

13

14

15

Secondary Research

011

"Fashion is architecture: it is a matter of prop or tions�

-- Coco Chanel, 1971 --

01

Innovative Pop-up Architecture a n d Fa s h i o n o r i e n t a t e d E x h i b i t i o n S t a n d s

1-1.1 Definition of Architecture and Fashion

Architecture is often considered the Art and Science of designing buildings (Radevsky and Sokol. 2008) and fashion is very often a term used creating a popular and sought after style (Kim and Fiore. 2011). However, a more beautiful different is

(Alexander McQueen cite on Inspirechictopia. 2010)

Thus both of them should be regarded as one thing for

said: "It’s a new era in fashion - there are no rules. It’s all

design. Moreover, some people think fashion is hard

about the individual and personal style, wearing highend,

to connect with everyday life because they think it is

low-end, classic labels, and up-and-coming designers all

difficult to understand

(Kim and Fiore, 2011). Nevertheless,

together". General fashion and architecture are regarded

such as

states: “We need houses as we

as being different disciplines because of their dissimilar

need clothes, architecture stimulates fashion. It’s like hunger

said: "fashion

and thirst — you need them both”. Thus, fashion and

and architecture are no different and the point of origin for

architecture is a general term for a popular style and

both practices is the body”.

both of them should be taken into routine.

scales and forms however, as

(Hodge. 2006)

(Lagerfeld. 2006)

01 Fig: 1-1: Fashion Magazine: Is it fashionable?

What is fashion?

Fashion should be taken into routine (Fashion magazine. 2013).

014

Chapter ONE - Innovative Pop-up Architecture and Fashion Orientated Exhibition Stands

Fig:

1-2

1-3

Fig:

Alexander McQueen (17 March 1969 – 11 February 2010):

Karl Lagerfeld (10 September 1933):

Lee Alexander McQueen was a British fashion designer. He was one of the youngest designers to achieve the title "British Designer of the Year" and he won four times from 1996 to 2003. Moreover, he had own boutique company, which cooperated with a lot of famous people such as Lady Gaga and Rihanna (Gleason. 2009).

Karl Lagerfeldis is a German fashion designer, artist, and photographer.

He is the head designer and creative director of Chanel and Fendi and he owns his own brand. Over the decades, he has collaborated on a variety of fashion and art-related projects (Vouge. 2010).

02

03

FASHION 015

1-1.2 Definition of Pop-up Architecture and Fashion Orientated Exhibition Stands

04 Po p - u p A rc h i t e c t u re a n d Fa s h i o n O r i e n t a t e d E x h i b i t i o n S t a n d s Pop-up architecture is a kind of architecture which can be reused and is removable

(Radevsky and Sokol. 2008).

Fashion orientated

exhibition stands are a mode which presents contemporary goods a public stage. Both often convey new concepts to reflect current issues

(Dernie. 2010).

With regards to fashion

exhibition stands, they need to be easy to facilitate whilst pop-up architecture is one of kind of temporary building (Frame. 2010).

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Chapter ONE - Innovative Pop-up Architecture and Fashion Orientated Exhibition Stands

05 Fig: 1-4: Adidas Pop Up Store designed by KDM POP Solutions Group:

Fig: 1-5: Louis Vuitton & Kusama concept store (2012) designed by Yayoi Kusama:

At the 2011 Primavera music festival in Barcelona, Spain, the company created an installation that looked like a giant Adidas shoe box (Santoso.

2011).

Fashion brand Louis Vuitton has collaborated with Japanese artist Yayoi Kusama to create a collection of garments featuring Kusama's obsessional polka dot patterns for a concept store at Selfridges department store in London. This is a sort term exhibition and it combined art, fashion, pop-up architecture to display together, which was using a new concept to present traditional brand �Louis Vuitton (Louisvuitton. 2013).

017

1-2.1 Catwalks, Runways and Fashion Stages

RUNWAYS

The concept of fashion runway designed as a range was a customs could see and choose to buy was a catalyst for the derangement of the fashion stands. In the 1800s, fashion parades periodically occurred in Paris couture salons. Then, in the early 1900s, American retailers conceived the idea of the fashion show (Kim and Fiore. 2011). By the 1920s, retailers throughout the country staged shows and in general, these shows were around a themed narrative with stories distinct. In the 1970s to 80s, American designers began to present their own fashion shows in private spaces apart from retailers (Lim.2011).

018

06

6

Chapter ONE - Innovative Pop-up Architecture and Fashion Orientated Exhibition Stands

07 A wide range of fashion orientated exhibition stands follow the traditional runways form which is presented in a T bar shape but does not focus on creating a cultural and environmental connection or presence (MOCA, 2006). In comparison, contemporary fashion settings are now much more focussed on how to bring and use fashion elements Fig: 1-6: Typical stage: Fashion runway (catwalk), the typical fashion presentation stages (Freedom. 2011).

Fig: 1-7: Show case for fashion staffs: Nowadays, the fashion items not only show in catwalks, but also be put in exhibition for short term display, which makes more people te see the products (V&A. 2010).

to connect everyday life. This new way of presenting fashion pop up, many feel occurred in 1981 with the Paris debut of Yamamoto fashion show (MOCA, 2006). However, many fashion pop up performances have still been criticised for being too focused on the process and form and not on the needs of the viewers.

019

1-2.2 Evolution of Pop-up Architecture and Fashion Orientated Exhibition Stands

1800s

08

1920s-1930s

1950s-1960s

09

10

Fig: 1-8: Runway 1856:

Fig: 1-9: Prada runway show, 1920s:

Fig: 1-11: Runway 1977:

In the beginning, the fashion parades periodically occurred in Paris couture salons in the 1800s.This is Burberry fashion advertising in 1856 (Burberry.

2013).

Models stayed in a small stage and wear the dress. In the same time, customers can choose products from models and this is the original runway concept (Prada.

2013).

Armani suits presentation in 1977. The presentation was showing in the restaurants, that it means the display space become more widely (WSJ. 2013).

020

Chapter ONE - Innovative Pop-up Architecture and Fashion Orientated Exhibition Stands

1970s-1980s

1990s-2000s

11

2001

12

13

Fig: 1-13: Runway 1985:

Fig: 1-14: Runway with technology:

Fig: 1-16: Runway with storytelling:

Here’s a piece of exhibition history of street fashion which shows a high awareness of popular fashion of the time. The fashion concept was made more stories and the products were closed with users (Todorovic. 2012).

Victoria fashion show, 2000. Putted the exhibition concept into fashion stages and the pop up exhibition was showed more than once time every year (VC. 2000).

Alexander McQueen fashion show; Voss 2001. The strong story telling in his show and the concept is came from "Chaos". Telling about psychology different realizations (Gleason. 2006).

021

2001

2012

14

15

2014

16

Fig: 1-17: Sort term exhibition:

Fig: 1-18: Pop-up exhibition:

Fig: 1-19: London fashion week 2014:

In current day, products will be put in a short term pup- up exhibition when finish the main show. This is also about McQueen’s fashion show; Voss 2001 (Gleason, 2006).

In this era, more and more pop-up architectures appeared because fashion show performances need to surround the world and these architecture structure and construction can be reused (Inhabitat, 2013).

The fibreglass and light steel frames are often be used in pop- up buildings, because it's lowcost and robust and designers constructed it with rented scaffolding (Inhabitat, 2014).

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Chapter ONE - Innovative Pop-up Architecture and Fashion Orientated Exhibition Stands

2014

17

2014

18

Fig: 1-21: Nicola's Pop Up Shop designed by Chalayan:

Fig: 23: Pop-up store at Printemps Haussmann

The shop uses thin metals in construction and then store mood connect with technology using in often (Inhabitat, 2014).

Pop-up architecture is a current trend for fashion and they always connect with store showcase or department stores windows. After fashion runway show then these products were put in pop-up store for short term presentation (Paris Select, 2014).

023

1-3 Theorists of Pop-up Architecture and Fashion Orientated Exhibition Stands

As

Coco Chanel

a pioneering French fashion designer

communicated: “…fashion is not something that exists in dresses only. Fashion is in the sky, in the street, fashion has

The designer Jean Paul Gaultier advises against not

to do with ideas, the way we live, what is happening”. This

doing the same thing over and over and designers

report argues that innovative pop-up fashion exhibition

should contact with people, such as he said: “I would like

stands at their best connect people to the mood and

to say to people, open your eyes and find beauty where you

stones. Furthermore, at their best, they should include

normally don't expect it”

elements of art and contemporary culture as explored

designers have to skilfully manage the creative impact

in the following case studies.

of their projects. Arguably, good fashion exhibitions

(Gaultier. 2003).

For this reason,

should have clearly defined themes and then search a new method to present a normal space. Finally, the needs and expectations of the sophisticated and savvy viewer should be considered.

Fig: 1-25: From the Sidewalk to the Catwalk, 2013 Stockholm, Sweden From the Sidewalk to the Catwalk which is the first international exhibition devoted to the celebrated French couturier (Photostudio. 2013).

19 024

Chapter ONE - Innovative Pop-up Architecture and Fashion Orientated Exhibition Stands

Jean Paul Gaultier: Gaultier is a French fashion designer, famous for his use of unconventional models for his exhibitions. He remixed fashion elements and interior design in his presenting projects. In 2012, he was named as a member of the Jury for the Main Competition at the 2012 Cannes Film Festival. This is the first time a fashion designer was called to sit on a jury at the festival (Vogue. 2003).

Fig:

1-24

JEAN PAUL GAULTIER

20

025

1-4.1 Dior Exhibition Stages 2014ss (Case study 1)

A beautiful rose garden becomes poisonous...

Bureau Betak 27 Sep 2013 (present 2014 spring/summer) Paris, France Main concept:

As the designer program explains with this collection, the creative director Simons wanted to explore the idea of “twisting, turning, and pushing Dior.” The house presented a maximalist legacy concept which is a beautiful rose garden becomes poisonous” (Dior, 2014).

n the exhibition stage design, he spliced those floral prints,

punk-style, with cryptic word art.

Culture

Dior’s first fashion show was in 1947. They focus on high unit price markets with the brand theme being to create a “New look” for each season (Dior. 2014). Although the brand changed, direction from 2011, it still keeps this traditional culture.

Aesthetic

The fashion presentation space is full of delight element such as colour and garden environment. The stage was also decorated with the spring symbol ‘flowers’ to connect with the spring summer collection.

Political

Due to a change in director three years ago, volume now focuses on a younger look, which is also reflected on the presenting stage.

Environment

The exhibition outside was open planned and the building was found in a France garden of the Musee Rodin, the exhibition was a glasshouse that can be integrated into the local environment.

Social

Dior’s production is shown via commercials and social media from clothes to architecture design. This can be seen in their current fashion brand not only by the focus on clothes but also their care about architectural designs.

026

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Chapter ONE - Innovative Pop-up Architecture and Fashion Orientated Exhibition Stands

Fig: 1-27: Dior pop-up store in Paris, 2013 designed by Bureau Betak: The main runway design wanted to connect with nature theme and then presented the concept of rose garden (Dior. 2013).

027

Metaphor Design

Fig:

1-26

1-28

Fig:

Royal Horticultural Society’s garden opened in London, 2007:

Outlook of Dior fashion show:

Dior pop-up fashion stage represented a typical tropical glasshouse (Dolen. 2011).

This exhibition stand exists in a park which is public place. And the whole house uses easy to move structure materials and a great number of plants (Dior. 2013).

GREENHOUSE

22

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Chapter ONE - Innovative Pop-up Architecture and Fashion Orientated Exhibition Stands

Firmness (Structure, Construction, Materials & Technology)

The building represents a tropical glasshouse with a series of structural metal supports that join together to create a temporary greenhouse-like geometry form. This tropical glasshouse is a lowcost pop-up building and it was created by using locally available materials such as plastic roofing and a variety of flowers. It can be seen that the designers’ method was to create a balance between local materials and luxury stage design in a present context.

Delight (Atmosphere, Aesthetics, Psychology)

Dior wanted to design something organic, exotic and new in this building (Dior, 2014), the exhibition provides colourful tones that are full of vitality and atmosphere. Moreover, the silver background allows highlighting flowers’ colour. The volume is presenting a concept of a spring rose garden.

Commodity (Circulatory Function, Pragmatic Function, Symbolic Function)

This is a high fashion stand and this pop-up building was used to present the Dior collection 2014 spring and summer. The main stage was surrounding by viewers. Since this was a flat stage, the seats were not set up to have many rows, therefore ensuring the viewer's sight line is not obscured. Meanwhile, the sight line build should be considered with fashion orientated exhibition stand.

2

23

029

1-4.2 Alexander McQueen's Fashion Stand 2009 (Case study 2)

Alexander McQueen and Group London, UK/ Paris, France/ New York. USA Autumn/ Winter 2009-2010

Fig: 1-24: The main stage of “The horn of plenty: “It is important to look at death because it is a part of life. It is a sad thing, melancholy but romantic at the same time. It is the end of a cycle—everything has to end. The cycle of life is positive because it gives room for new things (Mcqueen. 2009) (Gleason. 2006).

030

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Chapter ONE - Innovative Pop-up Architecture and Fashion Orientated Exhibition Stands

The horn of plenty

Main concept: “It is important to look at death because it is a part of life. It is a sad thing, melancholy but romantic at the same time. It is the end of a cycle—everything has to end. The cycle of life is positive because it gives room for new things” (McQueen.

2009). Therefore, he used recycled material to create a beautiful exhibition stand that creates a new face through the narrative use of trash.

Culture

This collection is McQueen’s fifteenth collection. He changed the way that trash can also present a beautiful exhibition, as traditionally, trash is hard to connect with fashion themes.

Aesthetic

There are not many decorated settings. Therefore, the viewers can easily focus on the presentation of clothes. Therefore, a successful exhibition stand is not only used to show off their space but also to allow a consideration with how to highlight products.

Political

The fashion show was staged around a giant pile of debris; everything from rubbish bags and crashed cars, with much of the stage being used from recycled props from past McQueen shows (Waplington, 2013). It can be seen in this setting that a fashion show can create a large amount of waste energy that leaves garbage through the present.

Environment

His company earned £32 million despite posting profits until 2008. Fashion always uses a great number of luxury elements from clothes to architecture, because every fashion show is an investment that creates greater opportunities for this industry.

Social

This fashion show introduced a public social issue, which is energy conservation, but the performance still focused on a high social level.

Therefore, people are still hard to touch the contemporary concept in current.

031

Commodity (Circulatory Function, Pragmatic Function, Symbolic Function)

This presenting space size was a 2 floor high-ceiling design and the main stage width was 9*9m square. There was only 90 cm of interval between the audiences and the performers (Vogue.

2010). This distance meant that it was easy for the viewers to see the clothing details and easy movement by one person. The presenting stage itself was an annulus runway and this setting could be an effective use of sight line because the seats can be designed around the four sides and the viewers’ vision ensuring that it is not blocked at any point. A successful fashion stand should consider audience’s vision and make sure there are no blocked points within the exhibition.

Firmness (Structure, Construction, Materials & Technology)

This pop-up architecture can be easily replaced as the structure is built from a light steel frame which is more economic and easy to setup. For reflecting the cloth concept, the interior materials use recycled trash. Moreover, the special design is the stage floor design, which was made from cracked mirror glass. This kind of reflective material can mirror the lighting from ceilings then reduce the lighting setting.

Delight (Atmosphere, Aesthetics, Psychology)

This is a black space. Black and white colour backgrounds are very often used in presenting fashion collections because these colours are not easy to interfere with the products, they also balance the environment with production. Meanwhile, designers used the different lighting colours such as red and blue to change viewers’ mood and make the atmosphere became more abundant.

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Chapter ONE - Innovative Pop-up Architecture and Fashion Orientated Exhibition Stands

Fig: 1-25: Concept came from recycling: He used a great number of trashes to make an art work and tell people trash also can be beautiful Gleason, 2006).

25 033

1-5 Futures of Pop-up Architecture and Fashion Orientated Exhibition Stands

THE future is...

It is agreed by theorists that exhibition spaces need to engage the visitor and emerge theme in the contemporary environment around it. Furthermore, as a famous architect Fabio Novembre said: ‘Architecture and fashion design are not about function but about communication’ (Novembre. 2009). For the reason, fashion exhibitions should always consider the narrative between the audience and creator.

Meanwhile, Philip Beesley, a professor and architecture explains the future trend of fashion and architecture: "I think architecture can be reconceived as something that lives and breathes. And clothing can be reconceived as having multiple boundaries that expand beyond your physiology, as a building does" (Beesley. 2013). This

growing trend can be seen in many different discussions. For instance, Automobile

Association’s (AA) new workshop is about architecture and fashion that aims at tackling contemporary social issues of identity and global thinking generated (Zoot, 2011). Therefore, these kind of fashion design and architecture thinkings will not only extend to in school but also can be seen to other facilities in stores, offices and city plans of our daily life. Moreover, such as Beesley’s “Hylozoic Ground Project” was presenting new fashion architecture at the Venice Architecture Biennale, which presents proposals for a future city that would operate as a living being. Therefore, designers should focus on physiology creating and storytelling in the future.

Fig: 1-26: Philip Beesley (1955): Philip Beesley is a professor in the School of Architecture at the University of Waterloo. His designs combine public buildings with exhibition design, stage and lighting projects.

His work was selected to represent Canada at the 2010 Venice Biennale for Architecture and his project is often discussing an exploration of the interconnectedness of how beauty and building surrounds us (Un-tethered. 2009).

Fig: 1-24: Fabio Novembre (1966): He is an Italian architect and designer. In 2010, the City of Milan was represented by an istallation that he designed and curated in the Pavilion of Italy at Expo in Shanghai (Deaeen. 2010).

Fig: 1-28: Novembre's exhibition space for Steve McCurry, Berlin (2003): Novembre said "Interiors are the stages we design to perform the stories of our lives. Playing each time different roles depending on space and time" (Phaidon. 2004).

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Chapter ONE - Innovative Pop-up Architecture and Fashion Orientated Exhibition Stands

26

Key Findings of Pop-up Architecture and Fashion Orientated Exhibition Stands

Four key findings will be identified in this section. The first is that the new fashion exhibitions should strongly consider the users’ needs and also foster links with the wider environment. In considering the fashion exhibition stands, the previous pop-up performances did not appropriately consider their audiences: instead they over-focused on form and process. The second finding relates to size and colour. In the case studies, it is apparent that pop-up exhibitions successfully attracted audiences and maintained a high level of quality.

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Chapter ONE - Innovative Pop-up Architecture and Fashion Orientated Exhibition Stands

Moreover, the use of simple colours (such as black and white) and the concentrated design of the space showed off well the design volume. The third finding is about communication. Designers should design new pop-up fashion exhibitions that connect to cultural and contextual issues. These could result in bold narrative themes for design, such as Alexander McQueen’s example in Case Study 2. Finally, in the future, designers should consider more directly the moods of customers. A focus on psychology within the context of creating and storytelling will mean that designs will be neither simply functional nor simply superficial. A greater balance will be achieved.

THE KEY FINDINGS

037

“ We n e e d m o r e t a l e n t e d y o u n g s t e r s to make the decision t h a t o u r s i s t h e i n d u s t r y t h e y w a n t t o w o r k i n�

- - J a m e s S l e a t e r, 2 0 1 4 - -

02 C r a f t o f Ta i l o r i n g

2-1 Definition of The Craft of Tailoring

0 01

The word ‘craft’ means 'small trading vessels' and refers to vessels requiring a small amount of ‘craft’ or skill to handle

(Oxford. 2011). However, with

the changing times, craft has developed

a wider meaning. Nowadays, craft generally means an activity involving skill in making things by hand

(Oxford 2011). Thus

"a tailor is a person who makes, repairs, or alters clothing

professionally, especially suits and men's clothing"

(Oxford. 2014).

The trained craftsman can

take up to 100 man hours of craftsmanship from cutting to trimming and then add fitting about 3 to 4 days and the traditional tailor is men’s job. Traditionally, there were 15 to 20 tailors per work shop 80 years ago, but nowadays there are only 3 to 5 people in one working establishment. This is evidence of the industry’s decline.

Tailoring is a skilled craft requiring an accurate working toward specific requirements or measurements and appears to date back to the thirteenth century. Tailoring took on its modern definition in the late eighteenth century, however, with the changing times, the tailoring craft has lost its mainstream appeal with many designers

(Boateng. 2011)

expressing that: “Tailoring was considered to be a world that was very traditional, and basically going out of fashion. Fashion designers did not have a real link with tailoring or tradition”. Thus this chapter will discuss both of the traditional tailoring industry and how this craft could 040

work with the fashion industry to promote itself as a successful brand within the current contemporary market.

Chapter TWO - The Craft of Tailoring

Fig:

2-1

2-2

Fig:

Ozwald Boateng (28February 1967):

Typical tailors' workroom:

Boateng is an English fashion designer and his talent on classic British tailoring and bespoke style. He was appeared in many films and he was also designed for President of the Republic of Ghana in 2007 (Ozwaldboaten. 2014).

A tailor was pressing a pair of trousers in the workroom In 1944 on Savile Row in London (Division. 1994).

02

041

2-2 Evolution of The Craft of Tailoring

Tailoring is the art of cutting and sewing clothes. During the Middle Ages, cutters and tailors joined other craftsmen as important members of the clothes industry because men’s clothes were beginning to have a more tightened shape bringing the contours of human form into the male clothing world (Boyer. 1996). At this time, clothes were made by hand-made, and due to this labour intensive method, the industry needed more tailors. These tailors needed to share their working space and this working environment was hovel like featuring no natural light, was cramp and chaotic and despite the reduction in tailors working conditions are still very poor for modern day tailors.

Secondly, the English moved away from the highly decorative and delicate court style, and took up a more practical form in 17th century and the following the tailoring shops such as Saville Row, were built between 1731 and 1735 and became the most renowned businesses in the UK. In 2004 the street was named the “Savile Row Bespoke Association” and began publishing their online magazine. This association aimed to protect their tailoring brands but also the street as an example of architectural heritage.

However, this did not detract from the fact that the industry’s advanced skills were in decline as “…as time goes on, these master craftsmen became somewhat harder and harder to find” (Hiras,.2014). Furthermore, this declining industry needed to actively explore overseas markets rather than stagnate. Tailors were aware that they did not simply need to protect their traditional craft but also needed to combine with contemporary appeal to improve the appeal of this bespoke brand.

Thirdly, in 2012, a fashion shop (Abercrombie & Fitch) marched into Savile Row but Savile Row has a massive protest because they were afraid it might put the rents up and hit the tailoring industry. In the end, this protest prevented the fashion market’s presence (Savilerow. 2014). However, this industry not only needs to protect their own culture but also need to contend with other clothes industries such as fashion industry.

042

Chapter TWO - The Craft of Tailoring

1297

03

17th

1731

04

05

Fig: 2-3: 1297: Define the word of “Tailor�:

Fig: 2-4: Bespoke Tailors in 17th London:

Fig: 2-5: Savile Row:

The Oxford English Dictionary's first reference to the word "tailor" gives the specific date (Old book opening. 2012).

Bespoke tailoring term from the 17th Century in London and tailors held full lengths of cloth in their premises (Dover Public Actions. 1959).

Originally named Savile Street, it was built between 1731 and 1735 as part of the development of the Burlington Estate. It became the most famous street for Bespoke Tailoring nowadays (Brooksbank. 1955).

043

1876

06

1902

07

1949

08

Fig: 2-6: Workshop in 1875:

Fig: 2-7: Tailoring was for royal group:

Fig: 2-9: Traditional workroom in 1949:

A busy tailor's workshop, with a gentleman being fitted for a new suit. The picture is showing the environment in similar with nowadays (Picture Library. 2012).

Tailoring was for royal group (2-7). This coat tailored by the house in 1902 for King Edward’s footmen are still in service to royal household (2-8) (Sherwood.

2007).

The picture is showing the row tailoring workroom at Henry Poole and Co. London 1949 (Poole. 1949).

044

Chapter TWO - The Craft of Tailoring

2002

2012

09

2013

10

11

Fig: 2-10: A twist on classic British tailoring:

Fig: 2-11: Contend and challenge:

Fig: 2-12: Tailoring school in Asian

Ozwald Boateng is presenting a twist on classic British tailoring and bespoke style which is younger and more modish. Therefore, this industry has different surfaces (Boateng. 2013).

Tailoring industry not only needs to protect their own culture but also need to contend with other clothes industries such as fashion industry.

This picture is showing a fashion brand wanted to occupy Savile Row to develop their business.

Therefore,(Random. 2012) said: “An Abercrombie and Fitch setting up shop on London’s Savile Row is sort of like a McDonald’s opening up next door… that we should protect it” (Random. 2012).

Because of lower salary paying for business, the Asian exist many tailoring school for this market.

However, they don’t use their talent in design. They are just a worker nowadays (Charity Schools. 2013).

045

2-3 Theorists of The Craft of Tailoring

The most famous tailoring craft industry existed

On the other hand, many designers believed that Asian

in London from the 17th Century. For most of its

markets are very important for tailoring craftsmanship.

subsequent history, British tailoring flourished and

As

was often seen as leading industry, typified by Savile

market has for tailoring in general; it’s amazing how

Row. However, in the past decade, it has faced a major

much energy and it always inspires me”. Though such

problem, as highlighted by

the owner of the

developments would assist the British tailoring industry,

tailoring store ‘Cad and the Dandy’: “Britain’s bespoke

it must be recognised that it faces considerable

tailoring industry is facing an alarming shortage of master

competition from cheaper mass production and

tailors. Britain has always led the world in bespoke tailoring

outsourcing, two factors often linked. British tailors have

and our craftsmen are still the envy of every other country

lost their pre-eminent place and in consequence their

but we need more talented youngsters.…” This industry is

skills are not as highly regarded in the market. Owing

losing their younger tailors in the UK, because making

to the demands of low cost, high-speed production,

a suit requires 3 to 4 months of work and tailors only

these traditional crafts have been largely outsourced to

receive 15% income from finished clothing. In order to

developing countries as opposed to the West. However,

attract younger people into the profession, employers

workers in developing countries receive on average $

should offer higher salaries and incentives such as better

0.22 per hour salary as in Cambodia

working conditions and opportunities to learn a more

This is considerably less income than European tailors

diverse range of skills and design styles.

receive. Thus, more and more governments in Asian

(Sleater. 2013)

(Everest. 2014)

stated: “…the appreciation the Asian

(Cambodianews. 2013).

developing countries are considering how to promote and protect their own tailoring industries and not simply through exports.

There are specific cases where the needs of British tailors can be reconciled with the needs of the industries in developing countries. For example, one of the biggest British tailoring companies “Gieves & Hawkes” has been expanding its Asian market since 2012 through Trinity Limited in Hong Kong 2012). This

(Fibre2fashion

company is tapping into emerging business

opportunities in Asian countries such as China and Vietnam. The global tailoring industry is actively reevaluating its connection with different cultures and markets in Asia; with the rise of the Asian market, designers should learn how to promote different storytelling of cultures and aim to cater for diversity of Fig: 2-12: James Sleater: James Sleater is a talent younger tailor an owner his brand

“Cad and the Dandy” from 2008. In 2010, he and partnerIan Meiers won the Bento Entrepreneur of the Year Award at the Macworld Awards (Keikari. 2013).

markets. In short, they should consider the significance of traditional cultures and their narratives when they craft garments, avoiding superficiality and a sense of cultural disconnection.

Chapter TWO - The Craft of Tailoring

A talent young tailor and ALSO owner of “Cad and the Dandy”

Fig: 2-13: The workshop of Cad and Dandy: Cad and the Dandy is an independent tailoring company based in London. The company was founded in 2008 by James Sleater and Ian Meiers (Cad & The Dandy. 2014).

13 JAMES SLEATER

047

2-4.1 Gieves and Hawkes Tailoring Store (Case study 1)

Gieves and Hawkes The contemporary tailoring store in London

Culture

Gieves & Hawkes has over two centuries of trading history in the capital and he has been suppliers to the court of St James' since 1809.

Aesthetic

Gieves & Hawkes is full of classical and luxury showcase design and they stated: “you could be forgiven for thinking that you'd entered a museum” (Gieves & Hawkes. 2014).

Political

Jason Basmajian, former Artistic Director of Brioni, joined Gieves and Hawkes as Creative Director in 2013. He believed Gieves & Hawkes presents these men with a wardrobe of luxurious modern classics from formal and evening wear to suiting and weekend wear.

Environment

Mon - Sat: 09:30 - 17:30, Sun: 10:00 - 16:00 Services: Bespoke and Made-to-Measure Bespoke: Two- piece suit from £3100 Three- piece suit from £3800 Turnover: 20% derived from bespoke tailoring Target Market: Men between 25 and 65 (Gieves & Hawkes. 2014) Social

92 stores and concession in China, Hong Kong and Taiwan. The brand makes British style and expertise brought to China.

048

Chapter TWO - The Craft of Tailoring

Who

Anthony Paine Architecture & Interior Design

Where

Savile Row London W1S 3JR, UK

What

Bespoke Brand Store

Why

For bespoke menswear retail

When

In 1997 Chief Executive asked Anthony Paine to design provincial stores and in 2005 completed a major update of his own original interiors.

How

For house design concept: “Designer developed a idea for a back screen of quarter-sawn English oak with an ebony inlay motif of an enlarged acanthus leaf or a Hokusai wave. Backlit glass cantilevered shelves give the illusion of laser beams� (Gieves and Hawkes, 2014)

Fig: 2-17: Workshop of Gieves & Hawkes: The workshop is founded in the underground floor and the big table is their main working area (Taub. 2014).

14 049

Firmness (Structure, Construction, Materials & Technology)

The higher ceiling is a main design. The structure using Roma pillars to support. The building is traditional, classical but also colourful. They design a traditional pattern ceiling and an old school heater and Bronze Iron railings to build the environment. Attention to detail was of paramount importance; the interior of the stand was used to showcase archive pieces and modern day suits.

Commodity (Circulatory Function, Pragmatic Function, Symbolic Function)

This store has both of working spaces and shop spaces and the largest surveyed premises with 1415m2 of space. Basement used for workrooms, storage and office; ground floor used for retailing; first, second and third floor are Gieves & Hawkes offices. Therefore, they want to create a symbolism of museum style so the interior is 3 floor celling height. However, compare with shop spaces, the workshop is dark and crowd for tailors.

Delight (Atmosphere, Aesthetics, Psychology)

They use a lot suspended decorations and classical elements such as woof floor and hollow stairs in their lobby. The colour and shape is diversification and artificial but all of them are surrounded classical and luxury theme. They want to create a museum atmosphere so they design many different showcase areas and each area exist different personalities.

When visitors go there that they can feel this store full of old school film landscape feeling.

However, at the same time, the tailors’ workshop environment is narrow and small.

Fig: 2-15: Tailoring store: Gieves & Hawkes:

Fig: 2-16: Store space of Gieves & Hawkes:

The store was ounded from 1997 in London and it is one of the famous tailoring stores nowadays. The pic is main indoor design (Gieves & Hawkes. 2014).

The space is presenting a classical atmosphere. Red and brown are main colours in this store (Gieves & Hawkes.

2014).

050

Chapter TWO - The Craft of Tailoring

13

15

16

2-4.2 Scabal (SCABAL N°12) Tailoring Store (Case study 2)

Culture

This brand was started from 1938. Nowadays, the stores not only exist in Europe such as London, Paris but also develop to Asian as Beijing, China and Mumbai, Indian in current day.

This is connecting the theory which is tailoring brands already trend to Far East countries.

Political

The store offers the full range of Scabal clothing and appointments are available on request or simply by walk-in.

Aesthetic

This shop translates tradition, craftsmanship and masculinity into a new store that blends heritage and new beginnings. Then ,the suit handcrafted according to the strict bespoke tailoring traditions of Savile Row. Economic

Opening Hours: Monday to Saturday 10:00 am – 6:00 pm The cheapest two-piece bespoke suit will start from £800 Time taken: Six weeks to three months Social

This shop has its headquarters in Brussels. It provides employment to some 600 people. The company is privately owned and is represented in over 65 countries from Europe to Asia.

052

Chapter TWO - The Craft of Tailoring

Who

Blocher Blocher architecture and design (Stuttgart) Shop Fitting & General Contractor: Ganter Interior, Tauberbischofsheim Lighting: Elan Beleuchtungs & Elektroanlagen, Cologn

Where

12 Savile Row, W1S 3PQ London, UK

What

Bespoke Brand Store

Why

For bespoke menswear retail

How

“Blocher Blocher Shops translates tradition, craftsmanship and masculinity into a new store that blends heritage and new beginnings� (Scabal, 2014).

17 Casa Frumoasa...

Fig: 2-21: Outlook of Scabal: The space is presenting a fresh and luxury atmosphere from showcase's window to interior design (Scaba. 2014).

053

Commodity

This is a luxury tailoring retail and the space exist “Hollywood” style “The space itself: an ode to exclusive couture; one might call it the deluxe version of a tailor’s workshop” (Scabal. 2014). There are four zones, which is reception hall, treasure chamber, inner courtyard and salon. Lapis lazuli (blue stone) is their symbol of the brand that all store designs follow this therapeutic properties and aesthetic characteristics.

Delight

All spaces are done in tones of brown and grey for displaying high-quality fabrics. It is paneled in a fine walnut veneer in salon space. The store is appearing brown style but focal point is blue as its symbol. The atmosphere is presenting discreet luxury and they pay attention in good entertainment so clients can enjoy the service in here.

18

Fig: 2-20: Store space of Scabal: The space is presenting a fresh and luxur y atmosphere. Grey and brown are main colours in this store (Scaba. 2014).

054

Chapter TWO - The Craft of Tailoring

Firmness

The structure designs with ecoration in the special “lapis lazuli blue” shade and stone shapes. The construction used a classical masculine style and it shows incisively grained walnut veneer panels, set crosswise from floor to ceiling. This project also connect interior with a light-flooded street window in the form of a glass cube which bring into adequate natural lighting. On the other hand, the shop’s materials are high qualities: fabric covered arm chairs are clustered around a leather covered Chesterfield-style table and an anthracite coloured carpet is founded in lobby.

19

Fig: 2-23: Store space of Scabal: The space is presenting a fresh and luxur y atmosphere. Grey and brown are main colours in his store (Scaba. 2014).

055

2-5 Futures of The Craft of Tailoring

ASIA MARKET IS THE future...

Fig: 2-24: Timothy Everest (1961): Timothy Everest is the quintessential British tailor and designer who enjoys the highest critical acclaim for his eccentric style and modern attitude. He owns his brand Timothy Everest on Savile Row and he is at the forefront of the bespoke menswear (Harrywatts. 2014).

056

20

0

Chapter TWO - The Craft of Tailoring

Tailoring is a complex craft industry and they focus on their traditional culture and professional skill in present. Such as (Everest. 2011) stated: “We want to become the benchmark. That’s why for modern tailoring it’s very important to understand what’s going on in culture, but also for us to invest in training and tailoring so that we can make things better. This is very important to us”. However, with the rise of the Asian market, the culture has a new define. “Blended working will become a popular delivery method in the future of workplace learning not only in Western countries but also in Asian countries…there is a pressing need…”

(Kim, Bonk and Teng. 2012). This

means workplaces should without Borders and then tailoring is

becoming a global industry. As we know, the Western countries are Investors and Asia is a producer.

Tailoring industry should balance both advantage then create the best benefit for them. The Western system is blameless because their long history. In contrast, establishes individual Asia culture and provides their working environment is the current future trend.

Fig: 2-25: Developing Asian Market: Asian tailors have not developed their own market.

Thus establishes individual Asia culture and provides their working environment should be a current future trend (Adam Tailoring. 2014).

21

Key FindingS of The Craft of Tailoring

22 058

Chapter TWO - The Craft of Tailoring

Tailoring as a profession has a long history but it faces many challenges at the present time. Firstly, this industry is losing young tailors because the income does not match the time invested, so it is not cost-effective. In addition, more and more people prefer to purchase clothes quickly and easily.

Therefore, this is a drawback for smaller tailoring businesses who seek to protect their traditions but find difficulty with fast and low cost production. That is one of the aims in this project: namely to promote and preserve domestic British tailoring but to encourage it to take a new direction.

Secondly, with the rise of the Asian market, tailors in those countries should learn how to promote different story telling of cultures and aim to cater for diverse markets. In short, designers should consider the significance of traditional cultures and their narratives when they craft garments, avoiding superficiality and a sense of cultural disconnection.

Therefore, they need to reinforce individual Asian cultures and provide better working environments. This should be the future trend. The global fashion industry has a considerable impact on the tailoring industry at present. However, fashion – and the trends it popularises - is more influential than ever for the clothes industry, so tailors should co-operate with fashion, whilst at the same time maintaining their classic traditions, so that traditional crafts can be renewed.

Fig: 2-26: Futrur trends for tailoring industry: British tailoring industry should drawback for smaller tailoring businesses who seek to protect their traditions. Moreover, they need to reinforce individual Asian cultures and then provide better working environments. Then, it should be mix the adventage of both areas to promote this industry (Author of report. 2014).

THE KEY FINDINGS

059

“ F u t u r e Tr e n d s i s c h a n g i n g t h e r e t a i l l a n d s c a p e” --Jaff Kindleyside, 2008 --

03 The Architecture o f S p a c e s f o r Ta i l o r i n g

3-1 Definition of The Architecture of Spaces for Tailoring

0

SAVILE ROW Space is the three-dimensional concept in which objects and events have relative positions and directions. Many industries are involved in designing, making, storing, and showing which exists in different functions. “Linking production to retailing is an important and essential tradition” Group. 2006), because

(City Planning

tailors need to be involved at each stage from measuring, cutting to finishing a

suit, so that every stage and space should be linked from production to retailing.

“The relationship between the process parameters and the critical quality attributes can be described as the design space” (Shetty. 2012). Thus, space in this respect, is an area for producing clothes which can be factories or workshops. Thus both design and manufacturing spaces are often narrow and dark because of cost considerations; consequently, they are often allocated to underground floors.

On the other hand, “retailing consists of the sale of goods or merchandise from a fixed location, such as a department store or kiosk, or by post, in small or individual lots for direct consumption by the purchaser” (Internship and Career centre. 2014).

Storage space displays a quantity or supply of clothes kept for use

as needed whilst showing space is an area for display. Therefore, storing and showing spaces are connected with retail spaces. Thus, retail spaces include shops, shopping malls and virtual shops.

These spaces are always more beautiful and luxurious in comparison with the working and design spaces because these spaces have a dedicated selling function.

062

Chapter THREE - The Architecture of Spaces for Tailoring

Fig:

3-1

Typical bespoke tailors’ workshop for working: The working environment is similar between the UK and world. Therefore, Vienna today is still a bastion for bespoke craftsmen, especially shoemakers and tailors (Schneider. 2011).

01

Fig:

3-2

02

Selling and showing space in Vienna: Vienna tailoring store of tailor Wilhelm Jungmann & Neffe, which was established in 1836 (Schneider. 2011).

063

3-2 Evolution of The Architecture of Spaces for Tailoring

The profession of the tailor was born during the middle ages. In some respects, the working environments are not vastly different between the middle ages and current days. In the 1760s~1800s, workers only had a large table and the environment was dark and dirty. The main lighting setting was easy to focus on detailed activities such as sewing buttons and, sewing pockets. Compared with nowadays, as

(City Planning Group. 2006)

notes “75% of all tailoring

floorspace is at basement and ground level, enabling the tailors to be visible to customers at street level”, and workrooms were busy and confined environments. It could be argued that there have been no major changes between the two eras. Although there have been some changes in technology.

However, there have been changes in the selling environment from the middle age to nowadays. First of all, a tailor is a job which supported other branches of the male clothing industry in 1700

(Boyer. 1996). At

this time, the tailoring spaces did not have

a dedicated selling area. Afterwards, in 1800s the Saville Row provides the classical but steady selling environment because they focus on men’s consumer groups.

Nowadays, tailoring shops change to become selling a boutique experience and choices become more widely. On the other hand, the shops often be set on ground floor, such as 2006)

(City Planning Group.

stated: “This retail space is mostly at ground floor level, which

reflects the importance and benefits of being visible to clients at street level”. The storing and showing spaces will become clear and then close to their selling theme. Nowadays, tailors’ working space still need to be improved because it needs become close with customers and such as

(City Planning Group. 2006)

most important space for whole store”.

064

believe: “that it is the

03

Chapter THREE - The Architecture of Spaces for Tailoring

Fig: 3-3: Workshop in Savile Row: 75% of all tailoring floorspace is at

basement and ground level, enabling the tailors to be visible to customers at street level (Styleforum. 2012).

065

1760s-1800s

1800s

04

1912

05

06

Fig: 3-4: Tailors workshop: 1700~1800:

Fig: 3-5: Working area in 1800s:

Fig: 3-6: Tailors’ shop 1912:

The interior of a Tailor's Shop and the main furniture is a big table (Public domain. 2002).

Tailors often worked at home. It was also at this time that the French Revolution and the storming of the Bastille were taking place (Kathy. 2010).

Tailoring workshop on St. Helena Island 1912 (Helen 1955).

066

Chapter THREE - The Architecture of Spaces for Tailoring

1944

6

1944

07

1960

08

09

Fig: 3-7: Tailor’s workshop 1944:

Fig: 3-9: Henry Poole & Co 1944:

Fig: 3-10: Carnaby Street 1960:

The workshop is no different with 30 years ago (Henry Poole & Co. 2014).

Henry Poole & Co is a gentleman's bespoke tailoring store located at Savile Row and this is its selling space 1944 (Henry Poole & Co. 2014).

Carnaby Street is a shopping street in London, located in the Soho district. This is an important area for retail (Londontown. 2010).

067

2014

10

2014

11

2014

12

Fig: 3-11: Stephen Hithcock tailoring store:

Fig: 3-13: Working and selling space of Scabal:

Fig: 3-14: Showing space of Kilgour:

Stephen Hithcock store from designing, working to selling. The two areas are separated. Working area is located underground floor and selling area in in ground floor (Stephen Hithcock. 2014).

This store connects working with selling space which is better for tailor because as (City Planning Group. 2006) said: “tailors need nature light� (Scabal.

2014).

This store creates a boutique experience and customers cannot see any suit in this store. The selling space is presenting a hotel atmosphere (Kilgour. 2014).

068

Chapter THREE - The Architecture of Spaces for Tailoring

2014

2014

13

14

Fig: 3-16: Selling space of Ozwald Boateng:

Fig: 3-17: Working space nowadays:

This is a modern selling space and it is younger and the selling space gives this industry a new thinking and present a new look (Ozwaldboateng. 2014).

Although showing and selling spaces have a great number of different looks but the working space are still no different with 60 years ago. This is typical Savile Row workshop nowadays which is often founded in underground floor and the space is narrow and small (Author by report. 2014).

069

3-3 Theorists of The Architecture of Spaces for Tailoring

Nowadays, tailors’ workshop is still narrow and small.

Design and working spaces are very important for tailors, but this industry still didn’t provide their working environment. (City Planning Group. 2006) also believed: “despite the stated importance of having workroom space, most were found to be busy and confined environments”. Therefore, with the decline of tailoring industry, the workshop should pay attention to promote in present. Moreover, with his theory, people can prove that the quality of working space is important for tailors. In order to allow tailors’ craft to be exerted in optimal conditions, the environment should not only pay attention to the plan of space but also needs to consider lighting setting. Indeed, as City Planning Group convincingly argued: “Tailors need access to natural daylight, especially for fitting buttons, sewing pockets and buttonholes, and adding linings” (City Planning Group.2006).

On the other hand, showing and selling spaces are focused on user needed and experiences. The modern retail industry nowadays sells experiences as much as it sells products. Therefore, (Kindleysides. 2008) stated: “We are currently entering an interesting phase in physical retailing, one which will challenge retailers and brands as they seek to satisfy the ever increasing tangible and intangible needs of a consumer who is increasingly hungry for reward and social participation”.

In user’s perspective, they argue that promoting more interactive shopping experiences is more meaningful than simply focusing on sales.

JAFF KINDLEYSIDES 070

15

Chapter THREE - The Architecture of Spaces for Tailoring

Fig: 3-18: Jaff Kindleysides: Kindleysides is talent in retail design who owns his company “Checkland Kindleysides” with designer Checkland. He writes regularly for the design and marketing press and is often asked to judge industry awards (DesignCurial. 2014).

Fig: 3-19: Checkland Kindleysides Designs for Dr Martens: The current trend is selling boutique experiences for selling spaces. “We are currently entering an interesting phase in physical retailing…” (Kindleysides. 2008) said (Ozler. 2011).

16 071

3-4.1 215 Years of Denman & Goddard Ltd. (Case Study 1)

Who Peter Day and David Cook Where 11 St George Street Hanover Square London, UK What The store was founded in tradition and history, and the abundant experience this store becomeone of Savile Rows foremost Bespoke When From 1853 to 2014 How The store makes elegance bespoke creations by hand- made whatever the garment or occasion.

Culture

This shop was founded in 1853 and was originally described as “Tailors and Drapers”, and the oldest part of the company was founded in 1797 which named Hicks & Sons.

Political

This Company has numbered many famous clients, particularly in the fields of politics and the professions. Therefore, the Company has always serviced client’s needs both civil & military from Europe, Russia to America.

Economic

Monday - Friday: 9.15am to 5.15pm, Saturday: By Appointment.

The basic 2 pieces bespoke suit is up to £3000 Aesthetic

The interior design followed old school style which is full of wood texture and brown colours.

Social

This Company was focused on royal social group such as Majesty’s King George V & King George VI 150 years ago.

Chapter THREE - The Architecture of Spaces for Tailoring

Fig:

3-21

Denman & Goddard workshop: The working and designing areas are no different with other contemporary tailoring store although the working space is important for this store (Lizzie Atkins. 2013).

17 073

CLASSICAL AND MATURE SHOWING AND SELLING AREA Commodity (Circulatory Function, Pragmatic Function, Symbolic Function)

This is a typical tailoring store and this store has been sharing premises of tailors Steven Hitchcock since 2003. The working area is founded in underground floor and working space is surrounded a main table. Working space is the largest use and the working area is a typical workshop which is no decoration, no style and working is narrow and small which is only suit around 4 people (2 main tailor and 2 assistants) to work together. The ground floor is a showing space and a rest area in the front of store and there is also a measure space a fitting room in the back. There is also a window which fronts onto Savile Row and showcases..

Firmness (Structure, Construction, Materials & Technology)

The workshop is founded on underground floor. The supporting is around the house and the material is ferroconcrete. The nature lighting is coming from window which make space has a little broad sense in the morning. The interior of the stand was used to showcase archive pieces andmodern day suits.

On the other hand, there is a decoration ceiling in the store area and a crystal Light in the centre of ceiling which presents Europe style 100 years ago. It is symmetric indoor space and the path is in the middle. The furniture and floor materials are wood which is showing men’s alm style and colours.

Delight (Atmosphere, Aesthetics, Psychology)

Working space is not beautiful because they are focus on convenience and specialty that every tools cabinet is closed. It allows natural daylight into the building, which is crucial to people doing the detailed finishing of suits. The artificial lighting is white light which is suited for working. However, comparing with working area, store space is yellow lighting style. Moreover, the store uses less suspended decoration which is neat and clean. The main decorations are a crystal light and an antlers and the space is presenting a classical atmosphere. The whole store space is steady and mature.

074

1

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Chapter THREE - The Architecture of Spaces for Tailoring

Fig: 3-18: The store lobby of Denman & Goddard : This store space is presenting yellow colour because their clients are men and this colour is classical and mature for their customers (Denman & Goddard. 2008).

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3-4.2 Ozwald Boateng Tailoring Store OBE (Case Study 2)

OZWALD BOATENG A Contemporary yet sophisticated store

Fig: 3-27: OBE lobby: Purple background makes

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boutique atmosphere and environment become luxury (Boateng. 2008).

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Chapter THREE - The Architecture of Spaces for Tailoring

Where

30 Savile Row, London UK

Who

David Adjaye

What

Contemporary tailoring store

Why

Focus on younger and modern customers

When

At the end of 1994, Ozwald Boateng has opened his first store on Vigo Street. Therefore, with the birth of the Savile Row House in 2007 designed by world famous architect David Adjaye.

How

The architect went dark and atmospheric and the interior is blackchocolate and purple hues.

Culture

He became the youngest and first black tailor to have a store on the Savile Row. Ozwald Boateng's iconic contemporary twist, refined fabrics and contemporary silhouettes offer a unique luxury experience to men of all generations.

Aesthetic

His brand consistently breaks new ground, combining fashion, design, art and architecture.

Political

His brand is focus on fresh, young clients and creativity tailoring.

Environment

Mon-Sat 10am-6pm; Price range: a two-piece bespoke suit start from ÂŁ4,100 incl.VAT, a made-to-measure starts from ÂŁ1,600 incl.VAT; Social

This brand caters for fashion and media clients that colour choice is more abundant.

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A r c h i t e c t u re A n a l y s i s

Commodity (Circulatory Function, Pragmatic Function, Symbolic Function)

There is a contemporary tailoring store and there exists a private gallery of nearby Cork Street. On the other hand, their suits are designed and made in the basement studio, but customers requiring made-to-measure clothing will be ushered into the bespoke room. Designer (Guy Tabberer.

2008) said: 'We wanted to create an environment that expressed Ozwald Boateng's passion for colour, heritage, modernity and Savile Row etiquette. It needed to feel like a modern gentlemen's club�. Therefore, the store used a great number symbol such as black lobby and purple show room to create a luxury club like store.

Firmness (Structure, Construction, Materials & Technology)

When visit the lobby, customers can see ceiling height is a 3.5m and five pivoting mirrors are incorporated within the wardrobe structure. This store is created a 30m-long recessed lighting track in the ceiling and then the walls and ceilings are covered macassar ebony veneer and combined with floor to ceiling mirrors. For this case, they design a lot of macassar because designers liked different character from macassar veneer (Pattison, 2008).

Delight (Atmosphere, Aesthetics, Psychology)

Firstly, bespoke display furniture in combination with purple seating and an aubergine carpet for a touch of regal luxury. In this case, lighting is the most important and the clever lighting gives centre stage to the merchandise, best demonstrated in the display feature of 16 units opposite the entrance. Secondly, the floor is covered in black ceramic tiles and wardrobe is

Fig: 3-26: OBE store:

made from black oak. In the bespoke room, the lighting was

The black colour is the main background colour which is mature but younger and pop in this store (Boateng. 2008)

more about atmosphere. Comparing Lighting using with black furniture setting can make store space more modern and give an individual personality and the atmosphere changes to a richer from selling space to rest area of the store.

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Chapter THREE - The Architecture of Spaces for Tailoring

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3-5 Futures of The Architecture of Spaces for Tailoring

Tailoring is one of the retail industries. Like every other built environment serving a social purpose these days, retail is going to thinking about two ways: what customers want, and what their traditional business models require.

Combining and comparing both themes, tailoring industry is pushing their brand exist boutique experiences. Such as

(Woudhuysen.2008)

stated: “The ability of trends research to

generate vital insights into customers’ and users’ future needs is making the practice increasingly important for all sectors”.

Retailers are not only selling quality products but also selling good services. Therefore, customers should feel delight in shopping journeys.

Moreover, Kindleyside also explains the challenge in the future trend: “… the challenges are first in the understanding of consumers; deciphering and then interpreting a mix of needs and desires that create unique shopping experiences; then in satisfying the consumer’s expectation of an information-rich dialogue at retail, with a hunger for live interactive experiences.

Balanced against this are demanding commercial realities and pressures to create a greater use of space, at a time where we are redefining of the role of a store and its importance for individual communities” (Kindleyside.2008). These concepts are all surrounded the idea of “individual service” and the industry is going to focus on customers’ mood and creative a suitable environment to entertain. Create a good memory is very important and interactive experiences can make memory much stronger. Therefore, tailoring industry can be enhanced the sustainability goal in the future.

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Chapter THREE - The Architecture of Spaces for Tailoring

Fig: 3-28: Professor James Woudhuysen: James Woudhuysen is Professor of Forecasting and Innovation at De Montfort University, Leicester (School of Design). He is offering counterintuitive proposals on what to do about future trends of innovation design and his research group is called “Design and New Product Development�

(Transdisciplinary DMU. 2013).

21

JAMES WOUDHUYSEN 081

Key Findings of The Architecture of Spaces for Tailoring

THE KEY FINDINGS...

22

Fig: 3-29: Between the working spaces and the retails: Tailors’ designing and working environment is narrow and restricted which should be improved, but the style of retail has become more wide-ranging nowadays. However, the retail also need to desire for a ‘shopping experience’ with individual communities for customers in the future (Google image. 2014).

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2

Chapter THREE - The Architecture of Spaces for Tailoring

In the long term, this issue needs to be addressed in terms of design space. Secondly, showing and selling space needs to be reconsidered. Tailoring shops have already started to instil a greater range of personality and individuality into their retail spaces: increasingly, these shops are presenting dissimilar atmosphere and aesthetic nowadays. Three key findings will be identified in this section. Firstly, design in the working space needs to be reconsidered.

Nowadays, 75% of all tailoring floor space is at basement and ground level. Consequently, the tailors’ designing and working environment is narrow and restricted. This must be improved because tailors need more natural lighting for detail working, such as swing buttonholes and adding linings. Therefore, the style of retail has become more wide-ranging and this method can also allow them to focus and target different customer demographics and age ranges. Thirdly, there is growing awareness of customers’ needs and their desire for a ‘shopping experience’. In designer Kindleyside’s view, the future challenge is to reflect the mix of customer’s needs and desires, thus creating unique shopping experiences; individual communities are indispensable for customers.

23

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04 The Conclusion

The CONCLUSION

To sum up the research, more effective promotion

Secondly, the tailoring industry is increasingly selling

of tailoring craftsmanship should be considered for

boutique experiences rather than selling products. It

various reasons. The main purpose of the tailoring

can cooperate with retail industry to present their

industry is selling and promoting boutique experiences.

products. Tailoring shops have already started to instil

Thus creating good memories is the most important

a greater range of personality and these retail shops

element of this.

are presenting different atmosphere and aesthetics.

In the past, tailoring was the leading industry of menswear. This industry matured in 17th Century London and has now expanded to Asia and become a worldwide craft at present. The traditional tailoring craftsmanship is for bespoke suits, which present a professional man's image. However, more and more people prefer to purchase clothes quickly and easily.

This puts the industry at risk of decline. In addition, British tailoring cannot attract young tailors to join its craft because of its low cost production and basic and undeveloped working environment. Therefore, the tailoring industry is currently considering establishing more factories in the Far East. However, Asian tailors simply focus on exports and produce European bespoke suits style which alone cannot promote the development of their own tailoring industry. For this reason, tailors in those countries should learn how to promote clothes representing a different story telling of cultures and aim to cater for diverse markets. On the other hand, tailors’ working environments are still too narrow and small. This deficiency should be improved because this craftsmanship needs adequate

In addition, the tailoring industry not only focuses on the ‘older professional male’ demographic and style.

This industry is going to consider and target different customer demographics and age ranges. For instance, Ozwald Boateng’s tailoring store is resplendent in deeper colour and its atmosphere is redolent of a pop style, which targets more assertively younger customers as well as the traditionally older clients. On the other hand, fashion is more influential than ever for the clothes industry, so more and more tailors are beginning to co-operate with current fashion modes.

At the same time the tailoring industry is not only maintaining its classic traditions but also renewing their traditional crafts. Moreover, new fashion exhibitions should strongly consider the clients’ needs and also foster links with the wider commercial environment.

Designers should connect with cultural and contextual issues which could result in bold narrative themes for future designs. Thus creating positive and vivid memories is very important and interactive experiences can make memory a much stronger influence in retail sales.

lighting to support detailed work such as swing

In the future, designers should consider the significance

buttonholes and the adding of linings. Furthermore,

of traditional cultures and their narratives. Thus the

with the rise of the Asian market, tailors in those

challenge is to reflect the mix of customer’s needs and

countries should promote their own distinctive

desires, thus creating unique shopping experiences and

narratives and traditional cultures. To sum up, they need

attracting audiences whilst maintaining a high level of

to reinforce individual Asian cultures – as represented

quality. The theme must focus on psychology within the

in clothing products and provide better working

context of creating individual communities. This can

environments.

become indispensable for customers: it is not simply a question of designing forms but not only designing forms and styles. Therefore, the designs presented will

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reflect a balance between functions and experiences.

Chapter FOUR - The Conclusion

Finally, there are four key findings that will be identified.

First of all, the tailoring industry should both protect its traditions and promote other developing Asian markets. This industry needs to adopt incentives such as better working conditions and opportunities for employees to learn a more diverse range of skills. This would attract young tailors to join. At the same time, the industry should consider different cultures in its aim to cater for diverse markets. In addition, both British and developing Asian market tailors are still working in narrow and confined spaces. These working areas should be improved urgently in the present time, because adequate lighting setting is one of the most important elements for tailors’ work. Thirdly, the tailoring industry already aligns itself closely with the fashion industry to promote its products and they also focus and consider different customer demographic groups.

However, many designers still create forms and shapes but do not present them imaginatively in a ‘storytelling’ context. To do this in their future projects is a main development that should be promoted.

Thus, in establishing both exhibitions and retail spaces, designers should consider more directly the moods of customers and adopt narrative themes which will attract audiences, viewers and consumers alike. Finally, in better presenting its spaces, the tailoring industry should reflect the mix of customer’s needs and desires and aim to create individual shopping experiences.

Therefore, designing such a narrative should focus on the consumer’s psychology and seek to achieve a greater balance between spaces and consumers.

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05 Three Concepts

5-1 Design Project Rational

Three Concepts of the Project In this report, three design concept are proposed and analysis to determine which has most potential to developed in an appropriate final design project.

Three concepts are focus on different proposes and different operational department: 1. Bespoke Class - Tailoring service space in British Airways Business Class lounge.

2. Craftsmanship Station - A tailoring exhibition space for presenting the Indian traditional tailoring craftsmanship in India Railway station.

3. The Tailor’s Trunk - A tailoring exhibition space for presenting Savile Row Bespoke Associate in British Train Station lobby.

Afterwards, the three potential project concepts are subjectively evaluated using different analytical tools: ‘C.A.P.E.S Analysis’ which describes the current operation in terms of ‘Cultural’, ‘Aesthetic’, ‘Political’, ‘Economic’ and ‘Social’ perspectives.

‘The Elements of Architecture Analysis' defines and describes architecture in terms of ‘Commodity’, ‘Firmness’ and ‘Delight’.

'SWOT Analysis' considers and analysis the exhibitions' ‘Strengths', 'Weakness', 'Opportunities' and 'Threats'.

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Chapter FIVE - Three Design Concepts

01

Fig: 5-1: Locations of three concepts: The Tailor’s Trunk (left), Craftsmanship Station (right) Bespoke Class (below), (Author of report. 2014).

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5-2.1 Bespoke Class (Concept 1)

Bespoke Class Tailoring service in British Airway Upper Class lounge

SERVICE: Tailoring SITE: British Airway- Business Class Lounge SHOW: Modern Style What

A contemporary exhibition space for tailor service & presenting the Savile Row tailoring.Selling clothes for individual customer

Why

and it also provides a good quality from their service. The airplane’s business class is also existed a luxury and comfortable environment. It is a good opportunity to connect the luxury atmosphere with tailoring customized to promote tailoring craftsmanship.

Where

Upper class lounge, Heathrow Airport, London, UK.

Who

Professional man 25~65.

How

Steel structure, aluminum alloy panel board and glass showcase.

Culture

The tailoring culture needs to with internationalization and it can be seen more different users’ markets in airport.

Aesthetic

Connecting with luxury design of business class and then create a contemporary aesthetic service spaces.

Political

Time management is very important for businessman. The waiting time can be used into measure size of suits which could be one of attraction for this concept.

Environment

High consumption of younger professional businessman is the target group.

They can afford the high price products.

Social

Both tailoring and airplane business class are focus on high consumption. It is easy to focus on specific social customers.

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Chapter FIVE - Three Design Concepts

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A rc h i t e c t u re A n a ly s i s

S WO T A n a ly s i s

Commodity

Strengths

Pragmatic Function: Boutique showcases with tailoring

Bespoke suits are important clothes for businessman.

service; Circulatory Function: Showcase areas, Order

However, businessmen are often busy and they need

counter, Seating areas; Symbolic Function: Prestigious

to efficient use time. Therefore, this concept is using

luxury spaces

long waiting time to measure and making suits. The Firmness

Structure: Following steel structure from airplane and then add organic; principles with glass showcase;

successful time managements could pushes more businessman want to book suits from airline then promote this craftsmanship.

Construction: Environmentally light, sustainable space;

Weakness:

Materials & technology: Aluminum alloy panel board,

There are limited passengers can visit Business class

Aviation materials, Tempered Glass, Multimedia

lounge and not every passenger is interesting in

technology

bespoke suits. Therefore, the economic consideration Delight

is a weakness for this concept.

Aesthetic: Natural materials and boutique

Opportunities

environment,Silver and white; Atmosphere: Luxury, Pure,

The concept could get customers from different

Contemporary; Psychology: Reinforces a comfortable

countries and tailors can have more opportunities for

visual environment. Impact on visitors

servicing different compatriots. For this reason, it could attract more young tailors to join this industry because it is opportunities to contact a more diverse range of skills and design styles.

Threats

Because people come from different countries and they will not stay for a long time that the considerations of after-sales service could impact customers’ willingness.

Some customers could trend to book suits from physical store in their own country. Therefore, this concept should confrontation with physical store.

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Chapter FIVE - Three Design Concepts

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Staffs: Lobby administrators: They service and promote experience of boutique.

Tailors: They need to measure clothes and then maintains service qualities.

Customers: Main Customers: Professional men 25~65 who need to attend important occasions such CEO, businessman and male socialite.

General Visitors: The international visitors who use business class lounge and interesting in bespoke suits or enjoying look around exhibitions.

User profiles: CEO: Christopher Bailey (1971): He is chief creative officer and CEO designate of Burberry. He is responsible for the company’s overall image Businessman: Nick Jones (1963): He is the owner of the Babington House hotel and health club and founderand chief executive of Soho House UK Ltd. Male Socialite: Simon Cowell (1959): He is an English television music and talent competition in present.

COLOURS & PATTERNS

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Chapter FIVE - Three Design Concepts

Target market Core market: Professional businessman 25-65 years old Secondary: Stylish men 18-65 years old.

Clients: Timothy Everest: A British high street retailer since 1999. The brand was cooperatedwith “Superdry� in 2011 and it is a new generation tailoring brand.

Virgin airline (Virgin Atlantic upper class lounge): The airline founded in 1984 which ispresenting younger and fresh service.

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5-2.2 Craftsmanship Station (Concept 2)

Craftsmanship Station An exhibition space for presenting Indian traditional tailoring

SERVICE: Tailoring SITE: Train Station Lobby SHOW: Tradition Style What

An exhibition stand for promoting Asian tailoring craftsmanship.

Why

India is a potential Asian market for craftsmanship because it growing economic and strong cultural flavour. Train is a popular and public transport for this country. Therefore, setting an exhibition in here could attract more people to visit.

Where

Waiting lobby, New Delhi railway station, India.

Who

Indian professional men 18~50.

How

Connecting with iron structure and Indian traditional fabric to construction.

Culture

Indian Railways is the world’s second-largest employer with around 1.6 million employees. More than that, they’re a part of the culture and provides of a shared experience for a diverse nation.

Aesthetic

Designed the same cultural atmosphere as ingrained in railway lobby in New Delhi.

Political

Attracting more customers to promote traditional tailoring craftsmanship by crowd ofpeople.

Environment

Applying more working opportunity for local tailors and then create more income for both Train Company and tailoring industry.

Social

Tailors can contact with a higher social status and reducing social class distance.

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Chapter FIVE - Three Design Concepts

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A rc h i t e c t u re A n a ly s i s

S WO T A n a ly s i s

Commodity

Strengths

Pragmatic Function: Tailoring exhibition and service

The Raymond is a local suit brand which also exist

space in lobby of train station. Circulatory Function:

bespoke suits. However, only little Indian choose the

Exhibition stands, Showcase, Order counter. Symbolic

part of bespoke suits. These concept focuses attract

Function: Propaganda. Indian traditional cultural

more people to understand bespoke suits and then

elements.

promote local tailoring brand. Therefore, there are Firmness

Structure: Pop-up stand connects with planning of train station, Firm and iron structure. Construction: Environmentally light, Space of traditional cultural elements. Materials & technology: Local materials such as stones and woods, Traditional pattern with fabrics,

two strengths for this concept. Firstly, local tailoring craftsmanship will be promoted, because more and more visitors and customers will see this exhibition in public area and attract customers to buy bespoke suits.

Secondly, improve image of the brand; the exhibition will be advertising for Raymond.

Weakness:

Contemporary Sustainable technology.

Delight

Aesthetic: Indian traditional shapes and textures, Colours and pattern taken from natural materials and local environment. Atmosphere: Local, calm, Contemporary and new visual experiences. Psychology:

Train is the most important transport for Indian so many consumer groups will visit that consumer groups are hard to focus. Secondly, Showing luxury suit in public areas are dangerous in India and the exhibition supervisors need to pay attention to note thief.

Reinforces a comfortable visual environment. Impact on visitors.

Opportunities

The successful exhibition can attract to other brand also setting presentations in here. Therefore, the chain effect could enhance local tailoring culture and then push more tailors join this station market.

On the other hand, tailors can protect their cultural craftsmanship and then create more employment opportunities.

Threats

Ready-to-ware is easily to purchase and this clothes type is more popular and cheaper. Thus ready-towear industry could attract more customers and then tailoring industry will lose its bigger market.

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Chapter FIVE - Three Design Concepts

101

Staffs: Exhibition Administrator: They service users’ need and management exhibition order.

Tailor: Measuring clothes and then maintains service qualities.

Customers: Main Customers: Professional Indian men 18~50 who need to attend important occasions such businessman, fresh graduate and young government officials.

General Visitors: The tourist and visitors who interesting in bespoke suits or enjoy looking around exhibitions.

User profiles: Businessman: Arjun Mathur (1981): He is a young Bollywood actor and also holds his own hotel business in India.

Fresh graduate: Dhruv Arora (1988): Dhruv Arora is an Indianand just graduate from Glasgow in 2013.

Government officials: Rahul Gandhi (1970): He is a National Students Union of India

COLOURS & PATTERNS

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Chapter FIVE - Three Design Concepts

Target market Core market: Indian professional men 18~65.

Secondary market: Indian man 18~65 Clients: Raymond Group: Incorporated in 1925 and it is one of India's largest branded fabric and tailoring retailers.

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5-2.3 The Tailor's Trunk (Concept 3)

The Tailor's Trunk An Retail for presenting Savile Row in British Train Station

SERVICE: Tailoring SITE: Railway Station SHOW: Contemporary Style

What

Exhibition space for display craftsmanship of tailoring and this pop-up exhibition is a guerrilla stand.

Why

Trunks is a clearly symbol for tailors’ job which can put their tools in then take it travel around. Moreover, using this element to design exhibition stands can easily connect with user’s experience.

Where

Entrance lobby, Railway station, London.

Who

Professional men 30~75.

How

Pop-up exhibition and visualization elements.

Culture

The Savile Row Bespoke Association unites the founding fathers of the Row with the New Establishment tailors to protect and develop a craft practised in this elite quarter of Mayfair for over two centuries (Savilerowbespoke, 214) Aesthetic

This project is using the symbol of trunk to design and presenting their aesthetic in mature direction.

Political

Putting the pop-up retail in public areas to make more customers to visit.

Environment

This project could co-operate with image advertising of train which can increase income in both train and tailoring industry.

Social

British train station is a good area for presenting advertising. Therefore, it is a suitable space for contacting different social groups for this industry.

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A rc h i t e c t u re A n a ly s i s

S WO T A n a ly s i s

Commodity

Strengths

Pragmatic Function: Guerrilla exhibition stand, Showing

Train is a popular public transport in London and

area. Circulatory Function: Exhibition stands, Showcase,

Victoria station is founding in its commercial district

Mezzanine exhibition. Symbolic Function: Propaganda,

which can attract more business customers to visit

Visualization of trunk.

this exhibition. On the other hand, connect with brand Firmness

Structure: Multifunctional design, Restructure of units.

Construction: Temporary, Environmentally and artificial

of Savile Row Bespoke Association can easily focus specific clients who is classical and professional men 30~75 for Bespoke suits.

Weakness:

lighting. Materials & technology: Sustainable materials, woods, Removable technology.

Delight

Aesthetic: Traditional style, Dark background and create different colours shifts. Atmosphere: Luxury, Classical, Calm. Psychology: Reinforces a professional visual

Nowadays, many tailoring brands are expanding to younger group which exist larger developing potentials for this market. Thus this concept will lose younger fresh customers if the design image of exhibition is too mature and old fashion.

environment. Impact on visitors.

Opportunities

The pop-up exhibition stand will design with visualization elements “trunk�. The clear symbol can easily attract people to visit. Therefore, it is an opportunity to expand more clients from the retail stand.

Threats

The traditional brands and their selling areas are the main market for traditional tailoring industry. Therefore, traditional brand could occupy more bespoke suits market.

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Chapter FIVE - Three Design Concepts

107

Staffs: Retail administrators: They service users’ need and management retail order.

Customers: Main Customers: Traditional and professional men 30~75 who need to attend important occasions such as CEO, businessman and male socialite.

General Visitors: The tourist and visitors who interesting in bespoke suits or enjoy exhibitions and displays.

User profiles: CEO: Christopher Bailey (1971): Businessman: Martin Sorrell (1945): He is an English businessman and the chief executive officer of WPP Group CEO: Philip Green (1952): He is the CEO of the Arcadia Group which includes Topshop, BHS and Dorothy Perkins.

Male Socialite: Daniel Day-Lewis (1957): He is an English actor and he is one of the most acclaimed actors of his generation and has earned numerous awards.

COLOURS & PATTERNS

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Chapter FIVE - Three Design Concepts

Target market Core market: Professional men 30~75.

Secondary market: 25~75 men who need suits Clients: Savile Row Bespoke Association: The British tailoring group and aim of the association is to protect and to develop the art of bespoke tailoring.

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5-3 Review of the Report Concepts

The Concept of

THE TAILOR'S TRUNK

5-3.1

Final Conceptual Brief

The objective of this project is designing an innovative

This retail stand is designed for the client “Savile Row

retail space related to the “Research Question” and

Bespoke Association”, which is a British tailoring group

this ‘Design Concept’ in response to the question.

whose aim is to protect and to develop the art of

The concept of ‘the tailor’s trunk’ creates a figurative

bespoke tailoring. The remit is to design a new popup

sense from the trunk’s image and designs a narrative

space to display the clothes to a wider audience and

exhibition stand, thus attracts large audiences.

to channel the brand image into a new direction.

This report’s format and structure links to the key findings of three chapters and is designed to elaborate on the 5Ws (What/ Why/ Where/ Who/ How):

Currently, the association are focusing on older professional men such as CEOs, businessmen and male socialites who are between 30 to 75 years old. It is necessary to broaden the appeal and attract a wider

This is a pop- up retail space for displaying British

range of customers. Moreover, a key finding of chapter

tailoring craftsmanship in the lobby of London Victoria

three is “new presentation space should nurture and

Station. The concept for the exhibition is based on

promote an individual experience in the future”. This

an idea of “businessmen take their trunk to travel

concept will connect the trunk’s form, businessmen and

around.” This concept is developed into a performance

the train station with the design principle in response

retail stand which fosters links with the station

to the key finding of chapter one. This asserted that

environment, taken from key findings of chapter one. It

a contemporary retail stand design should consider

also emphasises an application of fashion to everyday

psychology within the context of creating and

life. Secondly, a key finding of chapter two was that

storytelling. Overall, this design project will answer the

the tailoring industry should promote and preserve

research question to create a contemporary narrative

domestic British tailoring but encourage it to take a

retail stand.

new direction.

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Chapter FIVE - Three Design Concepts

5-3.2

5-3.4

The Concept Proposal and Hypothesis

Key Findings of The Design Concept

There are opportunities to design an exhibition

This exhibition design should focus on the connection

space that can connect fashion themes in order to

with the train station. Trains are a popular form of

make traditional tailoring craftsmanship more readily

public transport in London and Victoria station is

accepted. Moreover, presenting in a popular public

located in a commercial district which can attract more

area could attract more visitors who will appreciate

business customers to visit this exhibition. Victoria

the products. In turn, this will help to promote

is the second-busiest terminus in London, making it

this traditional craftsmanship by displaying it on

easy to focus on the target market of Professional

exhibition stands.

Businessman�. Moreover, this exhibition design could attract a wide range of customers because of its prime location. Given this fact, the exhibition

5-3.3

should also aim to attract potential customers in the

The Design Principles

younger demographic, it should incorporate fresher

younger age range. It could do this by varying and differentiating the designs presented. In terms of the and more fashionable elements. This exhibition would

There are five principles which should be considered: 1. Provide semiotics of tailoring and design elements.

be competing with the more traditional bespoke suits market. It must therefore consider how to challenge this rival market, for example by being more innovative.

2. Attract different age groups to appreciate and enjoy the stand.

3. Protect original brand’s image.

4. Consider and connect different experiences to emphasize user needs.

5. This concept provides sensor y pleasure and emotional experiences.

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Appendices - References

references...

Appendices

112

Appendices - References

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Bureau Betak (2014), Bureau Betak, Available at: http://blog.bureaubetak.com/ Moreintelligentlife (2009), Savierowgues: London’s rakish tailors, Available at: http://www.moreintelligentlife.co.uk/content/michaelbywater/savile-rogues-londons-rakish-tailors [Accessed 18 February 2014].

Brug, J., Oenema, A. and Campbell, M. (2003), Past, present, and future of computer-tailored nutrition education, Available at: http:// ajcn.nutrition.org/content/77/4/1028S.full [Accessed 18 February 2014].

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Dior (2013), Spring- summer collection 2014, Available at: http://www.dior.com/couture/en_gb/womens-fashion/haute-couture/ springsummer-haute-couture2#!the-fashion-show [Accessed 18 February 2014].

Fortini, A. (2006), A brief history of the fashion show, Available at: http://www.slate.com/articles/arts/fashion/2006/02/how_the_ runway_took_off.html [Accessed 18 February 2014].

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Lizzie Atkins (2013), Denman & Goddard, Available at: http://3165592aub.wordpress.com/2013/04/08/denman-goddard/ [Accessed 31 March 2014].

Neces City (2014), The Q&A: Timothy Everest, Available at: http://www.necescity.com/profiles/item/2632-the-q-a-timothyeverest/2632-the-qa-timothy-everest.html [Accessed 31 March 2014].

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Patou, J. (2005), Jean Paul Gaulitier, Available at: http://www.vogue.com/voguepedia/Jean_Paul_Gaultier [Accessed 18 February 2014].

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Fig: 1-25 Gleason (2012), Alexander McQueen evolution: The main stage of “The horn of plenty", New York: Race point publishing.

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Fig: 2-10: Random (2012), Contend and challenge, Available at: http://www.savilerowco.com/ [Accessed 30 March 2014].

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Fig: 2-12: Keikari (2013) James Sleater, Available at: http://www.gtglobaltrader.com/news Fig: 2-13: Cad & The Dandy (2014), The workshop of Cad and the Dandy, Available at: http://www.cadandthedandy.co.uk/ [Accessed 30 March 2014].

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Fig: 2-16: Gieves & Hawkes (2014), Store space of Gieves & Hawkes, Available at: http://www.gievesandhawkes.com/ [Accessed 30 March 2014].

Fig: 2-17: Scaba (2014), Outlook of Scabal, Available at: http://www.scabal.com/ [Accessed 30 March 2014].

Fig: 2-18: Scaba (2014), Store space of Scabal, Available at: http://www.scabal.com/[Accessed 30 March 2014].

Fig: 2-19: Scaba (2014), Store space of Scabal, Available at: http://www.scabal.com/ [Accessed 30 March 2014].

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Fig: 2-21: Adam Tailoring (2014), Developing Asian Market, Available at: http://www.yelp.co.uk/biz/adam-tailoring-and-alterationsseattle [Accessed 30 March 2014].

Fig: 3-1: Schneider (2011), Typical bespoke tailors’ workshop for designing and working, Available at: http://www.gentlemansgazette.com/netousekviennabespoke-tailor/ [Accessed 30 March 2014].

Fig: 3-2: Schneider (2011), Selling and showing space in Vienna, Available at: http://www.gentlemansgazette.com/netousek-vienna-bespoketailor/ [Accessed 30 March 2014].

Fig: 3-3: Public domain (2002), Tailors workshop: 1700~1800, Available at: http://www.styleforum.net/t/220610/british-workwear-heritagebrands/90 [Accessed 30 March 2014].

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Fig: 3-9: Londontown (2010), Carnaby Street 1960, Available at: http://www.carnaby.co.uk/ [Accessed 30 March 2014].

Fig: 3-10: Stephen Hithcock (2014), Stephen Hithcock tailoring store, Available at: http://www.gq-magazine.co.uk/style/articles/2011-07/19/savile-row-bespokesuits-best-tailors-london [Accessed 30 March 2014].

Fig: 3-11: Scabal (2014), Working and selling space of Scabal, Available at: http://savilerow.blogs.com/the_savile_row_blog_spons/page/4/ [Accessed 30 March 2014].

Fig: 3-12: Kilgour (2014), Showing space of Kilgour, Available at: http://kilgour.com/ [Accessed 30 March 2014].

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Fig: 3-15: Ozler (2011), Checkland Kindleysides Designs for Dr Martens, Available at: http://www.checklandkindleysides.com/ [Accessed 30 March 2014].

Fig: 3-16: DesignCurial (2014), Jaff Kindleysides, Available at: http://www.checklandkindleysides.com/ [Accessed 30 March 2014].

Fig: 3-17: Lizzie Atkins (2013), Denman & Goddard workshop, Available at: http://3165592aub.wordpress.com/2013/04/08/denman-goddard/ [Accessed 30 March 2014].

Fig: 3-18: Denman & Goddard (2008), The store lobby of Denman & Goddard, Available at: http://3165592aub.wordpress.com/2013/04/08/denman-goddard/ [Accessed 30 March 2014].

Fig: 3-19~2-20: Ozwald Boateng (2008), OBE store, Available at: http://ozwaldboateng.co.uk/ [Accessed 30 March 2014].

Fig: 3-21: Transdisciplinary DMU (2013), Professor James Woudhuysen, Available at: http://designauthority.org/advocates/james-woudhuysen/ [Accessed 30 March 2014].

Fig: 5-1: Author of report (2014), Montage - Locations of three concepts, Available at: www.google.com [Accessed 30 March 2014].

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