A Significant Fashion Aesthetic Inspired by Modern Japanese

A Significant Fashion Aesthetic Inspired by Modern Japanese Architectural Aesthetics A Thesis Submitted to the Faculty of the Fashion Department in Partial Fulfillment of the Requirements for the Degree of Master of Fine Arts in Fashion at Savannah College of Art and Design Qiqi Lai Savannah, GA © May 2014 Marie Aja-­‐Herrera, Committee Chair Denis Antoine, Committee Member Michael K. Barnes, Committee Member Acknowledgements This thesis was not possible without the help of dear Professor Christopher McDonnell. I would like to thank Professor McDonnell for his guidance, encouragement, and edits for my thesis. Also, I would like to thank the Chair of my thesis Committee, Professor Marie Aja-­‐Herrera, and Committee Members Professor Denis Antoine and Michael K. Barnes for their help to enable me with writing my thesis. TABLE OF CONTENTS List of Figures……………………….……………….………….……………………………………………..……………1 Abstract……………………………….…………………………………………………………….…………………………3 Introduction…..…….…………………………………………………….…………...……….…………………………...5 The Pursuit of the Natural and Simple: An Interpretation of the Origins of Japanese Culture and How Architecture Has Been Influenced …………………………………………………………………………………………………….6 The Japanese-­‐style: Wafuu ………………………………………………………………………….………………13 A Reflection of Modern Japanese Architecture: Studio SANAA.…………………….………………..16 A Personal Collection..……………….…………………………………….……………….………………………....27 A Future for Fashion…………………..………………………………………….………………………..................29 Works Cited………………….………………..……………………………………….………………...………………..34 List of Figures Figure 1. Mount Fuji……………………………………………………………………………………………7 Figure 2. Sakura, Cherry Blossom………………………………………..………………………………7 Figure 3. The Rock Garden of Ryoan-­‐ji……..……………………………………………………….…9 Figure 4. Ise Grand Shrine……..…………………………………………………………………….……11 Figure 5. Inside the Shokintei……..……………………………………………………………….……13 Figure 6. Shibukei……..…………………………………………………………………………………..…14 Figure 7. Sejima, Photographed at Studio 146……..………………………………………….…17 Figure 8. Ryue Nishizawa in an Exhibition……..…………………………………………….……18 Figure 9. Villa in the Forest……..……………………………………………………………………..…19 Figure 10. House Surrounded by Plum Trees……..…………………………………………..…20 Figure 11. The Son’s Room of House Surrounded by Plum Trees…………………….…21 Figure 12. The Daughter’s Room of House Surrounded by Plum Trees………………21 Figure 13. The Terrace of House Surrounded by Plum Trees……………………………..21 Figure 14. Moriyama House…………………………………………………………………………..…23 Figure 15. Plan of Moriyama House……………………………………………………………….…23 Figure 16. The New Museum of Contemporary Art…………………………………………..24 Figure 17. Dior Building………………………………………….…………………………………..…..24 Figure 18. A Personal Collection………………………………………………………………....27-­‐28 Figure 19. A Personal Collection………………………………………………………………....27-­‐28 1 Figure 20. Pierre Balmain and the Actress Ruth Ford…………………………….………...29 Figure 21. Ludwing Mies van der Rohe…………………………………………………………....30 Figure 22. Jil Sander………………………………………………………………………………………..31 Figure 23. A photo of Jil Sander Clothes at Vogue……………………………………………..32 2 A Significant Fashion Aesthetic Inspired by Modern Japanese Architectural Aesthetics Qiqi Lai May 2014 Abstract This thesis first researches and studies modern Japanese architectural style and Japanese aesthetic in design, in addition to the evaluation of the Japanese influence on Fashion Design. It will reveal how modern architecture in Japan has inspired me, and will ultimately provide a complete understanding of how simple, understated, well-­‐constructed clothing, can be a major important dimension for fashion heading into the next decade. The aesthetic of Japanese architects has enormously influenced extraordinary buildings, such as the Bank of China in Hong Kong and the glass pyramid in front of the Louvre in Paris (both designed by I.M.Pei). The purity and harmony of these architectural edifices has decidedly influenced the world on simplicity and quality; this thesis will clearly reveal how fashion itself can also be pure and simple, but at the same time, directional and influential. 3 During the last five years, three Japanese architects have won the Pritzker Architecture Prize; often referred to as the Nobel Prize of architecture. This Japanese aesthetic will continue to influence all aspects of design, and importantly, my own conception of the future of fashion. 4 Introduction Evaluation and appreciation of architectural design reflects the characteristic of Zeitgeist: the spirit of our times. After the United States, Japan has become the second largest country to be awarded the Pritzker Architecture Prize—an annual award for living architects who have consistently and significantly contributed to the field of architecture. In the past five years, there have been three Japanese winners of the Pritzker Architecture Prize (Pritzker Architecture Prize, wikipedia). As a result of the high number of Japanese architects being awarded this prize, their work has became immediately acknowledged by the rest of the world. This thesis will establish how modern Japanese architecture, and its aesthetic, has influenced me in believing that the simplistic, harmonious and practical beauty of Japanese architecture can be applied to fashion and ultimately inspire it’s future direction. 5 The Pursuit of the Natural and Simple: An Interpretation of the Origins of Japanese Culture and How Architecture Has Been Influenced The earliest Japanese native culture is known as Jomon culture which was a time in Prehistoric Japan from about 12,000 BC, (and in some cases cited as early as 14,500 BC to about 300 BC,) when Japan was inhabited by a “hunter-­‐gatherer culture”. This where existed without foreign influence (Jomon Period, Wikipedia). It was a culture immersed in nature, which connected directly with one’s emotions. This aesthetic sense of natural beauty can be said to be the soul of the traditional aesthetic of Japan. There are two main reasons for the formation of this characteristic. Firstly, the location of Japan, combined with its specific climate gives it a unique environment as well as scenic beauty (see figure 1). The natural world has inspired the Japanese love of beautiful nature, and has given Japanese culture its pursuit of harmony and unity. In addition, the Japanese original religion, Shinto, is a religion of natural worship (Dan). Since ancient times, the Japanese have had a special feeling for flowers and trees. They believe that mountains and vegetation can turn into a God that generates enormous power. Even if there are a large number of foreign cultural influences in later Japanese history, the Japanese still believe that these native cultural standards form the basis of their own aesthetic (Dan). 6 Figure 1: Mount Fuji, an active stratovolcano and the highest mountain of Japan. Wallpapers, Wallcoo.net, 2014. (http://www.wallcoo.net
/nature/japanese_landsc
apes_1024x768/wallpap
ers/1024x768/[wallcoo]_
japanese_landscapes_jla
20045e.html). Figure 2: Sakura, cherry blossom, the most popular flower in Japan. Lidialsabel, Fanpop, Fanpop, Inc., 2014. (http://www.fanpop.co
m/clubs/japan/images
/34113591/title/japan
ese-­‐landscape-­‐photo). Japan's maritime climate frequently sees natural disasters such as typhoons, tsunami, or earthquakes. Suddenly, the most beautiful things will instantly disappear because of these natural disasters. Naturally, this feeds into the Japanese sense of impermanence and fatalism. They know that the presence of a thing of beauty is fleeting, like their favorite flower—Sakura (see figure 2, above). Sakura is 7 a short, beautiful flowering tree whose buds easily fall, and whose beauty, then disappears. Japanese people always equate these natural disasters to a sense of life being too short or too impermanent. This sense of impermanence, and loneliness, in the nation’s aesthetic consciousness, can be accounted for in Zen Buddhism: the philosophy of desolation, isolation, un-­‐adornment, and simplicity; which is easily accepted by the Japanese (A Summarization for Japanese Modern Architecture). Around the 3rd century BC, the farming culture from the Han Dynasty (a period in ancient China), was brought to Japan. Subsequently, Japanese culture began to adopt advanced theories and technologies adapted from China. Japan was influenced immensely by Chinese culture. In the first century AD Japan began to accept the typical architectural form associated with southern China. In addition, in the sixth century, Zen Buddhism was introduced into Japan from China, which influenced the commencement of Chinese architectural structures, urban planning, and layout ideas. This helped Japanese architecture to grow substantially; British architectural historian Patrick Nuttgens stated that when he studied Japanese architecture, he found through many historical documents that Japanese architecture is largely influenced by Chinese culture (Traditional Japanese Architecture and Interior). Aesthetic tendency, under the influence of Zen, has long had a profound impact on Japanese culture, in particular, landscape gardening and the Cha-­‐no-­‐yu (Japanese tea ceremony). Commencing during the Muromachi period, Japanese 8 educated classes (the court nobles), and Zen monks, loved to create gardens because they thought it was a way to help understand Zen. They enjoyed the unique beauty of a plain, empty, naturally lit courtyard that was influenced by the philosophy of Zen Buddism (A Summarization…). Figure 3: This is the rock garden of Ryoan-­‐ji. Ryoan-­‐ji, Wikipedia, Wikim-­‐edia Foundation, Inc. 2014 . (http://en.wikipe
dia.org/wiki/File:R
yoanJi-­‐Dry_garde
n.jpg). Zen monks were excellent at the design of landscaped gardens; one of the most distinctive is the "Japanese rock garden”, which was formed during the Muromachi period, when the philosophy of Zen spread. Inspired by Zen's belief in simplicity, the “Japanese rock garden” uses stone, white sand, and moss as the main 9 materials. Compared to a normal landscape that has vivid colors and various contents, in a “Japanese rock garden”, there is scarcely anything. It is a thoughtful and concise design that minimizes the use of materials and colors. The idea for keeping the space without any distraction is to free the imagination; hence, enrich the perception and comprehension of Zen. A “Japanese rock garden” emphasizes nature and life; its beauty suggesting the spirit and ideology of Zen; whose characteristics are of simplicity; understatement; modesty; and natural awareness. It is not only an expressive art, but also an indicative and meditating art. For example, the rock garden of Ryoanji (“a Zen temple located in northwest Kyoto, Japan”), is cleverly designed without any trees or grass, but has a permutation and combination of stone, white sand, and embellished moss. This landscaped garden produces an artistic conception of "emptiness" and unobtrusive elegance. It provides a simple and unadorned space for calm meditation (see figure 3, above). Meanwhile, sensibilities and respect for nature cultivate the Japanese ecological aesthetic consciousness and have long been reflected in Japanese ancient buildings. For example, Ise Grand Shrine (see figure 4, below), which stands as Japan's spiritual support, is also the purest and most simple form of Japanese Shinto building. Its architectural appearance with straight lines and use of organic building materials—aromatic cypress wood combined with dried grass—creates a beautiful architectural composition within a natural environment. Ise Shrine is symbolic of Japanese native culture; a measure of a combination of natural beauty and the Zen 10 aesthetic taste that permeates Japanese life (Dan). Figure 4: Ise Grand Shrine, Wikipedia, Wikimedia Foundation, Inc. 2014. (http://en.wikipedia.org/wiki/Ryōan-­‐ji). Donald Keene—an American-­‐born Japanese scholar—stated in his journal of Japanese Aesthetics: “The use of the most economical means to obtain the desired effect, the product of Zen philosophy, is another characteristic of the garden of the Ryoanji. The same philosophy affected the creation of many other gardens……Simplicity and the natural qualities of the materials employed may have been first emphasized by the Zen teachers, but they are now common ideals of the Japanese People.” (Keene, page 301), “Indeed, much of what is considered most 11 typical in Japanese aesthetics stems from Zen. Or, it might be more accurate to say, it coincides with Zen. The simplicity of a Shinto shrine building, the bare lines of its architecture and grounds, was an expression of an indigenous preference which coincided with Zen ideals, and made the Japanese receptive to the more sophisticated aesthetics of the continental religion.” (Keene, Page 297). 12 The Japanese-­‐style: Wafuu Figure 5: Inside the Shokintei, which was built in th
the 17 century. Japanese Architecture, Wikipedia, Wikimedia Foundation, Inc., 2014. (http://en.wikip
edia.org/wiki/Ja
panese_architect ure). The Wafuu presents a traditional Japanese house style (see figure 5). A Wafuu house is considered an important residential architectural abode for the Japanese. Its interior is colored neutral and is both simple and concise. The floors, pillars, and doors, are all arranged in a balanced position according to Japanese tradition. The typical room of Wafuu has very little furniture. This makes it easy to change the function of the room and allows more space to move around. Tatamis (a type of mat used in traditional Japanese-­‐style rooms) are always provided on the floors of a room for people to sit on. Wafuu’s interior space is always separated by rice paper 13 panelled door frames that are light, convenient, simply structured and space efficient. The room is divided by straight lines, which are simple and elegant in geometric form. Figure 6: Shibukei, 23 June 2008, Web, 28 May 2014. (http://www.shibukei.com/headline/photo/5353/). Floors, walls, and ceilings are usually made of natural materials, such as wood and bamboo, which introduce a feeling of natural intimacy (see figure 6). Textures and colors are employed with great attention to craftsmanship and detail. A feeling of tranquility is obtained by the windows and doors covered with paper instead of glass, and the interior is without artificial lighting. Natural light from the exterior is 14 introduced through translucent doors and windows, not only to deliver the maximum luminance possible, but also to achieve a sense of a transparent ambience. This ecological concept dominates the overall construction of the building and assists in creating a tranquil atmosphere. The Wafuu house is a shelter from an external environment, but continues to be harmonious with nature; it presents a feeling of living with nature and reflects an essence of Japanese architecture, which is a belief in an ecological concept combining serenity, simplicity, functionality, beauty, and elegance. “In these and other examples, the enduring significance of Japanese architecture and design for foreign audiences has revealed a fascination with something deeper than mere visual or organizational qualities. The product of a homogeneous culture that developed in relative isolation over millennia, the Japanese creative process is connected to deeply embedded traditions and philosophies that define space and time as particularly precious commodities (Brownell, page 11).” 15 A Reflection of Modern Japanese Architecture: Studio SANAA In theory, the introduction of Western civilization laid the foundation for the global awareness of Japan. Foreign advanced culture helped to assure Japan’s continuous growth and progress. In many ways, Japan has become one of the most advanced countries, especially in its artistic endeavor and its progress with design. “ Japanese architecture and design have long fascinated a global audience. The masterful combination of aesthetic elegance, functional pragmatism, technological sophistication, and precision in craft that characterizes exemplary works from Japan has exerted a strong influence abroad, especially during the last two centuries (Brownell, page 11).” Modern Japanese techniques have resulted in new buildings being created with a simple, geometric cubist silhouette. Many directional architects have emerged from Japan during the twentieth century, and their influence has continued into the twenty-­‐first century resulting in architects, such as Kazuyo Sejima and Ryue Nishizawa. 16 Figure 7: Sejima was in a Prada boots and a navy wool Comme des Garcons pinafore, photograph-­‐ ed at Stuido 146 on Bou-­‐ levard de Charonne, Paris, during a daylong stopover between Amsterdam and Venice (Roux Caroline). Portraits by Andrea Spotorno. Kazuyo Sejima (see figure 7), “one of the most highly qualified representatives of the new masters of architecture” (Roux), was born in 1956 in Ibaraki Prefecture, Japan. After she finished her study at Japan Women’s University, she practiced her profession in the office of Toyo Ito (who is among the most innovative and eminent architects in the field of architecture) for six years. Toyo Ito describes Sejima as ‘an 17 architect who uses the maximum simplicity to link material and the abstract’.” (Merola). In 1987, Sejima founded her own architectural practice in Tokyo, Japan (Kazuyo). Figure 8:Ryue Nishizawa was in the exhibition, ‘Some ideas on living in London and Tokyo by Stephen Tay-­‐ lor and Ryue Nishizawa’. Some Ideas on Living…, Designboom, Web, 29 May 2014. Ryue Nishizawa (see figure 8) was born in 1966. He graduated from Yokohama National University in 1988 and worked for Sejima in 1990. After working in her practice for five years, he decided to leave to start his own company. Sejima asked him to stay as her partner; as a result he agreed to remain with Sejima. By 1995, they founded the Tokyo based firm SANAA, which stands for Sejima, Nishizawa, and Associates (Nishizawa). 18 At the same time, they work separately at their large solo practices, which are in the same building of SANAA, on their own individual projects. Sejima has completed respectable architectural works for her clients, such as Villa in the Forest, and House in a Plum Grove. Similarly, Nishizawa, has completed works for several clients; one of the most significant being Moriyama House, in Tokyo. Figure 9: Villa in the Forest. Forrest Villa, Architec
tstudio, Web, 29 May 2014. Villa in the Forest is a private house located in Nagano, on the main Japanese island of Honshu. It is an example of Sejima’s early architectural work and was completed in 1994. This house was mainly built with thick concrete; and designed 19 for a client who wanted a guesthouse for artists traveling in the area (Forest Villa). The villa features simple lines, combing both circular and square construction, resulting in a beautiful and minimalist structure. It’s white colored walls and transparent glass windows provide a cool, clear, and isolated atmosphere directly connected with nature. The spirituality of Zen is apparent in this isolated environment; the square glass windows of the villa allow dense light to penetrate into the adjacent forest, producing an ethereal quality. Sejima, therefore, has succeeded in creating a pure, elegant, and abstract work, sublimely spacious, at the same time, functional. Figure 10: House Surrounded by Plum Trees (Hasegawa, page 193). Hasegawa Yuko, Kazuyo Sejima and Ryue Nishizawa: SANAA, London, Milan: Electaarchitecture, 2006, Print. 20 Sejima is responsible for a special house surrounded by plum trees in a residential quarter of Setaguya-­‐ku, Tokyo (see figure 10, above). The house was designed for a single family of five persons—a young couple, two children, and their grandmother. The family requested a feeling of a loft-­‐like space, which Sejima achieved in a very small area (Niedermayr, page26). Figure 11 (left): Son’s room on the first floor (Hasegawa, page 194). Figure 12 (up right): Views of the daughter’s cubicle on the second floor (Hasegawa, page 199). Figure 13 (down right): View of the terrace (Hasegawa, page 201). Hasegawa Yuko, Kazuyo Sejima and Ryue Nishizawa: SANAA, London, Milan: Electaarchitecture, 2006, Print. 21 The most distinctive feature of this house are the walls (see figure 12, 13). The interior steel plated walls are minimized to a thickness of sixteen millimeters, which allows for more space within. The exterior walls that use the same sixteen-­‐millimeter panel with insulation and gypsum board, are combined together to a thickness of fifty millimeters. These thin walls, which are prefabricated in manageable units, signify the complex nature of spatial structure (Niedermayr, page 26). The arrangement of space in this house is compact and different from a normal residence, which has a fixed correlation between the number of occupants and number of rooms (see figure 11, above). The rooms which have different heights and proportions are used for various purposes, and are interconnected and opened onto each other. As a result, the interior of this building is neither a cluster of small geometrical rooms, or one big room (Niedermayr, page 26). Sejima achieved great success in breaking the boundaries that are between togetherness and separateness, openness and privacy. It is a dream of a warm and stylish city home. 22 Figure 14: Moriyama House (Tokyo, Japan) by Ryue Nishizawa, 2005 (photograph: Takashi Homma). Some ideas on living…, Designboom, May 14, 2008, Web, 29 May 14. (http://www.designbo
om.com/contemporar
y/ideasonliving.html). Figure 15: Plan of Moriyama House. Moriyama House, OpenBuildings, Web, 29 May 2014. (http://openbuildin
gs.com/buildings/m
oriyama-­‐house-­‐pro
file-­‐39113). Moriyama House (see figures 14, 15), Nishizawa’s project (completed in 2005), has been designed with similar principles as Sejima’s, such as the use of prefabricated 23 steel plates that make the walls as thin as possible but, at the same time, features a unique example of space planning. Nishizawa designed 10 separate entities spread over the whole building area, rather than combining all entities together. There are small gardens and pathways between the buildings, which are interconnected. Moriyama house combines a relationship between indoor space and outdoor space, or public room and private room, resulting in a community rather than a single structure (Some Ideas on Living…). Figure 17: Dior Building, Trama E Ordito, 2011, Web, 29 May 2014. (http://trama-­‐e-­‐ordito.blogspot .com/2011/07/dior-­‐building-­‐tokio-­‐giappone.html). Figure 16: the New Museum of Contemporary Art. Mission, Rhizome, Web, 29 May 2014. (New Museum of Contemporary Art). 24 Sejima and Nishizawa have created architectural works that are coherent with structural subtleness and visual lightness. The combination of clear glass and white walls allows both privacy and the embrace of nature. Together, architects Sejima & Nishizawa completed successfully a number of projects: for example, in Tokyo, the Christian Dior building (see figure 17, above); they combined on their first international project—the see-­‐through Glass Pavilion for the Toledo Museum of Art in Ohio—in (2001-­‐2006); the 21st Century Museum of Contemporary Art (1999-­‐2004), in Kanazawa, Japan; the aluminum mesh-­‐clad New Museum of Contemporary Art (2003-­‐2007), in downtown Manhattan, New York (see figure 16, above). “Their architecture evolves from a simplicity that extends to aesthetic, strategic, structural and methodological clarity (Nishizawa, page 71).” SANAA’s work is extremely subtle and representative of our time. As a result, Sejima, together with Nishizawa, won the Pritzker Architecture Price in 2010, which made her the second female architect to gain this honor (Sejima); and made him the youngest recipient ever of this prestigious award (Nishizawa). At the same year, Sejima became the first female director of the 12th Venice Biennale of Architecture in Italy, an extraordinary honor. Fifty-­‐four countries participated in the 12th biennale whose theme was: ‘People Meet in Architecture’ (Kazuyo). “Now she is probably the most sought-­‐after architect in Japan, which, in both a male-­‐dominated culture and profession, is truly remarkable.” (Roux). The principle replace of SANAA, and its aesthetic, is an example of a sense of 25 fashion that can be important to the future direction of the way people dress: simple but beautifully constructed; understated but significant, a way of dressing for the independent and professional individual. Florian Idenburg, a SANAA associate, currently based in New York made a important reference to SANAA’s use of colorless glass: “ the colorless glass was crucial, because at some points you are looking through 16 layers of glass, and if it was green, it would be like being in a forest.” (Lubow). Sejima states: “It is not an independent material. It always appears different. On every project, I learn. So we continue using glass.” (Lubow). With reference to color, or “no-­‐color,” Beatrice Galilee has made a conclusion for SNAA, “With wall-­‐to-­‐wall white, austerity is not exactly absent, but even if this were the intention, it is the programme and, in turn, semiotics that drives their design.” (Nishizawa, page71). 26 A Personal Collection SANAA was an inspiration for my own personal collection, colors representative of the architectural practice: white, sand, mundane expressions. SANAA’s architectural buildings always convey a minimal appearance of simple geometric shapes, reducing unnecessary elements. It is this concept that has influenced my own design aesthetic resulting in a personal collection of well-­‐but, unadorned clothes, geometric in style (see figure 18, 19). 27 Figures 18 (above) 19 (below): looks of my own collection. My ideal persona for this individualistic concept would be Sejima herself; a truly independent individual. She once described her open and clear architectural works similar to a semi-­‐transparent garment. Successful individuals who are strong-­‐minded, determined and self aware should express this individualism in their manner of dress: tasteful and stylish, but not necessarily a “follower of fashion”—a true independent. 28 A Future for Fashion Fashion and architecture relate in many ways. Frequently fashion designers get inspirations from architectural buildings. For example, the French fashion designer Pierre Balmain (18 May 1914 – 29 June 1982), the founder of fashion house Balmain, once said: “ dressmaking is the architecture of movement.” (see figure 20), even though at that time he was studying architecture at the Ecole des Beaux-­‐Arts (Pierre). Furthermore, the Italian fashion designer Gianfranco Ferre (15 August 1944 – 17 June 2007), who was known as “an architect of fashion”, had received his architectural degree at the Politecnico di Milano University before he began his fashion career in 1970 (Gianfranco). Figure 20: Pierre Balmain and the actress Ruth Ford, Photographed by Carl Van Vechten, 1947. Pierre Balmain, Wikipedia, Wikimedia Foundation, Inc., 23 February 2014, Web, 29 May 2014. 29 The two different disciplines, fashion and architecture, have a great common belief that “less is more”. The phrase, “less is more”, was originally included in a poem called Andrea del Sarto (The Faultless Painter), by the English poet Robert Browning (7 May 1812 – 12 December 1889) (Robert ), in 1855. Ludwig Mies van der Rohe (see figure 21) (March 27, 1886 – August 17, 1969), one of the pioneering masters of modern architecture (Ludwing), adopted the phrase to use as a precept for minimalist design (Less). “Less is more”, now, has become the most popular perception of a modern style; a concept that has influenced all kinds of art and creative design, as well as fashion. Figure 21: Ludwing Mies van der Rohe. Mies van der Rohe, The Red List, Web, 29 May 2014. (http://ther
edlist.com/
wiki-­‐2-­‐18-­‐3
92-­‐1335-­‐13
41-­‐1343-­‐vie
w-­‐german-­‐b
auhaus-­‐1-­‐pr
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n-­‐der-­‐rohe-­‐l
udwig-­‐2.htm
l). 30 The term “minimal” has been discussed and has frequently been used in connection with fashion. Fashion designers have contributed to the “use of minimal fashion”. For example, Francisco Costa, the women’s creative director of Calvin Klein Collection, describes his style of fashion design, as being “Calvin-­‐ized” (Dimant). Another example is the German fashion designer Jil Sander (see figure 22) known for her aesthetic:“ design without decoration!”. “We have a very special niche,”
remarked Ms. Sander, on describing her work, “no camouflage, simple clothes
with a strong handwriting of simplicity, wearability, and highest quality.”. Vogue
magazine would later comment: “ Jil Sander’s greatest achievement was
rekindling the relationship between professionalism and chic.” (see figure 23) (Jil
Sander).
Figure 22: Jil Sander to Depart Namesake Brand for Personal Reasons, Fashion Resource Network, 24 October 2013, Web, 29 May 2014. (http://fashionresourcenetwork.com/jil-­‐ sander-­‐depart-­‐namesake-­‐brand-­‐personal-­‐reasons/). 31 Figure 23: Kinga Raizak Sports Jil Sander for Vogue Russia February 2013 by Emma
Tempest, Fashion Gone Rogue, 21 Jan. 2013, Web, 29 May 2014.
(http://www.fashiongonerogue.com/kinga-rajzak-sports-jil-sander-for-vogue-rus
sia-february-2013-by-emma-tempest/).
Fashion and architecture both have a common aesthetic; yet, they are very different in many ways. For example, fashion, as an ephemeral and superficial 32 subject, is considered to change more quickly then architecture, which is considered more permanent. Nevertheless, fashion design often inspired by the beauty of architectural design. Fashion in the future will forever change and address issues such as sustainability, but can also be directional and simplified, reflecting the spirit of the times. Simple, does not have to be understated or boring: as John Maeda (“a Japanese-­‐American graphic designer, computer scientist, academic, and author (John)” ) once said: “simplicity is about subtracting the obvious, and adding the meaningful” (Maeda, Page 89). 33 Works Cited Brownell, Blaine Erickson. Matter in the Floating World: Conversations with Leading Japanese Architects and Designers. New York: Princeton Architectural Press, 2011. Print. Dimant, Elyssa. Minimalism and Fashion: Reduction in the Postmodern Era. Enfield, New York: Collins Design, 2010. Print. Donald, Keene. “Japanese Aesthetics.” Philosophy East and West, 19.3 (1969): 293-­‐306. Print. “Forest Villa.” Architect Studio 3D. Web. 29 May 2014. <http://www.architectst udio3d.org/AS3d/people_sejima.html>. “Gianfranco Ferre.” Wikipedia, Wikimedia Foundation, Inc. 23 February 2014. Web. 29 May 2014. “Jil Sander (Brand).” Voguepedia. Web. 29 May 2014. < http://www.vogue.com/ voguepedia/Jil_Sander_(Brand)#cite_note-­‐2>. “John Maeda.” Wikipedia, Wikimedia Foundation, Inc. 17 April 2014. Web. 29 May 2014. “Jomon Period.” Wikipedia, Wikimedia Foundation, Inc. 8 May 2014. Web. 28 May 2014. “Kazuyo Sejima.” Wikipedia, Wikimedia Foundation, Inc. 1 May 2014. Web. 29 May 2014. “Kazuyo Sejima Appointed Director of the Venice Architecture Biennale 2010.” 34 Designboom. 09 November 2009. Web. 29 May 2014. <http://www.design boom.com/scoop/kazuyo-­‐sejima-­‐appointed-­‐director-­‐of-­‐the-­‐venice-­‐architectu
re-­‐biennale-­‐2010/>. “Less Is More.” Wikipedia, Wikimedia Foundation, Inc. 31 January 2014. Web. 29 May 2014. Linlin, Dan. Eco-­‐Aesthetic in Japanese Buildings. Wenku, Baidu. 22 March 2011. Web. 28 May 2014. <http://wenku.baidu.com/view/24935af9770bf78a652954 bc.html>. Lubow, Arthur. “Disappearing Act.” The New York Times 9 October 2005. Web. 29 May 2014. <http://www.nytimes.com/2005/10/09/style/tmagazine/ sanaa.html?pagewanted=all&_r=2&>. “Ludwig Mies van der Rohe.” Wikipedia, Wikimedia Foundation, Inc. 26 May 2014. Web. 29 May 2014. Maeda, John. The Law of Simplicity. Cambridge, Mass: MIT Press, 2006. Print. Merola, Andrea. “Biennale di Venezia Presents Kazuyo Sejima as Director of Architecture.” Artdaily, Royalville Communications, Inc. Web. 29 May 2014. <http://artdaily.com/news/35807/Biennale-­‐di-­‐Venezia-­‐Presents-­‐Kazuyo-­‐ Sejima-­‐as-­‐Director-­‐of-­‐Architecture-­‐#.U4a__hYmYji>. Niedermayr, Walter. Kazuyo Sejima + Ryue Nishizawa/ SANAA, Ostfildern. New York: Hatje Cantz, 2007. Print. Nishizawa, Ryue, and Sejima Kazuyo. SANAA: Serpentine Gallery Pavilion 2009. 35 London: Koenig Books, 2009. Print. “Pierre Balmain.” Wikipedia, Wikimedia Foundation, Inc. 24 March 2014. Web. 29 May 2014. “Pritzker Architecture Prize.” Wikipedia, Wikimedia Foundation, Inc. 4 May 2014. Web. 28 May 2014. “Robert Browning.” Wikipedia, Wikimedia Foundation, Inc. 24May 2014. Web. 29 May 2014. Roux, Caroline. “Kazuyo Sejima Can Foresee the Future of Architecture.” The Gentlewomen, Spring and Summer 2010. Web. 29 May 2014. <http://thegentlewoman.co.uk/#/library/kazuyo-­‐sejima>. “Ryue Nishizawa.” Wikipedia, Wikimedia Foundation, Inc. 24 April 2014. Web. 29 May 2014. “Some Ideas on Living.” Designboom. 14 May 2008. Web. 29 May 14. <http://www.designboom.com/contemporary/ideasonliving.html>. “A Summarization for Japanese Modern Architecture.” Wenku, Baidu. 2 March 2012. Web. 28 May 2014. <http://wenku.baidu.com/view/1923ba3067ec102de 2bd8980.html>. “Traditional Japanese Architecture and Interior.” Wenku, Baidu. 28 December 2010. Web. 28 May 2014. <http://wenku.baidu.com/view/f9b74c4d2e3f5727 a5e96287.html>. 36