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Deste Fashion Diller Scofidio +Renfro Contents DESTE FASHION DILLER SCOFIDIO +RENFRO CONTENTS FALSE STARTS Uniformity 06 Camouflage 12 Knock-Off 18 Thermal Comfort 26 Pulp Fashion 32 REAL STARTS Jeaneology 44 The Classic 60 FALSE STARTS The many colours of Angela Merkel by Noortje van Eekelen/Spectacle of the Tragedy 5 Conference at Yalta, 1945 UNIFORMITY THE POLITICS OF THE SUIT Uniforms are worn by members of an organization while participating in that organization’s activity. While typically the dress of military, paramilitary, service labor, prisoners and school children, the uniform also suggests aesthetic or cultural alignment. It is often joked that black is the uniform of artists and intellectuals despite their desire for nonconformity. 7 Good Bad Political choice represented in tie color Good Bad “Le Président Bling-Bling” “His style, the bad suits, the cheap Windbreaker, the shoddy The difference between the best and worst can be as simple as fit shoes, and the unstylish haircut... is a signal to the working class that he is still one of them.” No longer the military attire of dictators or the flamboyant regalia of old-world monarchs, today’s political uniform is the “power suit.” World politics is the stage for the dynamics of individual and collective representation, where the political and the sartorial meet. Publicized by the intensely visual medium of the press, the politician is caught, in a double-bind: he must be relatable to his local constituents and must, also, be seamless with global standards in which the cut, the fabric and the fit are markers of success. UNIFORMITY 9 2012 G20 summit 1.Francois Hollande 2. Susilo Bambang Yudhoyono 3.Barack Obama 4. Hu Jintao 5. Felipe Calderon 6. Lee Myung-bak The relatively strict dress code of the G20 states limits individual expression to subtle articulations of the universal suit, which is often lauded as distinctly un-glamorous and independent from the whimsy of fashion. Project: A micro-analysis will be conducted of G20 world leaders’ suits, charting the range and character of their subtle and unique variations. 7. Stephen Harper 8. Jacob Zuma 9. Vladmir Putin UNIFORMITY 11 CAMOUFLAGE THE LOOK OF DISAPPERANCE In the theater of war, where the survival of a soldier depends on his ability to avoid detection, tactical clothing is a military device. As opposed to fashion, which distinguishes the contours of the individual body, military camouflage blurs the contour between body and environment. 13 Ghillie suit (top) French Flecktarn camouflage(top) Camouflage mesh(above) Hunting camouflage(above) With such high stakes, camouflage is the product of increasingly sophisticated research. Designs of military camouflage reflect cultural and technical biases. Compare the pixilated fields of color of today’s US Marine “digital camo” (MARPAT) with the organic color waves of the classic Flecktarn pattern. CAMOUFLAGE 15 Desert MARPAT ? USMC Snow (edited CADPAT) UCP (Universal Camouflage Pattern) UCP reverse engineered environment But camouflage design is still an inexact science. The recent scandal around the United States’ investment in a $5 billion program to design and implement a “universal” camouflage pattern was intended to function equally well in desert, jungle, and forest terrains. Unable to match with any particular environment, the camouflage has failed universally. Project: Reverse engineer an environment in which “universal camouflage” Woodland MARPAT successfully disappears. CAMOUFLAGE 17 KNOCK-OFF CREATIVE INTREPRETATIONS ACROSS THE DISCIPLINES There is a fine line between creative interpretation and piracy in fashion. While many fashion designers fall victim to cheap knock-offs that encroach on their originality, copying is vital to the health of the industry. 19 Anna Sui Forever 21 Diane von Furstenberg Forever 21 Piracy helps fashion. By definition, fashion relies on trends, and trends rely on their dissemination to all levels of the retail market, by copying. Copying is a turbocharger for the fashion cycle. Trends go out of fashion faster and push fashion designers to generate new ideas faster. This dynamic has motivated fashion since the industrialization of textile production in 18thC England. The knock-off may have creative value as well. In the information age, the growth of do-it-yourself, trans-disciplinary design culture has loosened taboos around intellectual property and accelerated the exchange of ideas. “Open-source” design culture demands that differences between the original and the copy are signs of improvement rather than impoverishment. KNOCK-OFF 21 Fashion Designer Costume Preparer Tailor Project: An original fashion artifact is passed from a designer to another creative producer with the brief, “please copy this.” It is assumed Artist that the copy will bring with it a new signature on top of the last. The copy of the original is then passed on to the next creative producer to make “a copy of the copy,” and so one five times. The chain of copies sparks a design dialogue across disciplines and “Telephone game. “ Information is passed from one party to another. At the end of the line the evolves a bottom-up approach to fashion. information is has been creatively distorted. KNOCK-OFF 23 Original Louis Vuitton handbag Copy of Original Copy of Copy Copy of Copy of Copy KNOCK-OFF 25 saturation THERMAL COMFORT REPERSONALIZE YOUR BODY TEMPERATURE Buildings are responsible for more than 40% of primary energy expenditure. Much of this is spent on artificially modulating atmospheric effects like temperature and humidity. Thermal comfort, once a relative measure that varied across populations and climates, has become globally standardized. Regardless of environmental and cultural situations, office and institutional buildings keep their interiors at a hyper-controlled twenty-two degrees Celsius. With the introduction of Honeywell’s thermostat controls came the expectation of micro-calibrating domestic atmospheres as well, ultimately resulting in today’s unsustainable excesses. 27 Honeywell thermostat by Henry Dreyfuss An early design for a personal air conditioning unit c.1934 22oC 15oC 15oC 15oC 18oC 22oC Building : Active Fashion : Passive Building : Passive Fashion : Active $$$$ $ THERMAL COMFORT 29 15oC 20oC 22oC Heated jacket Boris Bidjan Saberi USB powered ventilation shirt A personal comfort device allows climatic expression But comfort does not have to be communal. With buildings relying on passive strategies for heating and cooling, individual comfort can be actively addressed at the level of the body. Blood vessels close to the skin at the neck and the wrists (coincidentally, locations typically adorned with jewelry) are opportune sites to strategically tweak body temperature without affecting the environment beyond the skin. Alexander Wang Coolware personal cooling system Project: The thermal device could be the ultimate fashion accessory, which, like driving an electric car, would express an individual’s commitment to environmentalism. In addition, the devices would allow the luxury of individual control and customization, while dramatically reducing global energy consumption. THERMAL COMFORT 31 PULP FASHION ARCHITECTURE IS TO BUILDING AS FASHION IS TO CLOTHING Both architecture and fashion share the distinction of being cultural “excesses” that stem from functional roots: building and clothing, resepectively. These excesses contribute to our appreciation of the extra-functional. Architecture and fashion, however, differ drastically in relation to time. The word “fashionable” in architecture is pejoratve, unworthy of lasting cultural import. Fashion and architecture oscillate on different rhythms. Buildings are on a 50-100 year cycle. This long life span is not merely a product of the high investment required to build. ‘To set in stone’ is to exert cultural authority. 33 For 30,000 euros : 3 tons of zeroed out clothing For 30,000 euros : Oscar de la Renta 2013 Pre-Fall Fashion, by contrast, is driven by the manic repetition of the industrialized world. Fashion exists if x > y, where ‘x’ is the lifespan Sometimes, this means shipment overseas to martkets where of a given garment and ‘y’ is the frequency of replacement of the out-of-date clothing is still viable for sale. But often it means same garment (Barthes). The lifespan of a trend is a season, not that clothing is shredded for rags or reduced to pulp for other a century. Every several months, clothing goes from the runway industries. For the thirty thousand Euros for a couture gown to the exclusive boutique, to the department store, to the sale from Paris, one could purchase many tons of recyclable pulp that rack. There is a point at which fashion value drains completely could be reconstituted into new material. from a given article. With its original cultural purpose nullified, the article must be either repurposed or destroyed. PULP FASHION 35 Trans-America Trading Co textile breakdown Approximately 12 million tons of textile waste is generated each year in North America Recycled denim jeans can be sourced as cheaply as $0.25 per pound (for denim rag, jeans with holes). Project: Neither forcing fashion to cool down nor architecture to heat up, the project brings the distinct assets of each discipline into a synthetic weave. Fashion can deliberately plan its own cycles of waste, anticipating and designing its afterlife in an architectural system that mirrors it. Feeding on fashion’s speedy metabolism, the permanence of architecture could give way to a building- clothing hybrids - seasonal structures produced quickly to be deployed
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