In modern society, global changes in various areas including politics, economy, and society have brought about huge changes to culture and art. The acceleration of changes to the formative styles in art, in particular, has suggested new directions tow...
In modern society, global changes in various areas including politics, economy, and society have brought about huge changes to culture and art. The acceleration of changes to the formative styles in art, in particular, has suggested new directions toward cultural trends of diverse expressions. In addition, the trends of various genres have competed against each other and grown together through confrontations and conflicts.
In this age, cultural art exists as an overall formative style being interconnected and maintains mutually supplementary relationships instead of coexisting with each other as individual and independent objects. Food, clothing, and shelter required to meet basic human needs serve more than the physiological needs of dressing, eating, and sleeping; they not only serve practical needs of better dressing, greater eating, and more beautiful living, but also have aesthetic values of their own.
Clothes and architecture have long developed together as part of the products of human acts.
Architecture and fashion especially share fundamental elements in that both of them set out to express three-dimensional formativity starting with such concepts as space, movement, and human body. Although they seem to exist in different styles on the outside, they affect each other, become an inspiration to each other, and have the common functional relationships through their elements in each area. Clothing is a three-dimensional formative work to express infinite human imagination and emotions in an orderly manner with a tool of two-dimensional fabric, in which sense it shows visual formative styles, aesthetic subjects, or common meanings in arts in a certain period as well as architecture. Being called space art, architecture represents a construction process of dealing with certain situations and designing in general. In other words, it presents safe and pleasant space and technological development, which are part of the essence of architecture, and creative meanings that contain the artistic sense of the space itself by taking proper materials in the most rational fashion.
There have been ongoing discussions about the similarity in form and structure between fashion and architecture. Just like fashion is worn on the human body, architecture is worn in a structure called space. In recent years the boundaries between the fashion and architecture terminology have increasingly become blurry; while fashion criticisms often use such words as "structural" "formative" and "architectural," architects have begun to adopt such fashion terms as "folding," "draping," "layering," and "printing." In fashion, artistry does not just seek after beauty; it utilizes lines and forms in distinctive ways in addition to practicality to create unique styles. In architecture, they complete a building with a distinctive style as well as a space with great functions to complete its own form.
Recent years has witnessed architects generate results through a creative process using diverse form techniques. Their works combine heterogeneous elements beyond the conventional order and discipline and show distorted forms, being characterized as being instable, asymmetrical, and non-rhythmical. Deconstructivist architecture, which presents non-geometric free curves and irregular forms as well as curves, demonstrates a new challenge to the conventional architectural thinking as a new approach. It is not that the styles are changing in the concept of architecture; architects are arousing people's attention to modern architecture in a revolutionary way by finding and substantiating truth hidden in the old prevalent styles and norms.
Among those architects, Jaha Hadid, who is an Iraqi female architect who is known for her diverse new attempts such as structurally distorted and irregular lines, smooth curves, and bold surface segmentation, has attracted much attention lately. Her original and experimental designs have earned her great reputations and promoted her as an architect that is excessively beyond the boundaries of conventions. She has shown her unique exceptional, soft, and dynamic space aesthetics. Recently it was reported that she would design the Dongdaemun Design Plaza at Dongdaemun, one of Korea's fashion meccas. The news will direct further attention to her works.
This study set out to theoretically examine Jaha Hadid and consider and apply her formative form aesthetics to modern fashion design.
It first analyzed her background and works as part of a general consideration of the architect; and secondly, it analyzed the formative beauty of her works by considering her formative characteristics and further the cases of modern fashion design where the formative principles were applied as well as such architecture, industrial design, and latest collections.
Those theoretical research efforts led to the following conclusions to show her formative characteristics:
First, she created overlapping effects by repeating or overlapping the vertical structures made up of hexahedrons in piles, sizes of figures, surfaces, and lines in one space, thus presenting space forms in more diverse ways.
Second, many of her works contain the formative beauty whose attributes include fluid continuity whose streamlined structure is exposed as a formative element with movement.
Third, her works also have porous formative characteristics, which are represented by the design with a hole in the massive form.
Finally, she transformed the old conventional images and forms and created elements that were not regular or bound to forms and included irregular formativity.
An examination of her works created in those principles and elements provided the following conclusions:
First, the overlapping principle was adopted and applied to a work, which turned out to have more mass and volume to the silhouette.
Secondly, the dynamic streamlined formative aesthetics found in Hadid's works was applied to a work, which had the surface segmented through piping and highlighted its controlled details and soft silhouette as much as possible.
Thirdly, the cutout technique was applied to a work with porous nature as a formative element. As a result, the work turned out to show practical, modern, and distinctive beauty.
Finally, creative ideas were generated by applying irregular and asymmetrical details based on irregular formative elements as motives.
Although there have been many researches on architecture and fashion, few dealt with demonstrationist architecture and fashion beyond the old conventional or traditional frameworks. Research efforts were especially lacking in the study of fashion and Jaha Hadid, who has recently attracted attention by showing the most innovative and progressive design. This study will hopefully be followed by many more active researches on the modern fashion design that applies structural silhouettes and formative patterns inspired by her works.