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Essay: Exploring the Link between Architecture and Fashion: Inspiration, Similarities and Influences

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The subject of my research is about understanding the complex relationship between architecture and fashion.  “Fashion is architecture: it is a matter of proportions ”. This was famously said by the designer coco chanel. Although architecture and fashion can be thought to be completely independent and different, there are many similar concepts in design. Many designers such as versace, balmain and pierre cardin studied architecture before becoming fashion designers. On the other hand, architects have gone into fashion designing and have collaborated with big brands in the fashion industry to create unique pieces. I will focus on renowned architects like Zaha Hadid and Frank Gehry who have magnificent structures accredited to their portfolio such as “London Aquatics Centre” and “Louis Vuitton Foundation” respectively.  I will explore how these architects used architectural inspiration to become fashion designers, designing iconic jewellery and shoes.  This research will be evaluating articles and journal on how inspiration from modern architecture is used in the fashion industry.

I have always been interested how fashion design and architecture intersect. I find it fascinating    how designers have used architectural influence in their design. This involves the use of fabrics as a building materials to create both hard and round lines. The use of oversize proportions, exaggerated angles. Creating a strong silhouettes with emphasis on structure, shape and form. The use of major pleats, folds, pinning, layering, surface texture and three dimensional designs. The British-Iraqi architect, Zaha Hadid has implemented infrastructure in designing bags, clothes, shoes and accessories. I am interested in how inspiration from landmarks can be used in fashion designing. In my designs, I would like to use the concept of architectural fashion to create bold, stand out designs.

This essay will aim to explore the link and influence between fashion and architecture. I will look at the similarities between architecture and fashion. It will more specifically focus on how architecture inspires fashion? Therefore I will focus on renowned architects zaha hadid and frank gehry. This topic for the research was chosen when I had the chance of visiting “London Aquatics Centre” recently. I was highly inspired by the architecture of the Centre. I was already a huge fan of projects made by Zaha Hadid. Her works piqued my curiosity about the thought process and the inspiration she must have behind her magnificent projects. By studying fashion and gaining the theoretical knowledge of the basics of fashion has enabled me to look at Hadid’s and other modern architects with a different perspective. This allowed me to see that their building projects looked inspired by fashion. This led me to question if there was an interrelationship between architecture and fashion. and can architecture influence fashion?

This research will be conducted using secondary resources to collect information pertinent to the research question. Secondary resources will encompass books on the modern architecture and inspiration of fashion on the design strategy of architects. The selected books will be reviewed and evaluated, and then will be used in the critical essay followed by the literature review. The books selected for this research are;

“The fashion of architecture,” by Bradley Quinn;

“When clothes become fashion: design and innovation systems” by Ingrid Loschek;

“The Embodied Image: Imagination and Imagery in Architecture” by Juhani Pallasmaa;

“The Structure of the Ordinary: Form and Control in the Built Environment” by N. J. Habraken.

The two case studies taken into consideration for this research study are the British-Iraqi architect, “Zaha Hadid” and Canadian born American architect, “Frank Gehry.” Hadid has been selected for this research because she has successfully translated her signature parametric curves of her buildings to create shoes, clothes, bags and jewellery. Her models wear architecture.. The work of “Frank Gehry” shows a rather variation in textures and sculptural volumes along with pleating techniques. He has managed to use the same approach of designing buildings in fashion to create unique pieces in jewellery, shoes and bags. Overall, work of both the architects showcase the close relationship between fashion and architecture through the use of colours, texture, patterns, and seaming.

Literature Review

When Clothes Become Fashion” looks into the arrangements and strategies which trigger innovation in fashion. It focuses on fashion as a whole, the theory of fashion, innovation and invention of fashion and finally when clothes become fashion. The book proffers a rich theoretical framework for comprehending the fashion world, its “aesthetic premises, a plurality of styles, impulses pertinent to performance, social qualities, and economic conditions.” This book will help understand how the relation exists between fashion and architecture, providing a theoretical basis to the researcher to build reflection upon how architecture in the modern age is inspired by fashion or vice versa.

“The Fashion of Architecture” is the first attempt to explore the modern relationship between architecture and fashion in considerable depth. Quinn states that “architecture is making its presence felt in cutting-edge fashion.”  The materials used in architecture such as the pliable metals, membrane structures, lightweight glasses and plastics used in building construction are now used in the catwalk. On the other hand, architects are also using the same techniques as that of the fashion designers such as pleating, stapling, cutting and draping in modern architecture. Therefore, modern architecture now demonstrates fashion trends. The book focuses on designers such as Alexandra Mcqueen and Hussein Chalayan who understood the relationship between fashion and architecture and demonstrated it in their work. The book provides extensive detail on how the techniques of fashion have been implemented on the modern architecture and designers such as Zaha Hadid, Lloyd Wright, Frank Gehry. Where others have used these techniques to erect architectural masterpieces giants that are acclaimed for their novelty and innovativeness.

The embodied image: imagination and imagery in architecture by Pallasmaa states that all the effects used in artistic and architectural structures are initiated and experienced through “poeticised images.” These images are stipulated and experienced in the society and become a part of the individual human beings. These images are also reflected in our project aspects of space, object or event. Artistic images are considered to have a life and their own reality that progresses through unpredictable associations instead of gaining inspiration from a rational and logical source. Architecture is often taught as space and geometry associated discipline, but the mental impact is evoked through the quality of the image that incorporates different aspects and experiences into a single and internalised unit.  He reports that the individuals interact with the world around them through movement and experience instead of only visual appreciation. The author writes about different aspects of art, sculpture, literature, philosophy and psychology to accentuate his concerns pertinent to architectural directions. This is due to the writer’s substantial belief that there is a high possibility of intersections of ideas across various disciplines. Fashion designers like Rosie Assoulin, Chloe and Maison Kitsune are evidently taking inspiration from the iconic architects such as Zaha Hadid, Luis Barragan and Frank Gehry. This denotes that it is not only the architects taking inspiration from fashion but fashion taking inspiration from infrastructure as well. The written work of Pallasmaa in this book enables the reader to contemplate the role of architects to stand to span between the aspects of objectivity and subjectivity between science and art. The book provides an in-depth understanding of the internal processes that formulate their mental perception of the world and to furnish their work of “art and architecture and the designing process.

The Structure of the Ordinary: Form and Control in the Built Environment is written by an architect and educator himself. Habraken has presented a number of theories about the mass housing and the part of users in the procedure of designing. Habraken focuses on the developing tools that are contributing to the new approach of design in the architecture. The author announces two main factors that govern the entire procedure, i.e. change and control. Habraken questions the contemporary practice of modern architecture by putting forward observations as guidelines to provide a guideline to the architect to design with more sensitivity. Taking examples from the architectures all across the world, the writer explains various approaches towards the building environment. The book is structured into three categories; form, place and cultural order. The first part of the book explains the notion of change and control concerning the agents that have an imperative role in the functioning of the built environments. The second part of the book refers to the territorial order that accentuates the idea of territory. It outlines various types of territories such as private, semi-private and public terrains. The author chooses to discuss the relation between the society and the structure or the building environment. The last part of the book refers to the understanding of the cultural order. It delves into the perception and behaviour of people towards the buildings. This highlights the mutual preferences are is based on the human understanding. This book will be used to interpret how the building environment has cast an impact on the modern architecture, and the cultural order that is evident in fashion may be denoted in the modern architecture as well. The findings of the author will help in determining how fashion and architecture can be related to each other and how they seem to inspire each other.

The book ‘Fashioning the Future, Tomorrow’s Wardrobe’ (Lee, 2007) studies the effect of

technology on fashion. The book explores different ways technology can be interpreted in fashion.

The book studies the importance of technology in fashion and how fashion can be designed in the future. The improvement in technology has allowed individuals in the fashion industry to incorporate inspiration from architecture a possibility as individuals in the fashion industry can create and design machines or software which can interpret the designers concept unto the dress. This book looks into the future and gives indication to the role fashion and architecture can play in the future.

One of the important displays on the interrelationship between architecture and fashion

design took place in August 2008 in London. The display was called ‘Skin +

Bones, Parallel relationship in architecture and fashion’. The display demonstrates how fashion and architecture are interacting due to advances in materials technology and computer software Architecture has used techniques used in dressmaking, such as printing, pleating, folding, draping and weaving, while fashion designers use architectural methods and principles to creating volume and structure in their garments,

Techniques, forms and materials that are similar in architecture and fashion was showcased through the many designers.

Case Studies

Zaha Hadid.

Known as the “Queen of Curve,” Zaha Mohammad Hadid is a British-Iraqi architect born in Baghdad before moving to London to study architecture. She is acclaimed for her rebellious approach in architecture, mysterious thoughts and courage to reject the traditional norms and culture in the building environment. Her signature brand of fluid, sweeping lines of her gravity-defying buildings redefined the principles of monumentalism She is also the first woman architect to achieve the prestigious Pritzker Prize in 2004 for her work.

Her work demonstrates an unexpected fluidity of shape and forms. Hadid broke away from the classical rules of modernism and reconstructs her design to create fluid spatiality. She combines light, fluidity and space to create beautiful masterpieces. Her early works include the vitra fire station and Phaeno science Centre. As her career gained momentum, she was commissioned to larger projects. She now has many well known projects all over the world such as the sheikh Zayed Bridge, Abu Dhabi (2010), London Olympics aquatic centre (2011) Guangzhou Opera House (2010) and the Heydar Aliyev Centre in Baku (2013).  All her buildings demonstrated her characteristic physic-defying fluid lines. It is easy to spot Hadids trademark undulating lines, curvilinear geometries and complex elements of her structures, buildings and renderings. Hadid used deconstruction to challenge ideas of ‘form’, ‘function’and ‘beauty’, and opened up new ways of thinking about architecture and fashion.

sheikh Zayed Bridge, Abu Dhabi (2010)

London Olympics aquatic centre (2011)

Heydar Aliyev Centre in Baku (2013).

Galaxy SOHO in Beijing, China, by Zaha Hadid (Source, Fashion Globe)

 Zaha Hadid was not just an architect, her work also extended into fashion. She had many high profile collaborations in jewellery, shoes and bags. Hadid used her architectural designs as inspiration for the sculptural pieces she created. Hadid has many high profile fashion collaborations, all of which use her signature style. Hadid collaborated with louis Vuitton. She reconstructed the iconic LV bucket bag using moulded plastic, featuring both cut-outs and extrusions of the LV monogram.  The final product implemented her signature curves. The bag was a couture piece as well as a contemporary sculpture.

Louis Vuitton Icone Bag x Zaha Hadid – 2006

 Designer Sally Perrin partnered with Hadid on a collection of bags with sculpted metal clasps which uses her deconstructionist style. She also collaborated with Fendi on a peekaboo bag which created multiple superimposed layers of black leather.

Fendi Peekaboo Bag x Zaha Hadid – 2014

Sally Perrin x Zaha Hadid

Hadid collaborated with Adidas and Pharrell Williams to add a twist to the classic superstar sneakers. The shoes featured signature parametric curves carved into the rubber cap that covered the toe of the shoe. “I think Zaha Hadid’s designs are just like her buildings,” stated Pharrell Williams, "they augment reality forever.” Her collaboration with Melissa (brazillian shoe brand) used moulded plastic to create her modern signature curves. Her style was also present in the Nova shoe. This was the collaboration with Reem D. Koolhaas for united nude. The zig-zag ridges created by fusing metallic vinyl rubber, Italian nappa leather and glass fibre was influenced by her avant grade structures.

Nova Shoe United Nude x Zaha Hadid – 2013

Melissa x Zaha Hadid – 2008

Adidas Original Superstar Supershell x Pharrell Williams x Zaha Hadid – 2015

For Hadid, however not only did fashion inspiration come from her architectural style, but fashion also inspired her architecture. The ThyssenKrupp Headquarters was inspired by fashion which is made obvious from the buildings shape, form and style.  Frozen aura, a flowing mesh dress from her playbook was used to help inspire the building. The meshwork pattern is incorporated in the windows. The form of the dress in used in the building. Hadid has managed to connect architecture and fashion.

Frozen Aura and The ThyssenKrupp Headquarters ThyssenKrupp Headquarters

From Hadid’s work it is clear that concepts from fashion and architecture can be used in both trades. Both fashion and architecture fill empty spaces with planes and contours but on different scales.

Frank Gehry

Frank Gehry was born in Canada and later immigrated to California, United states. He graduated from the school of architecture in California and later opened his own practice. Like Hadid, he was also a winner of the pritzker architectural prize as “his buildings are juxtaposed collages of spaces and materials that make users appreciative of both the theatre and the back-stage, simultaneously revealed.” Like Hadid, majority of his works fall within the architectural style category of “deconstructivism” that is typically referred as “post-structuralist” in nature for its capability of going beyond the contemporary modalities of structural definition. In architecture, its implementation inclines towards departing from radicalism in its intrinsic criticism of societal goals and necessities for functioning.

Guggenheim Museum by River Bilbao, Spain. Designed by Frank Gehry. (Source: Archdaily, 2017)

 Due to this, deconstructivist inspired structures are not required to reflect any particular ideas pertinent to society or universe such as speed or universality of form and they are liberated from any restriction to follow certain function. Gehry’s own house in Santa Monica is a reflection of “deconstructivist architecture” (Boland et al. 2008).

Gehry redefines architecture and blurs the margins between art and architecture. It is for this reason many of his ideas can be incorporated into fashion.  Gehry gives feeling and spirit to form ignoring symmetry and the modernist grid. Therefore, he produces buildings of startling new dimension, dynamic and sensuous, with sleek, curving details.

Frank Gehry’s House, Santa Monica (Source: States and Partners, 2017)

Frank Gehry like Hadid also had major collaborations and delved into the fashion industry. In 2014, Gehry with louis vuitton designed a ho-hum purse . The shape of the bag resembled the curvature of a single section of the Disney Concert Hall.  Also taking inspiration from the building he designed a hat for Lady Gaga in 2009.

Ho-Hum Purse – Louis Vuitton

Lady gaga wearing hat designed by Gehry

Disney concert houseGehry in 2003 also collaborated with Tiffany and co to create an exclusive collection which explores the expressive potential of precious metals, wood and stone.  In the jewellery Gehry managed to express the spontaneous twists and turns of his style. The jewellery captured the fluid, sculptural essence of his work.  The silver Open Fish mesh necklace as seen below uses one of Gehrys ideas ‘fish motifs’ which is prevalent in a lot of his work, architectural or fashion. Gehry states the fish “felt like it was moving. I couldn't get over it, so I started abstracting the shape and playing with it on the scale of architecture”

“Fish Sculpture designed by Frank Gehry in 1992 in Barcelona, Spain.”

Tiffany and Co Silver Open Fish mesh necklace

Not only has Frank Gehry delved into the fashion world using his architecture as inspiration, but may other fashion desginers have used his unique buildings to inspire them.

Yasutoshi Ezumi used Gehry as his inspiration for his 2016 spiring collection. Ezumi stated “Gehry stripped off some of the components of the buildings, and then reconstructed them. after stripping off portions of the present composition, I want people to see the newly reconstructed parts.” The designer gave his clothes a deconstructed vibe and expressed the curves, forms, and layers of architect Frank Gehry.

Yasutoshi Ezumi 2016 spring


The work of Zaha Hadid and Frank Gehry are both a breath of fresh air in the infrastructure engulfed in the conventional building environment. Both the architects have stepped out of the box and have let their imaginations take the shape of reality, providing evidence that imagination needs not be restricted to one’s mind. It can be brought out and made the best use of. The unfinished appearance of Frank’s architectural masterpieces and Hadid’s extensively seamless and fluidly designed architectural projects are immensely different from each other. Where Hadid focuses more on the abstraction, fragmentation and suprematism, Gehry’s work is constructed by utilising inexpensive objects and unconventional materials. Gehry’s work where initiates the user to perceive the building as an artwork rather than an infrastructure designed to operate like any other traditional building, Hadid’s work is accentuated on abstraction and geometric forms. Both Hadid and Gehry are followers on deconstructionism in their own unique way.

Hadid, has a somewhat philosophical approach that is built upon the features such as abreaction, defying gravity and fragmentation. Gehry on the other hand, wants to inject feelings and emotions in architecture. He wants to have expression in his architecture. He approaches each building as a sculptural object, each piece of architecture as a painting.

Both gehry and Hadid as architects were able to use their architectural past in order to break into the fashion world. This shows that the concepts between the two fields are very similar.  Both fashion and architecture express ideas of personal, social and cultural identity.. Their relationship is symbiotic, they both provide shelter and protection for the body and create space and volume out of flat, two-dimensional materials. Although similar, the proportions, sizes and shapes differ enormously between architecture and fashion.  Fashion tends to be ‘of the moment’, whereas architecture has a more solid, monumental and permanent presence.

The connection between fashion and architecture recently  has become more interesting. Advances in material technology and software has allowed these two fields to expand into unknown territories never thought before. Buildings have become more fluid and garments more technical and structural. This is clearly shown in the way Gehry and Hadid approach designing buildings and implemented their designs in fashion. Architecture and fashion co-exist, they are not different.

Section 3: Critical Essay

The relationship between architecture and fashion is no more something that is restricted to the constraints of mind and imagination of an individual. In the previous century, the association between these two fields have managed to grow stronger with time as the realisation of the fact that these both industries are related to art, science and technology (Pallasmaa, 2011). A design theory is shared in the industry of fashion and architecture. The design is a process that is often referred as a methodology for the solution of problems. It is discussed by Gully (2008) that fashion is created by the designer himself so that he is also able to solve it. Gully states, “the problem is extremely complex in that the designed garment must have a resolved aesthetic; must have some relationship with the body; should explore the fashion elements of silhouette, design lines, proportion, colour, pattern and fabrication; moreover, be real” (Gully, 2008). This is not so different in architecture, where the architect needs to create a structure which houses the body.

On the contrary, design can also be deemed as an act that proffers solution to the problems that stem out from the environment we are currently residing in. It is highlighted by Heynen (1992) that architects function in situations which constitute of possibilities that give rise to questions; and these situations are the result of modification in the economic, financial and political conditions. Therefore, the design may be denoted as a process that generates some problems but also solves them to reach the best possible result. In both the industries, fashion and architecture, the definition of problem and techniques to formulate a solution for it is considered as one of the essential concepts of design (Loschek, 2009).

Another imperative element that is shared by both the fields is the integrative part of these industries without which they would not have existed. This element is “art” that serves as the foundation of the two industries. If this element is absent, the meaning of both fashion and architecture will be lost. With the contribution of art, technology and science, fashion and architecture are growing in a manner and direction which could not have been anticipated in the past. Art is the fundamental base in both the professions and these professions are highly aided by the progression that has been achieved in technology to touch the surfaces that are more inventive and creative (Loschek, 2009).

For several years, fashion professionals and architects are reported to have shared materials and techniques in an almost similar manner but different quantity and contrasting scales. Materials such as steel can be noted in the designs of Gareth Pugh in the film “Who Are You, Polly Maggoo.” The designer has used the architectural material to design dresses.

“Who Are You, Polly Maggoo” designed by Gareth Pugh

Similarly, in the building environment and the industry of architecture, especially in the modern structures, an element of folding, wrapping and draping can be noticed. When looked into the work of Zaha Hadid, her numerous projects denotes the elements of fashion in it. The structures are constituted in rather smooth and curvaceous forms, allowing sheets to wrap around one another, giving a feel of cloth being wrapped around a body in a style of a sarong or a wrap dress.

Wangjing Soho by Zaha Hadid Architects

Besides the commonality achieved in the materials and techniques between both the industries, but there could be a correlation achieved for a number of factors such as colour scheme, volume, texture, scale, geometry as well as orientation. These links between factors have grown to be stronger as the technology progresses and has made it possible to achieve the heights of imagination that could be incorporated in the architectural designs as well as clothing styles. In both, fashion and architect, the structure and the surface require not to be hidden and could be exposed to the observers to see.

It could be in the form of seams, tubing and threading in fashion; or it could be through beams, columns and cables in architecture (Heynen, 1999). This exposing helps in creating a subtle connection between the structure or the figure and the tool that collaboratively allows communication to take place with observer without having to say anything.

Deconstruction, according to Beardsworth (1996, p. 4), is not a phenomenon or happening that can be predicted or foreseen. It is continued progression without an end. The relation between fashion and architecture is established upon the central process rather than the founding basis of ideology. Frank Gehry is considered a significant believer in deconstruction based architecture. His ideas, as well as Eisenman, often demonstrate the idea of folding that is highly associated with the field of fashion. Projects of Gehry also represent the physical appearance and glance of fabric. If looked at the masterpiece created by Frank Gehry, the “Hotel Marques de Riscal in Spain,” it is evident that the architect has incorporated the characteristics of fabric and dresses in his design, denoting the structure of volumes that cover the body in the exact manner as the dress does to a body.

Hotel Marques de Riscal in Spain designed by Frank Gehry

If looked at deconstruction in the fashion styles, designers such as Yohji Yammoto and Rei Kwawakubo have followed an approach that has an abstraction in their designs. Similarly, Martin Margiela has a fashion line that denotes heavy approach of deconstruction. An extensive resemblance may be seen in the style carried out by the modern architects and fashion designers who choose to follow the school of deconstruction.

Dresses by Yohji Yammoto and Rei Kwawakubo, and Martin Margiela respectively.

It may be assumed in general that the pattern of deconstruction in architecture is theoretically grounded when compared with fashion. If looked into the “Museum of Contemporary Arts, Los Angles,” a connection of deconstruction in fashion and architecture can be seen evidently. It can be said that despite architects and fashion designers have not embraced the notion of deconstruction from the same source or for a mutual reason, but it is evident that the trend of deconstruction began in both the fields at the same time. Where it can be seen in the works of Zaha Hadid, Frank Gehry, Lloyd Wright, Coop Himmelb(l)au, Peter Eisenman and Bernard Tschumi among other architects the inspiration of fashion and drapery; it is also widely evident that fashion is extensively inspired by the architect as well.

Famous designer, Rosie Assoulin’s collection for Fall/Winter 2015 was inspired by the “Brion Cemetery” in Treviso, Italy, designed by Carlo Scarpa. Frank Gehry inspired Japanese designer, Yasutoshi Ezumi's collection. The balance of Zaha Hadid’s work of “Guangzhou Opera House” was taken as inspiration by women wear designer, Michelle Smith.


Yasutoshi Ezumi and Rosie Assoulin’s collection inspired by Gehry and Scarpa

Reconstruction in fashion design denotes the clothing that can be subjected to change. Reconstruction increases the contrast in the interior and exterior, giving it a new perspective and buoyancy, making it more dynamic (Quinn, 2003). In architecture too, reconstruction is deemed legitimate and can also be announced as renovation. Renovation gives old buildings new identity through adding new parts; whereas, in fashion, it allows one to explore interiority of the garment through disintegrating them.

The substantial function of both, clothing and building, is and always has been to provide shelter and protection to the body. In the previous years, fashion professionals, as well as architects, have instigated to reinvent the fundamental aspect of providing protection and shelter in their professional practice in order to reflect the changes that have been encountered in the environment and the society. The primary function of clothing, as well as construction or building environment, is to address to the need of modernity that is swiftly moving towards advancement and change (Loschek, 2009).

There is a requirement of fabrics that possess the high-performance capability and could also stipulate the functions of protection, mobility and identity. Simultaneously, the building and construction professionals are enquired about their role in the conventional structures, comprising of brick and cement, for using new and advanced material and methodology to formulate more diversified, pliable and ecologically sustainable structures that can effectively answer the humanitarian needs (Quinn, 2003).

If looked at the modern architecture and its inspiration by fashion in general, author Pallasmaa (2011), chooses to state that the design process and the thoughts behind deconstruction are heavily influenced by the psychological impact of the designers. The idea presented by the author denotes the thought process of architects such as Zaha Hadid who choose to rationalise their psychological images and use it in their designs. Imagination is no more restricted to a person’s mind, and modern architecture is one proof of it that the psychological impact of images scene influences not only fields like fashion but can cast an influence on architecture too. If the projects of Hadid are looked from a critical eye, one can observe the high influence of fashion in it. The curves, the lines, even the patterns are taken in accordance to be implemented in actual projects gives a feeling that a body is draped into cloth with certain artistry, demonstrating characteristics of clothes.

Moreover, fashion is an integral part of an individual’s life and the world. Changing trends and keeping up with the fashion where a substantial element constitutes for any person, it ultimately impacts one’s mind as well. Art is a common element of fashion and architecture; one cannot be truly separated from the other.

As Habraken (2000) states that there is the existence of an interaction between people and the building environment they choose to inhabit in and this interaction is inevitable. One has to be influenced by the other. The modern structure of buildings as designed by Hadid, Gehry or Lloyd could be seen as a sculpture designed by taking inspiration of fashion. The similarities in architecture and fashion coerce architecture to be inspired by fashion and vice versa.

Fashion is draped in one’s personal life extensively, and it is ultimately revealed in the architecture as well. Moreover, architecture evidently has the capability to adopt an important position in the modernity, considering it has become a social status. Heynen (1999) has very articulately defined the relation between “modernity, dwelling and architecture.” The author states that the new approach in both architecture and fashion and other sorts of design are contributed extensively by the progression in technology and the invention of new tools that have made it possible for the creative thinkers to transform their imagination into reality in a manner which was not deemed possible a few decades ago.

Two main factors that are highlighted by Heynen (1999) are that of change and control that is exceedingly common in both architecture and fashion industry. Architects and fashion designers both can subject their projects to change and control. Gehry’s work is mostly accused of giving an unfinished look; but on a similar note, fashion designers also have an open-end approach towards their work where they can always revisit and revise. Another thing to consider here is the human understanding that is highlighted in the literature; the perception and behaviour of people showcased towards a building or a fashion label is imperative to define its success or failure. It is evident from theoretical as well as the empirical perspective that a strong relationship exists between architecture and fashion. Both the fields are associated with each other, both taking inspiration from the other. The modern architecture has demonstrated a firm evidence of being inspired by techniques and styles related to fashion and the projects designed by architects such as Zaha Hadid, and Frank Gehry are examples of it.

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