Reimagined Digital Environments for Fashion Spaces
Abstract
The essay explores the complex landscape of fashion design, scrutinising its depth beyond simple aesthetic and consumption, while advocating for transformative approaches that signal a significant industry evolution. By integrating the principles of ludic architecture, this essay seeks to redefine the conception of fashion environments, especially within the digital sphere, to enhance creativity, inclusiveness, and innovation. To examine the development of such spaces under these principles, I undertook observational research in high-end retail environments that transcend traditional retail through interdisciplinary collaborations with artists that create immersive installations. The findings indicate a disconnection, as many observers view and photograph these pieces without engaging in meaningful interaction that deepens their understanding beyond a mere consumerist perspective. This raises the question: Can the creation of virtual fashion environments, grounded in the foundational principles of ludic architecture and community, drive constructive evolution within the fashion industry?
I. Introduction
1. CRITIQUE AND PROPOSAL
Fashion design holds a diverse array of interpretations and significance for different individuals. Commonly, it is seen through a lens of glamorised aesthetics marked by luxury, opulence, and glamour, embedding within it consumerist and capitalist ideologies that foster social stratification. This perspective underscores a realm marked by classism and the alienation of those unable to afford the luxury of spending thousands on high-end designer wear. For some, this spectacle of affluence amidst widespread social inequality and turmoil represents a distasteful flaunting of wealth and a significant contributor to the environmental crisis.
As a fashion designer, I recognise these criticisms and understand the negative facets associated with the industry. However, I am also inclined to view fashion from a standpoint that appreciates the artistry, creativity, dedication, and knowledge that go into crafting apparel. Fashion serves as a medium through which a myriad of concepts can be explored, eliciting profound reactions through its social narratives and the mastery of its creation. Despite the historical challenges of accessibility, fair compensation, and exploitation within the fashion industry, I remain optimistic about the potential for reform.
In pursuit of positive change, I seek to redefine creative environments with the clean slate offered by virtual realities. By employing ludic architecture principles, I aim to reimagine the democratisation of fashion, which emphasises playful, interactive, and engaging digital spaces that encourage creativity and collaboration for innovation and inclusivity.
2. BORDERLESS FASHION and REIMAGINED SPACES
This essay primarily draws its perspective from Vanessa Gerrie's book, "Borderless Fashion Practice: Contemporary Fashion in the Metamodern Age," which highlights the industry's shift towards democratisation through collaboration, mixed media, and technology. It also leans on the concept of ludic spaces as outlined by Steffen P. Walz in "Toward a Ludic Architecture: The Space of Play and Games." Additional noteworthy contributions include "Space, Place, and Atmosphere: Peripheral Perception in Existential Experience" by Juhani Pallasmaa, focusing on spatial emotions, and Henri Lefebvre's "Rhythmanalysis," which explores rhythmic spaces and times
II. Metamodern age shift
1. FROM EXCLUSIVITY TO ACCESSIBILITY
Proved by Vanessa Gerrie in her book: “Borderless Fashion Practice: Contemporary Fashion in the Metamodern Age” the fashion industry has shifted from an exclusivist hard to achieve pursuit to more open spaces of collaboration, education, and transparency. With the likes of Virgil Abloh, Iris van Herpen and Ekhaus Latta just to name a few, the industry transcends the closed spaces of fashion runways through museum, educational and last but not least digital spaces. These places being more approachable by a wider public and shifting the perspective and former perception of the industry.
Whether fashion is considered art or not is a long-debated idea that has raised many conversations throughout the years. I am not here to debate this but raise a point of how fashion has entered education through prestigious art universities as well as museums and galleries.
2. INFILTRATING MUSEUMS
The Alexander McQueen, “Savage Beauty” exhibition (2011) at the V&A museum in London was one of the most visited exhibitions in the museum history. This success not only marked fashion’s popularity but also its significance when portraying the current times in art spaces. As Germano Cleant in the catalogue for the Biennale di Florenzi catalogue remarked: “Like art fashion can be looked at anthropologically, sociologically, and philosophically. It is an expression of individual and collective desire. It is a barometer of change.” (Celant, Settembrini and Sischy, 1996)
When fashion is viewed outside the realms of commerce and capitalism, its profound significance within global culture and society becomes more apparent. This perspective unveils the intricate ideas and processes involved in creating collections, challenging the traditional hierarchies that places audiences to mere consumers of commodities. Instead, it involves the audience in the elaborate journey of creation, shedding light on the craftsmanship and production techniques, thereby showcasing the expertise involved. This approach not only engages people but also encourages them to actively engage with and comprehend the stories and concepts behind each garment, from the initial designs to the final stitches that bring the piece to life.
3. INFILTRATING EDUCATION
The democratisation of fashion has been significantly advanced through academic institutions found in major cities worldwide. Historically, the skill of garment making was transmitted through generations, confined to apprenticeships that underscored utility for the lower classes and served as a display of wealth for the upper classes, without being recognised as a reflection of the times beyond mere evolutionary trends. The opening of university programs to fashion education allowed thousands of creative minds to venture in with the hopes of infiltrating an exclusivist industry. Despite the industry's challenges, including low compensation and exploitative practices, these students, perhaps unwittingly, are exposing the insides of centuries old fashion houses as well as establishing their own innovative practices. They transformed the industry through interdisciplinary collaborations, representation, and a commitment to transparency, thereby echoing the voices of their communities across diverse cultural backgrounds, sexual orientations, or dedication to sustainable practices.
This emergence of new spaces allowed previously underrepresented voices to flourish, exemplified by pioneers like Bianca Saunders, penetrating as a woman of colour the fashion menswear spaces, Virgil Abloh's open approach to sharing knowledge and information, or JW Anderson's gender-fluid designs. Young designers not only offered a more accurate representation of the times but also challenged older and established houses, usually incentivised by profits and exclusivity to change, and adapt to modern times and its values.
III. Ludic space
The creation of a space where creatives can thrive is tied to understanding the concept of ludic architecture and applied in a digital environment. The aim in establishing such a creative environment is to diverge from the conventional, capitalist-oriented spaces like retail spaces or online shopping platforms. Instead, it necessitates envisioning a space from a wholly distinct standpoint. Rather than prioritising consumer transactions, the emphasis shifts towards fostering interaction, learning, and engagement within the constructed environments.
1. ARCHITECTURAL STORYTELLING
As Le Corbusier suggests, "Architecture is about volume and movement," and thus, the manner in which we navigate a designed space (whether physical or virtual) shapes our expectations of that environment. To foster a space that promotes the free exchange of ideas and collaborative learning, it must exhibit an architectural flow where elements are interconnected rather than isolated. Each area should seamlessly transition into the next, irrespective of whether they represent different collections or brands within close proximity. Often likened to the art of filmmaking, the ability to craft flow in a 3D space is similarly essential. The creation of such environments involves a narrative element; they must embody a story and purpose that not only engage individuals but also resonate with them, encouraging identification with the showcased brand. The experience should captivate the visitor, igniting a sense of wonder and exploration that ultimately fosters a connection with the brand's unique message and inspires them to join a broader community instead of remaining an observer.
2. GROWTH THROUGH EXPERIENCE
The second key question that should be asked in this process is whether individuals experience personal growth or improvement as they traverse through the environment – do they emerge better for having gone through the experience in its entirety? Within a fashion setting, individuals are prompted to enhance their understanding by exploring the backstory of the collections, including the unique craftsmanship or the inspiration and concepts behind them, as well as the materials and production techniques employed. This approach also promotes greater transparency from brands, encouraging them to reveal details about the sustainability of their materials and the practices of the factories producing their garments. An illustrative example of this is Marine Serre’s initiative to share videos on her social media platforms and website, which document the intricate process involved in creating her garments. These garments, notably, are made through an innovative process of up-cycling and regenerating materials such as old T-shirts, rugs, jeans, and even silverware, showcasing the elaborate effort invested in each piece of up-cycled clothing.
Figure 1-2. Maguire, L. (2022) Regenerated carpets and denim in Marine Serre collection
IV. Methodology
The core question revolves around identifying essential features and spatial functions that would cultivate an environment conducive to growth, community, and creativity. To explore this, I conducted naturalistic observational research in several retail environments to understand how they engage with customers.
A notable distinction I observed in certain retail spaces was their use of brand-centric installations. Unlike Harrods and Harvey Nichols, which primarily feature such installations in window displays, Selfridges adopts a more experimental approach by weaving these experiences into the fabric of the store itself, thus immersing customers more deeply in the narrative.
In the photos below, we can observe people walking by the display while quickly taking a look. They can see the aesthetic and maybe even get a quick understanding of the installation but it does not give the passer-by chance to understand and connect with the context in which they are placed or engage with the garments in a meaningful way, therefore reinforcing the superficiality concept of fashion.
Figure 3 - 4. Harrods window display (Photo: Author)
Selfridges stands out from its competitors through a more experimental engagement strategy. Their approach to displaying installations is immersive, positioning them within the store and allowing viewers to interact more fully by walking through and exploring these spaces.
While this strategy is effective for drawing attention and conveying brand identity, it often lacks the depth to genuinely engage customers. Observations indicated that people tended to pass by these installations without truly interacting with them, treating them more as museum exhibits than interactive pieces.
In the examples photos provided below, captured on the Ground Floor of the Selfridges store, visitors are invited into an office-like installation where they can interact with the environment by opening drawers and handling objects, engaging with the space using all their senses. While I found this setup highly engaging and informative, revealing much about the brand and its underlying concept, only the retail area was crowded, as depicted in fig.8. At the end of the installation space, there was a free Photo Booth machine for visitors to use, but it was not utilised as many did not venture fully into the room to engage with it.
In contrast, digital spaces offer the opportunity to recreate these installations in 3D, encouraging varied forms of interaction as well as enhancing the experience. Digital platforms can incorporate features that break physical limitations, offering experiences that could simulate flying or even open doors to magical realms, effectively removing any boundaries to what can be achieved. These features can be put at the forefront of the experience and encourage different encounters that have as a goal either education and/or exploration. By transforming the action into actively participating in a memorable adventure that leaves a lasting impression on the viewer, you can subvert and question the idea of what a fashion space is altogether.
Figure 5-8. Selfridges in store installation and retail Space (Photo: Author)
VI. Field Innovation
Having explored the concepts of ludic spaces and architectural flow, and identified the characteristics that contribute to their success, we can now proceed to examine how to create such environments by reviewing examples from both the digital and physical realm.
1. SENSE OF IMMERSION
Switzerland's Therme Vals spa, initially popular in the 1960s, saw a decline by the 1980s, leading the local community to initiate a design competition to revive the baths. Swiss architect Peter Zumthor won by reconstructing the spa from concrete and local stone to blend with the mountain slope without blocking the hotel's views, the structure features a grass-covered roof. An underground passage leads visitors from the hotel to a vast subterranean space designed with local stone, minimalistic aesthetics, and sleek lighting, enhancing the sense of immersion. The design harmonises with mountain views, especially in the outer baths where swimmers move between indoor and outdoor spaces, experiencing shifts in light and shadow. “It’s a building that seeks to elevate the natural experience of thermal bathing through moments of thoughtful human intervention.” (Qantas.com, 2022). By following these examples of architectural flow, we can observe how spaces can be designed to express a certain message by guiding the person into the experience in a subtle manner that encourages the individual to interact with the space in a meaningful way.
Figure 9. UPco. (2023). Therme Vals, Switzerland. Retrieved from https://www.upco.com.au/the-therme-vals-switzerland/
2. VIRTUAL RETAIL
In recent years there have been many technological developments that have allowed companies to evolve their own digital experiences for their clients. Such an experience can be seen here created by Journee in collaboration with DEPT for H&M. The brand has created a virtual space where visitors can uniquely explore campaigns and collections, serving as a digital extension of its global physical showrooms. This environment allows the brand to cultivate relationships with media, celebrities, influencers, and stylists. Guests can navigate the space, converse with others, and engage with direct contacts, facilitating connections without the need for physical travel to any offline showrooms. Although it falls short in providing detailed insights into H&M's production ethics or sustainability efforts, it nonetheless presents a compelling example of how to craft an engaging digital experience as well as collaborate with other designers within it.
Figure 10. DEPT Agency. (2022). H&M virtual showroom. Available at: https://www.deptagency.com/wp-content/uploads/2022/11/hm-virtual-showroom-3-4.jpg [Accessed 18 March 2024].
IV. Conclusion
Vanessa Gerrie introduces the concept of "delocalisation" to describe the evolving trend of fashion transcending traditional garment spaces and venturing into innovative, rule-bending hybrid spaces. In contemporary times, curating a design identity navigates in between physical objects and the metaphysical realms. While the physical is bound by established conventions and traditional modes of operating, the intangible—especially as manifested in digital spaces—offers vast potential for innovative modelling. This shift can revolutionise the industry, steering it towards a positive trajectory by embracing values that the tangible fashion world has been slow to adopt.
By delving into the theories of atmosphere, ludic architecture, and Rhythmanalysis, and examining practical applications of these concepts in both physical and virtual environments, my goal was to conceptualise and demonstrate the viability of a space that promotes a positive industry ethos, transcending mere aesthetic appeal and consumer trends. This essay shows a way to transcend the traditional catwalk hierarchy, where the audience is passive, and the work is active. Instead, it envisions environments where the audience becomes an integral part of a broader creative community, engaging actively with the art. This approach aims to better align with the collective needs and foster a more inclusive and participatory creative process.
References
DEPT®. (n.d.). H&M partners with DEPT® and Journee to launch its first virtual showroom. [online] Available at: https://www.deptagency.com/en-gb/insight/hm-partners-with-dept-and-journee-to-launch-its-first-virtual-showroom/.
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Gerrie, V. (2023). Borderless Fashion Practice. Rutgers University Press.
Juhani Pallasmaa and Zambelli, M. (2020). Inseminations seeds for architectural thought. Hoboken, N.J. Wiley.
Lefebvre, H. (2004). Rhythmanalysis: space, time, and everyday life. London; New York: Bloomsbury Academic, An Imprint Of Bloomsbury Publishing Pic.
Maguire, L. (2022) Regenerated carpets and denim in Marine Serre collections. Available at: https://www.voguebusiness.com/fashion/marine-serres-radical-reset-all-female-leadership-to-push-deadstock-as-luxury [Accessed: 18 Mar. 2024].
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Qantas.com. (2022). Inside Switzerland’s Therme Vals - A Modern Take on Thermal Bathing. [online] Available at: https://www.qantas.com/travelinsider/en/experiences/stay-fit-and-relax/therme-vals-switzerland.html
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Anex
1. Short Project Description:
The study explores the transformative potential of reimagined digital environments for fashion spaces, emphasizing ludic architecture principles to foster creativity, inclusiveness, and innovation. The methodology involves observational research in high-end retail environments and analysis of digital platforms to assess their impact on engagement and interaction within fashion spaces.
2. Ethical SWOT Analysis:
i. Strengths: The study offers insights into enhancing creativity and inclusivity within the fashion industry, potentially leading to positive industry evolution. It promotes interdisciplinary collaboration and digital innovation, which could democratize fashion spaces and engage diverse audiences.
ii. Weaknesses: There are limitations in the observational research methodology, such as potential biases in data collection and interpretation. The focus on high-end retail environments may overlook the experiences of marginalized communities within the fashion industry. Additionally, digital platforms may exacerbate accessibility issues for certain demographics.
iii. Opportunities: The study addresses contemporary issues in the fashion industry, including elitism, environmental sustainability, and social inclusion. It opens avenues for exploring alternative approaches to fashion design and consumption, potentially challenging traditional paradigms and fostering new creative practices.
iv. Threats: Risks include perpetuating digital divides and reinforcing consumerist attitudes within virtual fashion spaces. There is a potential for ethical concerns regarding data privacy and manipulation in digital environments. Moreover, failure to address inclusivity may result in further marginalization of underrepresented groups.
3. Declaration:
I. Steps to Minimize Study Risks:
- Implement rigorous ethical guidelines for data collection, ensuring confidentiality.
- Incorporate diverse perspectives and voices in the research process to mitigate biases and promote inclusivity.
- Regularly review and reflect on ethical considerations throughout the study, remaining responsive to emerging challenges and concerns.
II. Compensation and Community Engagement:
- Advocate for ethical practices and social responsibility within the fashion industry, fostering dialogue and collaboration towards positive change.
- Explore opportunities for community engagement and participatory design approaches, empowering individuals to shape the future of fashion spaces.
