Fashion Collection "Lidhëza. The Wrapping of Our Bodies"

Session

Fashion

Description

In the “Lidhëza. The wrapping of our bodies”, is being talked about how fashion and architecture design are intertwined with each other and how these interdependencies affect both disciplines. Architecture and fashion generally have many common sources: art, science and technology. These three have a direct relationship with each other and influence each other. The most logical relationship between fashion and architectural design is that both fashion and architecture offer protection to people from different social stratum. But, both industries use completely different types of materials, designs, techniques and functions. The difference between fashion and architecture is that fashion promises us wearables but also transitional art, while architecture offers a habitable and eternal form of art The “Lidhëza” collection is reminiscent of the fluid nature of Zaha Hadid’s architecture. Inspired by Zaha Hadid's architecture and the traditional costume of the Dukagjini region (Kosovo), the “Lidheza” collection was created. In order to bring the relationship between architecture and fashion into a harmonious balance, the collection mixes form, surface, light, structure, deconstruction and fluidity as well as space. The Lidheza collection is, among other things, a homage to the art of deconstructivism (ca.1914-1920). The traditional architecture was split up and the components rearranged in a unique way so that the buildings look surreal and in danger of collapsing. The three components of symmetry, order and regularity lose importance in deconstructivism. Deconstructivism is not a new architectural style and is not bound by any rules or corresponds to a specific aesthetic. It is viewed as the release of infinite uses of shapes and volumes. The geometric shapes are alienated and create an image of instability. The skin of the structure is manipulated and transformed into unpredictable geometric shapes. The deconstructive aspect of the collection is represented by a new arrangement of the shape of the traditional shirt and the traditional trousers. Despite the enthusiasm for Hadid's works, the source of inspiration is the Kosovan stone house, also called Kulla. The types of buildings created from the 18th to 19th centuries served to protect their inhabitants. The architecture of Kosovo dates back to the Neolithic and includes the Copper, Bronze and Iron Ages, the ancient world and the Middle Ages. Despite the country's long history, which is characterized by multiculturalism and a rich cultural heritage, Kosovo has only been an independent state since 2008. However, it is still not seen as such by all countries. It is one of the youngest countries in the world. The influence of the Kullas in the collection is only visible in the color scheme and has no other effect on the designs. The motive "movement" is in the foreground of the collection.

Keywords:

Fashion, deconstructivism, architecture, materials, design, wrapping, bodies, inspiration

Session Chair

Aferdita Statovci

Session Co-Chair

Artrit Bytyçi

Proceedings Editor

Edmond Hajrizi

ISBN

978-9951-437-96-7

Location

Lipjan, Kosovo

Start Date

31-10-2020 10:45 AM

End Date

31-10-2020 12:15 PM

DOI

10.33107/ubt-ic.2020.160

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Oct 31st, 10:45 AM Oct 31st, 12:15 PM

Fashion Collection "Lidhëza. The Wrapping of Our Bodies"

Lipjan, Kosovo

In the “Lidhëza. The wrapping of our bodies”, is being talked about how fashion and architecture design are intertwined with each other and how these interdependencies affect both disciplines. Architecture and fashion generally have many common sources: art, science and technology. These three have a direct relationship with each other and influence each other. The most logical relationship between fashion and architectural design is that both fashion and architecture offer protection to people from different social stratum. But, both industries use completely different types of materials, designs, techniques and functions. The difference between fashion and architecture is that fashion promises us wearables but also transitional art, while architecture offers a habitable and eternal form of art The “Lidhëza” collection is reminiscent of the fluid nature of Zaha Hadid’s architecture. Inspired by Zaha Hadid's architecture and the traditional costume of the Dukagjini region (Kosovo), the “Lidheza” collection was created. In order to bring the relationship between architecture and fashion into a harmonious balance, the collection mixes form, surface, light, structure, deconstruction and fluidity as well as space. The Lidheza collection is, among other things, a homage to the art of deconstructivism (ca.1914-1920). The traditional architecture was split up and the components rearranged in a unique way so that the buildings look surreal and in danger of collapsing. The three components of symmetry, order and regularity lose importance in deconstructivism. Deconstructivism is not a new architectural style and is not bound by any rules or corresponds to a specific aesthetic. It is viewed as the release of infinite uses of shapes and volumes. The geometric shapes are alienated and create an image of instability. The skin of the structure is manipulated and transformed into unpredictable geometric shapes. The deconstructive aspect of the collection is represented by a new arrangement of the shape of the traditional shirt and the traditional trousers. Despite the enthusiasm for Hadid's works, the source of inspiration is the Kosovan stone house, also called Kulla. The types of buildings created from the 18th to 19th centuries served to protect their inhabitants. The architecture of Kosovo dates back to the Neolithic and includes the Copper, Bronze and Iron Ages, the ancient world and the Middle Ages. Despite the country's long history, which is characterized by multiculturalism and a rich cultural heritage, Kosovo has only been an independent state since 2008. However, it is still not seen as such by all countries. It is one of the youngest countries in the world. The influence of the Kullas in the collection is only visible in the color scheme and has no other effect on the designs. The motive "movement" is in the foreground of the collection.