Architectural Largesse
If you are one of the fortunate (or unfortunate depending on how you fare with jet lag) fashion souls traversing from Milan to Seoul to Los Angeles and then to Cannes for the growing cluster of cruise shows and brand celebrations, by the end of it you will have experienced an extraordinary architectural smorgasbord that would make Dezeen and Designboom readers swoon with jealousy.  Feted last week was OMAâs Fondazione Prada art centre in Milan.  Chanel staged their superfuture cruise show in the curvaceous UFO-esque Dongdaemun Design Plaza in Seoul designed by Zaha Hadid.  Iâm currently in Palm Springs, ready to enter another kind of a spaceship in the volcanic shape of Bob and Dolores Hopeâs estate envisioned by John Lautner in 1973 for the Louis Vuitton cruise show.  Next week, Iâll also be hopping over to Cannes for the Dior cruise show, which did a mysterious U-turn location change from LA because an âexceptionalâ venue had come up.  Itâs Pierre Cardinâs brilliantly bonkers Palais Bulles or Bubble, conceived by Antti Lovag.  And if youâve really been pounding the fashion globe-trotting trail, you might also have been up in the hills of Hollywood at the Griffith Observatory for Burberryâs Britastic bash two weeks ago.
Itâs hard not to read a âtrendâ into this bestowment of architectural largesse on our eyes. Â The round the world cruise show tour really began to take shape last year when both Dior and Louis Vuitton came onboard and as Business of Fashion has recently noted, the point is to take sole ownership of a city and to broadcast an experience that feels special and unique at a time when the calendar isnât crowded.
Beyond far flung locations though, the use of architectural wonders this year to impress a) the guests physically going and b) the audience fed with behind the scenes content and c) consumers in the immediate vicinity of the show, feels significant.  The architecture in these instance communicate weight and longevity and for the most part are centred around innovation, which parlay well with the values of these maisons and their creative directors.
For Louis Vuitton and Nicolas Ghesquière, itâs not enough to go far out into the middle of the desert as they sought to find a venue that wasnât in the public eye (unless you have a cool $50 $25 million to spend as itâs still technically on the market).  Lautnerâs original vision was actually compromised with the later involvement of Bob Hope but the drama of this space-age Jetsons-esque entity nestled into the craggy red rocks of Palm Springs canât be exaggerated.  Echoing Ghesquiereâs penchant for sci-fi referencing â" the digital water catwalk of last yearâs cruise show in Monaco, the trippy S/S 15 video intro with promises of space travel, the surveillance video set-up of A/W 15-6 in temporary geodesic domes â" Bob Hopeâs home promises to be the most monumental incarnation of this visionary designerâs futuristic streak.
The links between Pierre Cardinâs Bubble Palace and Raf Simonsâ vision at Dior arenât just based on aesthetic but theyâre also historical.  Cardin once worked for Christian Dior in the tailoring department when the âNew Lookâ was conceived.  Antti Lovagâs bubble housing was built between 1975 and 1989 and despite the spacey spherical formations and the many glass portals, the design is based on what Lovag called âhabitologyâ â" going back to the roots of our ancestral habitats of caves and rock dwellings.  Itâs sort of like the more permanent manifestation of the light-filled cave-like venue used for the S/S 14 Dior couture show.  The parallels are as clear as the Cote DâAzur sea, which the house overlooks.  Lovag, Cardin, Dior and Simons â" visionaries who have innovated.  Itâs no wonder Dior changed their show location at the last minute (the show was originally slated to be in LA).  This house seems truly to have been too good to pass up.
P.S. I canât deny that Iâm kind of giddy about going to a place called Bubble Palace to see a fashion show. Â Someone might need to clamp my mouth shut in case I squeal too much.
Whilst Louis Vuitton and Diorâs cruise locations are hidden away from public view, Chanelâs venue couldnât be more out there.  Zaha Hadidâs Dongdaemon Design Plaza completed only last year and forms a showstopping central hub for Seoulâs fashion and tourist district.  In this instance, Chanelâs cruise show looks to the future of a rabid fashion consumer of the 4th largest economy in Asia.  This building is part and parcel of the glass and steel engulfed landscape in Seoul that collectively communicates its prowess with giants like LG and Samsung looming large.  For Chanel, itâs the converging of one of fashionâs oldest maisons helmed by the longest serving fashion designer around with a city in flux and a consumer that walk in and out of those sheeny shiny malls, taking to fashion with an enthusiasm that I found fascinating when I last went to Seoul.
Of course, we canât forget one of the original collaborations between architecture and fashion.  Prada and Rem Koolhaas/OMAâs relationship has really set the bar high in that this is a brand that isnât merely hiring out a venue but actively collaborating with an architect practise on not just stores or show spaces but on ambitious projects like the Fondazione Prada.  Seven renovated buildings with three additional ones in Southern Milan that intersects the old with the brand spanking new, emphasised by the gold leaf cladding.  Apparently the 24 karat gold leaf was cheaper than the more traditional counterparts.  Thatâs a Miuccia-ism if ever there as one â" something cheap masquerading as something precious.
When Burberry took over the Griffith Observatory for their London in Los Angeles epic show and performance, here architecture wasnât used to convey values of innovation or visionary thinking.  Instead, they intercepted the existing structure with unabashedly British iconography.   Or specifically royal iconography with the erection of wrought iron gates at the entrance to the venue made to look like the ones in Kensington Park Garden as well as a pomp and parade projection worked in with the trooping of the real Buckingham Palace guards.  LA has the star power as well as a welcoming appetite for Britishness and Burberry were ready to physically pump up that Brit factor in the Hollywood Hills.
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