At an exhibition about fashion, Wouter Valkenier (Studio Valkenier) was inspired by a design by Ontfront (Liza Koifman and Tomas Overtoom) Ontfront had transformed a clas- sic design for a pinstripe jacket into a hooded sweater Wouter immediately discerned a num- ber of interesting parallels between Ontfront’s working method and the way in which he as an architect-urban designer produces his designs; for example, by transforming archetypes into contemporary concepts Studio Valkenier and Ontfront subsequently worked together on a design for a coffee bar Because the architectural design was already more or less finished, the addition of fabrics and clothing for staff had a ‘responsive’ character The question that arose was what would happen if a fashion designer and an architect were to work together right from the out- set? They conceived a plan to explore the common ground between fashion and architecture and the potential of such a collaboration This initiative, which ARCAM later became involved in, has resulted in an investigation into the design process and into the making of both fashion and architecture, as well as the combination of the two With this project, StudioValkenier, Ontfront and ARCAM hope to give an idea of the possibilities and to stimulate future collaborations between architects and fashion designers more info? www.StudioValkenier.nl

1. EXHIBITION FASHION&
17.07.10 - 11.09.10 ARCHITECTURE
ARCAM, Ontfront (Liza Koifman and Tomas Overtoom) and V2A architectuur &
stedenbouw (Wouter Valkenier) challenged four duos – each comprising a fashion
designer and an architect who teamed up specially for the occasion – to enter into a
design process. The results were on show at ARCAM in the summer of 2010. Work by:
Iris van Herpen & Jan Benthem / Mels Crouwel (Benthem Crouwel Architekten)
Mattijs van Bergen (MATTIJS) & Anouk Vogel (Anouk Vogel landscape architecture)
Farida Sedoc (Hosselaer) & Nicole / Marc Maurer (Maurer United Architects)
Kentroy Yearwood (Intoxica) & Jeroen Bergsma (2012Architecten)
© ARCAM, 2010

2. Table of conTenTs
Foreword 2
Motivation: Ontfront & V2A architectuur & stedenbouw 3
Iris van Herpen & Jan Benthem / Mels Crouwel 8
Mattijs van Bergen & Anouk Vogel 12
Farida Sedoc & Nicole / Marc Maurer 16
Kentroy Yearwood & Jeroen Bergsma 20
Epilogue 24
Inspiration 28
Colophon 29
1

3. foreword MoTivaTion
ARCAM, Ontfront (Liza Koifman and Tomas Overtoom) and V2A architectuur & stedenbouw At an exhibition about fashion, Wouter Valkenier (V2A architectuur & stedenbouw) was inspired
(Wouter Valkenier) challenged four duos - each comprising a fashion designer and an architect by a design by Ontfront (Liza Koifman and Tomas Overtoom) Ontfront had transformed a clas-
who teamed up specially for the occasion - to enter into a design process The results were on sic design for a pinstripe jacket into a hooded sweater Wouter immediately discerned a num-
show at ARCAM in the summer of 2010 Work by: ber of interesting parallels between Ontfront’s working method and the way in which he as an
architect-urban designer produces his designs; for example, by transforming archetypes into
contemporary concepts V2A and Ontfront subsequently worked together on a design for a
coffee bar Because the architectural design was already more or less finished, the addition
iris van Herpen & Jan benTHeM / Mels crouwel Benthem Crouwel Architekten of fabrics and clothing for staff had a ‘responsive’ character The question that arose was what
would happen if a fashion designer and an architect were to work together right from the out-
MaTTiJs van bergen MATTIJS & anouk vogel Anouk Vogel landscape architecture
set? They conceived a plan to explore the common ground between fashion and architecture
farida sedoc Hosselaer & nicole / Marc Maurer Maurer United Architects and the potential of such a collaboration This initiative, which ARCAM later became involved
kenTroy yearwood Intoxica & Jeroen bergsMa 2012Architecten in, has resulted in an investigation into the design process and into the making of both fashion
and architecture, as well as the combination of the two With this project, V2A, Ontfront and
ARCAM hope to give an idea of the possibilities and to stimulate future collaborations between
architects and fashion designers
There are frequent crossovers between both fashion and architecture and other disciplines, but
intensive collaborations between fashion designers and architects are few and far between
And yet the two disciplines have so much ground in common Both are concerned with creating
volumes in order to protect people, both involve constructional principles and have an ever-
wider range of materials available to them Interestingly, more and more fashion designers are Wouter Valkenier (1977) V2A ARCHITECTuuR & STEdENBOuW
resisting the rapid turnover rate of their products, while architects, by contrast, are increasingly Based in amsterdam
seeking to design ‘fluid’ buildings with maximum flexibility and a variable experiential value www.v2a.nl
This brochure gives an impression of the exhibition, shows how the various designers - inspired
by this unique collaboration - responded to the broadening of their discipline and presents Wouter Valkenier founded V2A architectuur & stedenbouw after
the resulting design statements In addition, the reader is given an insight into the design and winning a design competition for a bar concept for a festival V2A’s
production process work covers a wide range of projects, in which the starting point is
always the genius loci (specific character) of the location or project By
working together with various other disciplines, a ‘design synergy’
is created V2A’s design approach has resulted in architectural designs,
including a design for the redevelopment of the Police Academy
Sloten, and urban design schemes for Alphen, Almelo, deventer
and Rotterdam’s dock area In 2010, V2A was selected to develop,
design and draw up the programme for a temporary location on
Amsterdam’s southern IJ waterfront
Roof structure
liza koifman (1982) / tomas oVertoom (1980) ONTFRONT
‘fashion’ is a dirty word, so is ‘temporary’, so is ‘flashy’. Based in amsterdam
Yet it is the creation of those things that are necessarily fashionable, www.ontfront.com
temporary or flashy that has more to do with the vitality of OntFront is an exclusive, Amsterdam based
cities than ‘monument buildings’. the pulsation of city life is fast, menswear label, recognizable by its lucid
so why not that of its environment? it reflects rise and fall, mix of classic menswear and streetwear
Hence the label’s subtitle: ‘Sidewalk tailo-
coming and going....change. so why not build for this?’ ring’ OntFront stands for fast city life: the
(Peter Cook, Archigram) bad boy and the gentleman
Ontfront, Collection Shift Gear F/W 10/11
2 3

4. De teams
iris van Herpen &
Jan benTHeM / Mels crouwel
MaTTiJs van bergen &
anouk vogel
farida sedoc / HoSSelAer &
nicole Maurer / Marc Maurer
kenTroy yearwood / InToxICA &
Jeroen bergsMa / 2012ArCHITeCTen
4 5

5. 6 7

6. iris van Herpen (1984) Jan benTHeM (1952) Mels crouwel (1953)
BenTHeM CroUwel ArCHITekTen
Based in arnhem Based in amsterdam
www.irisvanherpen.com www.benthemcrouwel.nl
Iris van Herpen has had her own label since 2007 She has Jan Benthem and Mels Crouwel set up in practice together
worked for Alexander McQueen and Claudy Jongstra and immediately after graduating from Tu delft in 1979 Benthem
studied at the ArtEZ Academy for the Arts Iris van Her- Crouwel has an extensive oeuvre Their work includes large-
pen is internationally renowned Her collections, including scale and long-term projects such as Schiphol, Amsterdam
‘Refinery Smoke’, ‘Mummification’ and ‘Synesthesia’, have RAI and the underground stations on the North/South metro
been presented at various fashion weeks in London, Tokyo line The designs reveal the architects’ fascination with
and Amsterdam Her designs are characterized by the use solving complex problems and their attention to the smal-
of unusual materials such as woven wire gauze, brass stays, lest detail The designs by Benthem Crouwel are sometimes
ball chains and special types of leather Construction plays low key, such as, for example, the extension to the Anne
an important role in Iris’s work, as a result of which it is Frank Museum and Museum de Pont, while others are arres-
often compared to architecture Iris always bases her de- ting landmarks, such as the pop and culture podium Me-
signs on strange concepts such as smoke, radiation and tropool and RAI Elicium Their third monograph BC AD
the mummification of bodies All of her collections are Benthem Crouwel 1979-2009 was recently published For
made by hand using innovative techniques in traditional the Stedelijk Museum, which is scheduled to open in 2011,
needlecraft Her creations are impressive and often con- they devised an urbanistic solution in which the museum’s
tain an experiential element The dresses in the ‘Refinery entrance is situated in Museumplein The gleaming white
Smoke’ collection are made from woven wire gauze and new build that hovers above the entrance is a striking pres-
hang like a vaporous cloud of smoke around the body ‘Ra- ence with the apt nickname ‘bathtub’ The façade and roof
diation Invasion’ was inspired by the invisible radiation that are made of seamless fibre-reinforced composite material
surrounds us all What would happen if the radiation were Inside, art occupies centre stage and the tranquil, rectilinear
to become visible and fuse with our bodies? rooms with their serene ambience are a tribute to the mu-
seum’s former director Willem Sandberg
‘We must never
explain something
Collection Refinery Smoke
by saying: well, departure hall Schiphol
‘I’m always it just appealed
preoccupied to me ’
with mathematics,
with calculating
the right balance ’
Collection Synesthesia A/W 10/11 Stedelijk Museum
8 9

7. iris van Herpen &
Jan benTHeM / Mels crouwel
material: special variant of plexiglas
‘PuRE WATER’
Iris, Jan and Mels have been inspired by each other’s ideas
with regard to use of materials, constructional technique
and visual idiom The dress, the water that is lacking in the
Stedelijk’s ‘bathtub’, moves around the body like a wave
The dress is made from synthetic elements, which with the
help of hot air (a hairdryer) have been transformed and then
melted together The material resembles pure water, is fluid
and yet rigid enough to suggest a ‘frozen’ moment Require-
ments that also played a role in the choice of material for
the Stedelijk’s facade In order to achieve a seamless ‘skin’
with such a span, the same requirements applied with re-
spect to softness versus hardness
‘i often have the final image in my mind for some time.’ (iris)
‘We work precisely the other way round. We distil the problem and try to
find the best possible solution to it. However, we notice that the longer
we do it, this alone is no longer enough and that there also has to be an
overarching idea.’ (Jan / mels)
10 11

8. MaTTiJs van bergen (1980) anouk vogel (1977)
MATTIJS AnoUk Vogel lAnDSCApe ArCHITeCTUre
Based in amsterdam Based in amsterdam
www.mattijsvanbergen.com www.anoukvogel.nl
Mattijs van Bergen, who grew up in the east of the Ne- The Swiss-dutch designer Anouk Vogel studied landscape
therlands, initially wanted to be an actor, but soon realized architecture at the Metropolitan university of Manchester,
that his heart lay in creating things and especially fashion with an exchange year at Wageningen Agricultural uni-
After completing fashion courses at the Artez Academy versity After working at West 8, Bureau B+B and Inside
for the Arts in Arnhem and the Central Saint Martin’s Col- Outside, in 2007 she set up her own practice Anouk has
lege of Art and design, in 2008 he launched his own label won various international competitions and has designed,
MATTIJS Mattijs works according to the ‘moulage’ method, among other things, the temporary gardens ‘Cacticity’ in
whereby garments are formed with a body or manne- Bilbao and ‘A Chaque Château son Jardin’ in Lausanne
quin as the starting point He does not start with a pattern In 2009, she created the ‘Lace Garden’ in the centre of a
The pattern is made afterwards, when the prototype of the typical Amsterdam housing block By using only white
garment is finished, in order to enable the production of the flowers, Anouk has succeeded in creating unity in the pre-
prêt-à-porter collection Mattijs is known for his unusual viously cluttered garden Together with the architect Johan
use of colour and traditional use of luxurious materials Selbing, she designed, among other things, the new fur-
Pleats are a recurring feature in his collections Fascinated niture in Vondelpark and the reading room in the Con-
=by original techniques, Mattijs designs feminine clothes temporary Art Centre in Vilnius (in collaboration with Bart
that subtly accentuate the beauty of the wearer He works Guldemond) Anouk and Johan are among the designers
in an atelier in Amsterdam’s ‘Wallen’ district and also teaches selected for the final round of the 2010 Prix de Rome
at the design Academy in Eindhoven and the Amsterdam Anouk’s work is often described as poetic and dreamlike
Fashion Institute She herself says regarding the interpretation of her work:
‘My work must speak for itself ’
‘I study original
techniques and
Collection Phoenix A/W 10/11
try to use them Cacticity, Bilbao
in my designs
in a new way ’ ‘The vaguer the brief
the better Then there’s
enough room to
interpret and explore ’
Collection Phoenix A/W 10/11 A Chaque Château son Jardin, Lausanne
12 13

9. MaTTiJs van bergen &
anouk vogel
material: living flowers, recycled bicycle tyres on wool
SEASONS CHANGE
The seasons play a role in the work of both Mattijs and
Anouk ‘Even though it sometimes seems as if the seasons
have disappeared from our lives, because everything is
available throughout the year ’ The tempo at which Mat-
tijs produces his collections is determined by the dynam-
ics of the fashion industry, which creates a new look for
each season The cycle appears to be unavoidable in both
disciplines, but is that really so? Why is fashion seasonal
whereas Anouk’s living work endures the seasons in various
forms? Inspired by this, Mattijs and Anouk have designed a
dress that brings the successive seasons to life by changing
during the exhibition The dress is literally a living object
and is composed of pods, like a dahlia, that can hold water
By creating a different flower arrangement each week, the
seasons come alive Moreover, the dress itself is an object
that - like a tulip vase - is beautiful even when empty By
photographing the dress each week, the entire collection
becomes visible
‘We looked for things that we share and were really surprised
at how much ground we have in common, but also
how together you can arrive at completely new ideas.’
‘the entire time i was focussed on the technical challenge
of keeping the flowers alive.’ (anouk)
14 15

10. farida sedoc (1980) nicole Maurer (1969) Marc Maurer (1969)
HoSSelAer MAUrer UnITeD ArCHITeCTS (MUA)
Based in amsterdam Based in maastricht en eindhoven
www.hosselaer.com www.maurerunited.com
Farida Sedoc began the high-end exclusive streetwear fashion Marc Maurer graduated in architecture and urban design
label ‘Hosselaer’ in 2008, after she was expelled from the from Tu Eindhoven in 1995 Nicole began her studies at
academy Inspired by street culture, the name Hosselaer re- the Academy of Arts in Antwerp but later switched to
fers to the English verb ‘to hustle’ (‘hosselen’ in dutch), or Tu Eindhoven where, in 1998, she obtained her masters
the need to make ends meet whatever the circumstances degree In that same year, Marc and Nicole set up their
Farida grew up in the eighties and her work is largely inspired studio Maurer united Architects (MuA), which has de-
by hiphop and the rise of MTV She is fascinated by origi- veloped into a multidisciplinary forum for architectural,
nal techniques and incorporates traditional elements in industrial and graphic design With architecture as the
her designs The result is a distinct mix of colourful graphic primary discipline, they explore the boundaries of de-
prints, traditional appliqués and Surinamese touches The sign in the widest sense of the word and work together
urban environment with its overwhelming diversity and dy- with, among others, the graffiti artists delta and Zedz
namism gives energy to her work In the summer of 2010 MuA is also one of the founders of Baltan Laboratories,
she will be working on her third collection: Hosselaer 3# a research lab in the field of art, technology and culture
BACK TO BASICS + pop up shop Marc and Nicole distinguish three key aspects in the
design process: construction, circulation and cladding
By integrating these three aspects, they seek to give a
project’s location a clear identity In 2009 they realized
the ‘Indemann’, an observation tower and landmark in
Inden in Germany
‘After two uninspiring
years at art college
‘We are curious
I set up Hosselaer and Boerenwereldkeuken
about the relationship
saw colour again ’
between architecture
and media How can
you get various media
to merge with
a building?’ Indemann, Inden
16 17

11. farida sedoc &
nicole Maurer / Marc Maurer
material: 100% cotton
T-HAuS
At the first meeting between Hosselaer and MuA, the
terms ‘dutch Masters’ and ‘Making of a Classic’ immedi-
ately came to the fore Marc and Nicole suggested icons
such as de Stijl and Bauhaus as an anchor point for the task
of mixing fashion and architecture into a wearable build-
ing On this basis, they then designed five block-shaped
sculptures, which could also be functionalist buildings Far-
ida then made T-shirts that fit closely around them At first
glance, these T-shirts have nothing human about them due
to their angular, unnatural shapes By subsequently replac-
ing the ‘moulds’ with people, body language is introduced
That de Stijl is one of the departure points is evident in the
colours of the T-shirts The pixelated globe in the exhibi-
tion alludes to the basis of the designs: the pixel This is
discernible both in the form of the smallest constituent ele-
ment and in the nucleus of which the motifs on the T-shirts
are composed
‘in the photograph we want to show the original structure of the t-shirt
as architecture, together with five models who are wearing the shirts.
they were then exhibited in the city.’ (nicole)
‘tomorrow i’m going to the printer to see whether the idea is feasible.
it just Has to be!’ (farida)
18 19

12. kenTroy yearwood (1968) Jeroen bergsMa (1970)
InToxICA 2012ArCHITeCTen
Based in amsterdam Based in rotterdam
www.intoxica-jeans.com www.2012architecten.nl, www.superuse.org, www.recyclicity.org
Kentroy Yearwood was born in Curaçao and moved to the After graduating from Tu delft, Jan Jongert and Césare
Netherlands when he was fourteen years old He graduated Peeren set up the office 2012Architecten Jeroen Bergsma
from the Royal Academy of Fine Arts in Antwerp in 1994 joined them in 2005 The name 2012Architecten alludes
and then worked as a designer for various fashion labels to the way in which they acquired their first office space:
In 2005, he launched his own label ‘Intoxica’, a high-end by making a plan for the reuse of an existing building,
jeans label for men and women, which is completely the latter was saved from demolition and they were given
committed to using sustainable materials and produc- use of it until the year 2012 The ‘Superuse’ concept de-
tion processes Kentroy does not believe that the sustai- vised by 2012Architecten has gained wide currency in
nable production of high-quality, distinctive clothing can the design world; the use of leftover materials for archi-
help to solve global overproduction But he does it all the tecture, with a minimum of transport and processing A
same! Intoxica is a rebellious label that offers a clean and recently completed building that was built in this way is
sustainable alternative, making use of materials such as Villa Welpeloo in Enschede In Rotterdam a playground
organic denim, bamboo, recycled paper and scraps of carpet has been created, which consists of rejected wind tur-
wool At a recent show in Paris, his guests sat on com- bine blades and at the Faculty of Architecture in delft is
pressed bales of discarded clothing and he confronted espresso bar *K2, which is made of window frames from
the public with the figures for the raw materials wasted in the demolished building the ‘Zwarte Madonna’ by the ar-
order to produce that clothing Kentroy will have his first chitect Carel Weeber 2012Architecten are currently de-
presentation in the Netherlands at the summer edition of veloping strategies for sourcing food, energy and water
the 2010 Amsterdam International Fashion Week locally, whereby the potential of the existing environ-
ment is integrated; Recyclicity The Recyclicity concept
is aimed at developing the means by which the transition
can be made to a smart world where only that which is
strictly necessary is brought in from far afield
‘If you make a product,
it must add something
Collection Transhuman F/W 2009
to what already exists Villa Welpeloo, Enschede
Otherwise it’s wasted ‘Precisely by
effort and material ’ reusing material,
the ergonomic
human scale
Collection Transhuman F/W 2009 is already present ’ Playground, Rotterdam
20 21

13. kenTroy yearwood &
Jeroen bergsMa
material: vacuum cleaner hoses, coloured plastic tubes, iron wire, packaging material
INSECTIOuSELECTROTuBEFLOWERCLICHé
Kentroy and Jeroen are both driven by a fascination with
making the fashion and the construction industry sustain-
able, where finding opportunities for translating promising,
small-scale initiatives into the large-scale production of the
major players in the market is a major problem The proj-
ect ‘Fashion & Architecture’ was the specific motivation for
intensifying the existing contact with the waste processing
company Icova in Amsterdam’s Westelijk Havengebied Ma-
terial with which the two designers could work was ‘harvest-
ed’ on site Kentroy and Jeroen did not want to use any of
their existing ideas and so gradually designed a new prod-
uct They see the dialogue as the most important aspect
of the project and the end result as a step in the thought
process regarding possibilities for using waste productively
and creatively The challenge was to incorporate a sense of
‘recyclicity’ in the object by keeping the basic materials rec-
ognizable while at the same time creating an aesthetically
pleasing image The end result can be seen as representing
the boundaries between aesthetics and functionality
‘With our work we try to bring different worlds together ’
‘For our shows and installations we always work together with architects
in order to visualize the overarching image of a collection In those cases,
the architect provides an added value only when our creative design is
completely finished This is the first time that I’ve worked with an architect
who is directly concerned with the form of the body itself ’ (Kentroy)
22 23

14. Brief
The brief was short and concise and thus clear-cut:
design together, but without losing sight of your
own identity, a ‘wearable building’, which holds the
promise of a total experience Right from the outset
there were strong assumptions as to which themes
would be addressed It was obvious that attention
would be given to materiality, technique and struc-
ture, transience versus durability, the meaning of
concepts such as façade and skin, inside and outside,
monumentality, and - last but not least - social sup-
port base ARCAM took it upon itself to organize and
coordinate the entire process
The aim from the outset was to show the design
processes of the four teams: Iris van Herpen & Jan
Benthem and Mels Crouwel (Benthem Crouwel Ar-
chitects), Mattijs van Bergen (MATTIJS) & Anouk
Vogel (Anouk Vogel landscape architecture), Farida
Sedoc (Hosselaer) & Nicole Maurer (Maurer united
Architects), and Kentroy Yearwood (Intoxica) & Je-
roen Bergsma (2012 Architecten) In practice, this
meant that the designers were visited in their stu-
dios at some point In addition, ARCAM appointed
eight ‘shadows’ who were given the task of following
one of the designers closely in order to gain an idea
of how the designer experienced the process This
resulted in a fascinating log book with information
about what had taken place on various fronts
To start with, it was striking how without exception
the teams very soon realized what the collaboration
could mean In each case, the designers hit it off at
the initial exploratory discussions reasonably or very
well, and arrangements were made as to how one
thing and another might be organized They then
saw each other more or less regularly in order to talk
and to look for common ground, information was ex-
epilogue changed via e-mail and each team was soon able to
define a common line
Kentroy Yearwood & Jeroen Bergsma were rather
foUr proCeSSeS, one BIg ADVenTUre dumbfounded to discover that, despite their dif-
ferent backgrounds, they had so much ground in
The exhibition ‘Fashion & Architecture’ turns the spotlight not only on four stunning presentations, common, such as, for example, a shared interest in
but also on the fascinating, rather intense design and production processes that have resulted in sustainability They had intensive contact and saw each other regularly Mattijs van Bergen &
the four ‘objects’ Of course, you might say, because the entire project was born of curiosity as Anouk Vogel were surprised at the number of new ideas their discussions generated They
to how designers in 2010 function in their profession and in society A question that is especially discovered that the seasons play an important role in the work of both of them For Anouk, the
relevant because in recent years there have been major social and economic changes, which inevi- seasons form the basis of landscapes that are never ‘finished’ Mattijs works with the tension
tably also impact on fashion and architecture, both individually and in their interrelationship, and between the speed of the fashion industry and clients who increasingly want things that last
which for the most part result in very specific forms of spatial experience Because the relationship for one season only Iris van Herpen & Jan van Benthem and Mels Crouwel collaborated more
between the two disciplines it seemed could be best portrayed by staging a direct confrontation, at a distance and more asymmetrically Jan and Mels provided a source of inspiration, Iris then
four architectural offices were temporarily paired off with four fashion designers and these four began to design and received technical and practical advice from both architects when it came
teams were then given the same design brief to executing the design
24 25

15. Grand finale
Towards the end of the process tension mounted, for the architects and designers who contributed
to the project and at ARCAM There were complications, problems that were at once fascinating
and exasperating
Just as the design process was approaching its exciting climax, the Mondrian Foundation and the
Amsterdam Art Fund announced that they would not be making a financial contribution Both
expressed - in words - appreciation of the inspiring idea, but that was all They questioned the
project’s social relevance, its urgency and the degree of reflection, and also cast doubt on the
accessibility of the end result Precisely with a view to the wide dissemination of that final result,
ARCAM had at an early stage arranged with ELLE magazine for a photo shoot The magazine,
however, pulled out at the last minute because, in its view, the end result was lacking in quality
This raises serious doubts about the editorial staff’s ability to judge and, moreover, the creativity
with which the magazine is put together This was extremely frustrating for the organizers, because
when the decision was announced, a number of (spectacular) photo shoot locations had already
been reserved The final disappointment concerned the impossibility of paying extra tribute to the
four designs in a spectacular opening event, designed by MRKMLN What was lacking here was
startinG points the time needed in order to help the design teams overcome their reticence regarding a collective
presentation
It was fascinating to see how totally different starting points became the basis of so many different Thus a pressure cooker project had an unexpectedly emotional conclusion, from which lessons
processes In the case of Farida Sedoc & Nicole and Marc Maurer, terms and names soon came to can be learned Important lessons are, for example, that in the case of a spontaneous crossover
the fore Farida came up with hip hop, ‘looking at music’, which MTV introduced in the eighties, and such as this, we should never underestimate the lack of nerve on the part of established institu-
the energy of people in the metropolis Nicole and Marc wanted to add dimensions and introduced tions, and that considerable time needs to be reserved in order to supervise the individual artists
Farida to the worlds of de Stijl and Bauhaus dialogue was central to their process Iris had always What is admirable and heartwarming is how the designers and organisers have dealt with all the
based her work on more abstract themes, but now became fascinated by something very concrete: problems and together have ensured that the exciting products that have taken shape receive the
the ‘bathtub’ at the Stedelijk Museum That other designers’ specific ideas can be a source of inspi- attention they deserve
ration was for her new and exciting
For Mattijs, the way that material ‘behaves’ had always been a major inspiration, which is why he
has always been interested in old, traditional techniques and the styles in which those techniques Maarten kloos
were applied, for example, in the fifties Anouk empathized with that completely ‘In landscape
architecture, too, you notice that there is a renewed appreciation of beauty and traditional crafts ’
Kentroy and Jeroen threw themselves into the theme of sustainability with complete conviction and
chose residual or waste material as the basis for what was to be a spatial and wearable ‘thing’ With,
of course, the fundamental question as to whether that ‘thing’ can convey a message and also be
aesthetically pleasing
From the moment the first concrete experiments were carried out, the log book races along Je-
roen takes Kentroy to the waste processing company Icova, where they find, among other things,
vacuum cleaner hoses and coloured plastic tubes Typical problem: the waste material may not be
taken away, but has to be stored in a container first and await official clearance Then the plastic has
to be cleaned and only then is it possible to see what precisely might be done with it
Mattijs and Anouk go in search of a ‘wearable landscape’ Mattijs: ‘We have decided to make a
dress that changes with the seasons A dress with pods that can hold water with different flowers
each week ’ Anouk: ‘By photographing the dress each week you get the idea of a complete col-
lection
Iris opts for a dress made of water She initially has in mind a 3d print but that turns out to be far
too expensive to make She then sets to work with shapeable clear plexiglass, which can ultimately
resemble still water She first makes test pieces and finally constructs the dress by melting together
a large number of separate pieces She finds it very exciting to see whether she will succeed in
creating the image she has in mind Jan sees an intriguing similarity with the construction of the
new Stedelijk Museum: ‘There, too, the components are ready and it remains to be seen whether
we succeed in putting the pieces together ’
The experiments gradually make way for the production process, the work becomes more prosaic
and the designers start to think further ahead, towards the presentation Farida is sewing and gets
her fabric printed, the T-shirt becomes a T-Haus Iris imagines the opening of the exhibition and a
model emerging from the water wearing her water dress
26 27

16. inspiraTion
Brand, Jan, José Teunissen (eds ), Fashion and Imagination. About Clothes and Art, Arnhem,
Zwolle 2009
Evans, Caroline e a , Hussein Chalayan, Rotterdam 2005
Hauptmann, deborah (ed ), The Body in Architecture, Rotterdam 2006
Hodge, Brooke, Patricia Mears en Susan Sidlauskas, Skin + Bones: Parallel Practices in Fashion and
Architecture, Los Angeles 2007
Loos, Adolf, ‘das Prinzip der Bekleidung’, in: Neue Freie Presse, 1898
Quinn, Bradley, The Fashion of Architecture, Oxford 2003
28

17. ARCAM, Architectuurcentrum Amsterdam, richt zich met haar activiteiten op Amsterdam en omstreken.
Vanuit een markant gebouw aan het Oosterdok, ontworpen door René van Zuuk, wil ARCAM een zo
groot mogelijk publiek bereiken om het draagvlak voor de architectuur te verbreden. ARCAM speelt
in op actuele thema’s zodat de discussie over de toekomst voortdurend kan worden gevoerd. ARCAM
organiseert exposities, lezingen, debatten en educatieve projecten, en informeert met een website,
een informatiepunt en talloze publicaties over de gebouwde omgeving. ARCAM fungeert ook als
coördinatiecentrum en onderhoudt daartoe voortdurend contact met een groot aantal instellingen om
bestaande programma’s te ondersteunen en op elkaar af te stemmen. Iedere twee maanden verschijnt
ARCAM NIEUWS met een selectie van activiteiten op het gebied van architectuur en stedebouw in de
Metropoolregio Amsterdam. Een compleet overzicht is te raadplegen via www.arcam.nl/agenda.
ARCAM
Prins Hendrikkade 600
1011 VX Amsterdam
T 020 620 48 78
www.arcam.nl / arcam@arcam.nl
Open: Tuesday - Saturday
13.00 - 17.00.
Admission free.
COLOpHON
{Deze uitgave verscheen bij de gelijknamige expositie Fashion & Architecture
Editing and production: Flora van Gaalen / Maarten Kloos / Yvonne de Korte (ARCAM), Tomas
Overtoom / Liza Koifman (Ontfront), Wouter Valkenier (V2A architectuur & stedenbouw)
Translation: Jane Zuyl-Moores
Art direction: Ontstaat
Graphic design: buro-id19
Photography: Marnix Postma, met uitzondering van: Kasimir Szekeres (p.4, 24), Michel Zoeter (p.8),
Jannes Linders (p.9), Rollan Didier (p.11), Peter Stigter (p.12), Jeroen Musch (p.13), Mattijs van Bergen
(p.14), Hermanna Prinsen (p.15), Johannes Abeling (p.17), Maurer United Architects (p.17), Olivier
Claisse (p.19), Allard van der Hoek (p.21), Flora van Gaalen (p.22), Wim Ruigrok (p.29)
Coverphoto: Marnix Postma / illustration: Galya Gisca / hair and make-up: Nikki de Vries / model:
Sara @ Ulla Models
Printing: Puntgaaf drukwerk
Fashion & Architecture is mede mogelijk gemaakt door:
Uitgave: © ARCAM, 2010