Art Deco architectures as inspiration source in fashion design

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Apr 3, 2014 - Their relationship is a symbiotic one, and throughout history .... The Chrysler Building; shown in figure (7); is an Art Deco style skyscraper in ...
International journal of Science Commerce and Humanities

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Art Deco architectures as inspiration source in fashion design Rehab Mahmoud Kotb Lecturer of Textile & Clothing Faculty of Women for Art, Science, and Education, Ain Shams University. Cairo, Egypt [email protected] Tel. 00201001927124 Abstract: Art Deco is a geometric art style popular in Europe and widely spread in United States in the beginning of 20th century. It is marked by sharp angles and crisp clean lines. Art Deco architectures are characterized by geometric shapes, rich motifs, streamlined and curvilinear forms, vivid and bold colors. Usually, the architectures building materials consists of stucco, concrete, stones, terracotta, steel, aluminum, and glass. Both garments and buildings share their importance for human; they provide protection, shelter, and express identity. In addition, fashion and architecture forms are three dimensional, contain space and related to fine arts. In fashion design; the designer translate a two dimensional materials (cloth) into a three dimensional shape when constructed as a garment surrounding the human body. In this research the connection between architecture and fashion is translated into creative hybrid practices of fashionable designs, which inspired from features and soul of Art Deco style. Keywords: Art Deco, Architecture, Inspiration, Fashion, Design, clothing. 1- Introduction: The sources that motivate the designer are everywhere. Successful designers have the ability to recognize specific inspirations that unique, then they translate them into exciting fashion. [1] To a designer; anything visual that sparks off a design idea can be a source of inspiration. [2] They varied from architecture, ethnic styles, historical costumes, art, nature, environment, street life, and technology. [3] Both fashion and architecture express ideas of personal, social and cultural identity, reflecting the concerns of the user and the ambition of the age. Their relationship is a symbiotic one, and throughout history clothing and buildings have echoed each other in form and appearance. This seems only natural as they not only share the primary function of providing shelter and protection for the body, but also because they both create space and volume out of flat, two-dimensional materials. While they have much in common, they are also intrinsically different. They address the human scale, but the proportions, sizes and shapes differ enormously. And while fashion is, by its very nature, ephemeral or „of the moment‟, architecture traditionally has a more solid, monumental and permanent presence. [4] Architecture and fashion design remain synonymous in their need to address the human condition and their reliance on ergonomics. In addition, architecture and fashion are very often linked, whether by shape, color, and material. Architectural inspirations provide designers with limitless styles, periods, colors, forms, textures, concepts, and purposes. As architects take inspiration from flowing fabrics and liquid motion, in turn fashion designers also find motivation in the shapes, structural connections, and materials found in architecture. Architecture is making its presence felt in fashion as the pliable metals, membrane structures, lightweight glasses and flexible plastics used in building construction, which are creeping on to the catwalks. At the same time, architects and interior designers are borrowing the techniques of pleating and draping from traditional tailoring to design buildings that are interactive, inflatable, and even portable. [2] 1

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From the previously mentioned point of view, this research aims to translate the solid materials of architectures as a source of inspiration into live three-dimensional fashion designs using human body and fabrics which are soft, fluid materials by expanding ideas of arts, space and movement. 2. Research Objectives: The research aims to recognize some architectural examples which represent Art Deco art movement, and to identify the aesthetic choice of each building. The work will offer innovative and creative ideas for fashion design to be linked and matched as an integrated part of the whole society including art, interior design, food, and of course architecture. In addition to translate the solid materials, space and movement of architectures as a source of inspiration into live three-dimensional concurrent apparel designs, showing their 3. Research Method: In the current work the experimental approach is conducted to link between the Art Deco architectural features as a source of inspiration with the designer thoughts. In order to show how the visual effects of them influence the creation process, artistic analysis, and design; the following steps for the design process have been done: A) Observation of Art Deco architecture features in general and highlights three of them that are considered as icons and the most famous today because of the Art Deco style revival. B) Perception of their properties and atheistic characteristics. (shape, space, color, and other constructive details of the chosen buildings). C) Analysis and classification of the architectural elements in order to exploit them in fashion design creatively. D) Relation between the aesthetic elements and structural components which employed to inspire the designs. E) Application these relations for creation six concurrent fashionable designs correlate to the chosen building. F) Results and discussions of the obtained designs showing the effect of Art Deco architectures features through creating harmony, color, composition, and texture correlation in each design. 4. The basic concepts of the research: 4.1- Art Deco Style History: Art deco is an influential visual arts design and decoration style which derived its name from “Exposition des Arts Decoratifs et Industriels”, the great art exhibition held in Paris in 1925. Art Deco style flourished internationally during the 30s and 40s, and then waned in the post-World War II era. It is an eclectic style that combines traditional craft motifs with machine age imagery and materials. During its heyday Art Deco represented luxury, glamour, exuberance, and faith in social and technological progress. [5] Art Deco was heavily influenced by pre-modern art from around the world during the 1920s affordable travel permitted first-hand exposure to other cultures. There was also popular interest in archeology due to excavations at Pompeii, Troy, and the Totankhamun. Artists and designers integrated motifs from ancient Egypt, Mesopotamia, Greece, Rome, Asia, Mesoamerica, and Oceania with machine age elements. Deco was also influenced by different art movements ranging from cubism to futurism. [6] Art Deco emphasizes clear lines, geometric forms: spheres, polygons, rectangles, trapezoids, zigzags, chevrons, and sunburst motifs. These elements are often arranged in symmetrical patterns. Besides, modern materials such as aluminum, stainless steel, Bakelite, chrome, and plastics are frequently used. In addition, stained glass, inlays, and lacquer are also common. Art Deco colors are tending to be rich, vibrant, vivid, highcontrast, and metallic surfaces combined with softer hues are also used. [5] Art Deco was a globally-popular style and affected many areas of design. It was used widely in consumer products such as automobiles, furniture, cookware, textiles, jewelry, clocks, and electronic items such 2

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as radios, telephones, jukeboxes. It also influenced architecture, interior design, industrial design, fashion, graphic arts, and cinema. [7] Art Deco was an international style that could be adapted to man-made objects. It was functional, accessible to ordinary people, and a no-nonsense simplicity. In deepest gloom of the Depression, the Art Deco period was also the age of feverish, youthful vitality. The Art Deco movement greatly influenced many architects and was the foundation for extraordinary achievements. [5] The aim of Art deco was always to achieve a monolithic appearance with applied decorative motifs. 4.2- Art Deco architectures: Art deco architecture is recognizable because of three main things: ► Distinct geometric shapes, ► Intense, bright colors that stand out, and ► A decorative look. Art Deco is characterized by a linear, hard edge or angular composition, often with a vertical emphasis, and highlighted with stylized decoration that include ornaments, energy, retrospection, geometry, optimism, color, texture, and even symbolism. [8,9,10,11] 4.2.1- Art Deco architectural characteristics: In classic Art Deco, rectangular blocky forms, illusion of pillars often arranged in geometric fashion and broken up by curved ornamental elements. Predominantly, Art Deco building materials included stucco, concrete, smooth-faced stone and terracotta. Steel and aluminum were often used along with glass blocks and decorative opaque plate glass. The architecture designers of Art Deco adorned flat roofs with parapets, spires or tower-like constructs to accentuate a corner or entrance. Decorative curiosities such as chimneys were added to further enhance the design. [12] Windows in Art Deco designs usually appear as punctured openings, either square or round. To maintain a streamlined appearance for the building, they were often arranged in continuous horizontal bands of glass. Wall openings are sometimes filled with decorative glass or with glass blocks, creating a contrast of solid and void forms while admitting daylight. Doorways in Art Deco architecture are sometimes surrounded with elaborate pilasters and pediments and door surrounds are often embellished with either a reeding (convex decoration) or fluting (a concave decoration). [12] More exteriors are done in subdued pastel colors: mint or lime green, warm pinks, peaches, and mauves, incorporating the bold look of black shiny aluminum and/or stainless steel. Also, the colored glass might be rich deep colors such as cobalt blue, and dark fiery red. [13] 4.2.2- Art Deco architectures design analysis: There are numerous examples of Art Deco architectures around the world. They have the common features and share the following analysis. i. Base a. Exterior walls are supported on a base composed of stone, cast concrete, glazed terra cotta tile, or glazed ceramic tile.

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b. The entire ground floor height may be articulated as the base of the building, shown in figures (1-a), (1-b), and (1-c). [14]

Figure (1-a)

Figure (1-b)

Figure (1-c)

1-a. Monolithic wall. 1-b. Marble base. 1-c. Ground floor as base. ii. Primary Walls a. Exterior walls may be constructed of cast concrete or plaster. b. Pilasters running the entire height of the building should be included as part of the facade design. c. Windows shall be located between the pilasters, as shown in figures (2-a), (2-b), and (2-c). [14]

Figure (2-a)

Figure (2-b)

Figure (2-c)

2-a. Stone. 2-b. Plaster and metal. 2-c. Glazed terracotta. iii. Roof-Wall Connections A- Exterior walls shall extend beyond the roof level and form a parapet that is configured in one of three ways: * Pilasters that continue beyond height of interstitial walls, *Walls that continue beyond height of the pilasters, * Wall and pilaster that reach to same height. B- Decorated metal, ceramic tile, or glazed terra cotta transoms may be incorporated as part of parapet, as shown in figures (3-a), (3-b), and (3-c). [14]

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Figure (3-a)

Figure (3-b)

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Figure (3-c)

3-a. Column extensions with metal transoms. 3-b. Plaster wall extensions with metal columns. 3-c. Undulating parapet. iv. Roof A- In most cases, roofs should be flat with the exterior walls extending beyond the roofline to form parapet walls. B- Towers with whimsical roofs are permitted, as shown in figures (4-a), (4-b), and (4-c). [14]

Figure (4-a)

Figure (4-b)

Figure (4-c)

4-a. Flat roof (lower volume) and sloped roof (upper volum). 4-b. Decorative cap. 4-c. Corner stepped tower. v. Openings : A- Windows shall be situated between pilasters and shall be recessed. B- Windows shall be multi-paned and be vertical in orientation. C- Finely crafted, metal window grates are permitted. D- Metal or tile transom panels between windows on consecutive floors are encouraged, but not required, as shown in figures (5-a), (5-b), and (5-c). [14]

Figure (5-a)

Figure (5-b) 5

Figure (5-c)

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5-a. Simple trim with operable shutters. 5-b. Recessed metal window with metal transom. 5-c. Recessed double-hung with metal decorative transoms. vi. Attached Elements: A- Architectural elements such as balconies and awnings must be designed and assembled of finely-crafted metal. These elements may encroach into the building‟s setbacks. B- Metal window grilles are permitted, as shown in figures (6-a), (6-b), and (6-c).[14]

Figure (6-a)

Figure (6-b)

Figure (6-c)

6-a. Decorative metal awnings. 6-b. Metal window grille and metal balcony. 6-c. Punched metal letter signage. 4.2. Fashion design inspiration: Fashionable language for creating a design is composed of using design building block elements such as; line, shape, space, texture, color; managed and by a number of guideline principles such as; balance, proportion, harmony, emphasis, and rhythm. The integration between these elements and principle are manipulated when designing for the human body to highlight the function, beauty, and theme of the design as a whole. 5- Art Deco architectures used as inspirational source: 5.1- Crysler Building: The Chrysler Building; shown in figure (7); is an Art Deco style skyscraper in New York City, located on the east side of Manhattan. The Chrysler Building is a leading and classic example of Art Deco architecture and considered by many contemporary architects to be one of the finest buildings in New York City. The building was designed by the architect William Van Alen for a project of Walter P. Chrysler. The Art Deco Style is indicated throughout thin, long forms with geometric patterning and curved surfaces in the building. The central part of the Chrysler Building is shaped like a rectangular prism. The corners of the 61st floor are graced with eagles, which are the Chrysler hood; on the 31st floor, the corner ornamentation is replicas of the 1929 Chrysler radiator caps. The building is constructed with a steel frame and metal cladding; the Chrysler Building is also renowned and recognized for its terraced crown, which structure has isosceles triangular windows and the structure has zigzags on the right side. Composed of seven radiating terraced arches, Van Alen's design of the crown is a cruciform groin vault constructed into seven concentric members with transitioning setbacks, mounted up one behind another. The stainless-steel cladding is ribbed and riveted in a radiating sunburst pattern with many triangular vaulted windows, transitioning into smaller segments of the seven narrow setbacks in the terraced crown. The building geometrical features also have perpendicular lines and line segments everywhere as shown in figure (8). 6

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The entire crown is clad with silvery "Enduro KA-2" metal, an austenitic non-rusting stainless steel developed in Germany. There are two sets of lighting in the top of the spire. The first are the V-shaped lighting inserts in the steel of the building itself. Then, added later groups of floodlights that are on mast arms directed back at the building. This allows the top of the building to be lit in many colors for special occasions. The Chrysler Building is very famous today because of the Art Deco style revival. [15,16,17]

Figure (7) Chrysler Building

Figure (8) Chrysler Building geometrical features

5.2- Boston Avenue Methodist Church: The Boston Avenue United Methodist Church; shown in figure (9); located in downtown Tulsa, Oklahoma was completed in 1929. It is considered to be one of the finest examples of ecclesiastical Art Deco architecture in the United States and has been designated by the Department of the Interior as a National Historic Landmark as well as listed on the National Register of Historic Places. The design is credited to two architectures: Adah Robinson and Bruce Goff. The original building consisted of a semicircular auditorium, a soaring 225-foot (68.5 m) tower, and a wing containing class rooms. The building's walls are constructed of ashlars blocks of multicolored Bedford limestone, set in irregular courses. These walls are sheer, the limestone is undecorated, and also at the base of the walls the foundation material is gray granite. This material is exposed above ground level at the entrance areas/platforms on the north and south. In the central section, the massive tower exhibits elongated, narrow, vertical windows on each elevation. Besides, strip windows that set between narrow piers. Each window has two heights, and each light is set at an angle, so that the window projects outward at the center (like a V), giving a pleated effect. The soaring straight lines of the tower provide physical, visual, and philosophical linkage to the Gothic Cathedrals of past ages as well as allowing the designers to indulge in the Art Deco celebration. The building's straight, vertical lines and the tower's four shards of glass are placed at angles to the four directions - receivers and reflectors of light. The tower is 255 feet high, with fifteen floors. At the top of the tower, as well as on many of the other high points and used much in the same manner that churches in the Middle Ages, utilized crockets and finials, is 7

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a stylized sculpture that represents two hands raised upward in prayer. This motif of praying hands is one that is echoed throughout the building and is one of the areas of design that can be traced back to the early drawings by Robinson. Like many Art Deco buildings the Boston Avenue Church reveled in the use of various building materials; metal, glass, terracotta, Indiana limestone and Minnesota granite can all be found. The downwardflowing lines in the terracotta motif are echoed throughout the building. The exterior is decorated with numerous terracotta sculptures. Exterior decoration is placed generally at the uppermost level, along the parapet, and on the wall directly under it. Decorative elements consist of decorative panels, relief sculptures, and sixty-two praying hands along parapet made from terracotta which representing spiritual life, in addition to, over the north entrance of the building there can be found idealized statues. The decorative elements applied to the Boston Avenue Methodist Church are highly stylized in a modernistic way through the employment of techniques of exaggerated size and combination of unusual materials (such as copper) and textures for the decorative details. Other places on the exterior reveal classic Art Deco styles such as organic plant designs Abstract motifs were used extensively around and inside the building. One such motif represents the tritoma; a spike-like flower native to Oklahoma (also called torch lily, flame plant, or 0red-hot poker. It is a strongly geometric plant with strong vertical linearity; the tritoma is primarily characterized by long flower stalks covered with fin-like floral leaves. This chevron-like form easily lent itself to abstraction. The abstracted geometrical tritoma form recurs in the relief sculpture and in the terracotta spandrels. In the spires, the copper and glass fins recall the flower in its early stage of bloom. [18,19,20]

Figure (9) the Boston Avenue United Methodist Church 5.3- The General Electric Building: The General Electric Building, constructed in 1929-1931 to create a highly visible image for the fledgling RCA Corporation, which has a significant place in the history of architecture in New York City. It was designed by the firm of Cross & Cross in the Gothic mode of the Art Deco style which is both symbolic and expressive of the function of the building, this tower is a major example of Art Deco architecture shown through the use of ornament and color. The General Electric Building ; as shown in figure (10);is a tall, eight-sided tower, articulated with piers and recessed spandrels, rising from a base which completely fills the relatively small site. The major material of the building‟s exterior is brick. Three different colors, orange, buff, and a tawny color are laid in American 8

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bond with narrow joints but randomly, to create the illusion of an overall fourth color, a rich bronze. Second only to the brick, terracotta is used extensively. Originally a tawny limestone and aluminum had been specified for all spandrels, copings, sills, trims, corbels, imposts, finials, and chimney caps. The tower windows are framed with reeled jambs, repetitive, vertical elements of graduated height carved in low relies of marble, and pediments rising from a broad triangular. The entrance lobby has a vaulted ceiling of aluminum plating with sunburst motifs and walls of light pink marble and the lamp fixtures are of aquamarine-colored glass. The severity of the vertical lines, which intersect the curves of the ceiling with daring abruptness, is intended to convey the directness and penetration of radio itself. Beside, the slabs of light which issue from concealed sources in the side wall sconces to be reflected downward at a thousand angles from the ceiling‟s bright surface, hint at the broadcast stations which curl their signals into every corner of the land. The building‟s tower top "the crown" is magnificent and dynamic-looking burst of Gothic tracery. The tower has four broad faces round arches, springing from the four splays, terminate all the piers except the central ones. These, like rambunctious trumeaux, burst through the arches to support the four monumental electrical deities, allegories of the radio power. The rays that emanate from their heads are cast aluminum and designed for neon lightning. The ornaments are made of stone, brick and glazed ceramics which clearly recall the forms of Gothic. The individual elements have partially symbolic meaning: the zigzag peaks refer to the radio waves that are sent out from the transmitter that go around the world, also they lit at night. [21,22,23]

Figure (10) the General Electric Building

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6- Results and discussion: 6.1- Fashion design inspired by the former Art Deco architectures: 6.1.1- Designs inspired by Chrysler Building:

The source inspiration

Design (1)

of

Design (2)

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Design (1): The main theme of this design is the geometric shapes; triangle, rectangle, circle, and perpendicular lines. This design is a classic length circular dress, generally inspired by the radiating arches in the crown of the building. The functional element in this design is achieved throughout the scoop neck opening forming a horizontal rectangle, which inspired by the rectangular windows in the building. The structural elements in this design are achieved in by the wide neck opening that allows the wearer to wear and take off the dress easily. Also, circular curved cut in the bodice which is inspired by the terraced arches and sunrays shape lines in the building crown. The horizontal wide gathered belt around the waist support the balance between the upper and lower dress. In addition to the lower part of the dress that constructed from circular flounced two pieces skirt that give the shape of triangle. The lower part is inspired from radiating perpendicular lines in the building structure. The aesthetic elements are indicated throughout the feminine appearance and smooth look of the design. The sequence and alternation between the fiery orange and greenish color are inspired by the fiery floodlights of the building spire that glowing at night. The used colors indicate the Art Deco soul; enthusiasm, balance, abundance, and optimism. The green color represents nature, generosity, environment, stability, and indication of the fashion trends to the whole design. Design (2): The main theme in this design is arches, circles, triangle, and curved lines. This design is a fashionable dress inspired by the repeated terraced arches and curved lines in the crown and spire of the building. The functional elements appear in the V neck line shape, and sleeveless bodice provide easy wearing. The curved spiral shape lower dress allows the freedom in movement. The structural elements in this design are shown in the repeated flounced curved cuts of the lower dress part, which inspired by the terraced arches and circles in the building. The smooth flowing of these curved cuts produces repetition, good transition, and proportion to the design. Sequence in the lower dress part is produced via spiral shape cuts throughout changing their measurements, which inspired by the diagonal and curved lines in the building, creating the feel of gradation, balance, and harmony to the design. The aesthetic elements are represented in using gathering ruffles that give triangles shape. The convoluted diagonal cuts in the lower part of the dress emphasis the sense of animation, actual motion and rhythm. The blue and pink colors, which mixed together, allow smooth passage and harmony in the design. Using pink color give cheerful and optimistic look, whereas, blue color gives unity, conservation, loyalty, and idealism spirit to the whole design.

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6.1.2- Designs inspired by Boston Avenue Methodist Church:

The source of inspiration

Design (3)

Design (4)

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Design (3): This design represents the geometrical features of Art Deco. The design is a triangle dress constructed from different diagonal lines and curved cuts. The general theme of this dress is inspired by the building windows, which are set in angles projecting outwards at the center, giving a V shape. The functional elements are represented in the V neckline opening allows durable wearing, while the collar flaps produce the classic and conservative look. In addition, the triangle asymmetrical hem projecting from the center allows the freedom in movement to the wearer. The structural elements in this design appear in different geometrical shapes; triangle, square, rectangles, which all suggest unusual look and movement in all directions and gain attention. The gathering in sleeves in addition to their asymmetrical lengths provides movement to the arms. The full length sleeve upper layer has a shape of triangle that inspired by the building tower. Harmony and proportion are created by a sequence of the design diagonal lines which give the feeling of unity, secure and excitement. The aesthetical elements in the design are achieved by using mixed colors pallet, varying from yellow, copper, green, and brown colors. This colors pallet is inspired by the different materials used in the building such as copper, terracotta, granite and colored glass windows. The colors are mixed in a consequence way without interruption, creating transition and gradation between them, producing rhythm, balance and unity to the entire design. Design (4): This design itself represents Art Deco style by mixing the ancient or old features with modern ones. The theme of the design is the repeated straight and vertical lines of the building tower. The design is made of separate bodice and skirt. The functional elements are represented in the bodice diagonal neck line opening, one sleeve, and pare shoulder, producing a free movement combination. The structural elements also appear in the asymmetrical diagonal bodice shape and sleeve, moving the eye vertically and horizontally up and down producing proportion to the design. The addition of a horizontal wide waist cut over the skirt produce volume and a three-dimensional sense, attractive appearance and emphasis. The repeated vertical and asymmetrical cuts in the skirt that represent the common building features, suggest movement, create height, conceal weight, and focus attention to the lower design part. The aesthetic elements are represented in the plant motif in skirt, which inspired by the Gothic features in the building. Also the sharp and firm look is expressed in the design throughout the geometrical features of the skirt. The metallic grey and blue colors are used, also the cuts ends are indicated by black color, which inspired by black framed windows of the building. The colors distribution produce consequent tint and shade effect, which attract attention, create balance and good rhythm allover the entire design.

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6.1.3- Designs inspired by General Electric Building:

The source inspiration

Design (5)

of

Design (6)

Design (5): This design is a fashionable one sleeve dress inspired by the tower crown of the building. The main theme of the design is inspired from the zigzag diagonal/curved lines of radio waves in the building crown. The functional elements are represented via using these lines that inspired by the windows top and end with arch 14

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shape. The horizontal drapes in the sleeve are inspired by parallel groups of windows of the building; in addition, the presence of one sleeve provides more movement for the arms. The loosely fitted, asymmetrical dress length, beside the semi circular hem provides more movement to the lower body and enhances the figure beneath. The structural elements in this design are represented in using a centered multi triangular cuts along with the dress length; creating repetition, gradation and emphasis in the design. The frill at the hem end indicates the lower part of the dress; producing a double layer that creates weight and rhythm. The aesthetical elements in this design appear in using shiny green and fiery red colors with different hues creating four colors, which are inspired by the different colors in building details. The diversity of these colors generates different modes of joy, excitement and peace to the wearer. The repeated diagonal cuts in the two sides of the lower dress which are inspired by the diagonal lines and arches in the crown, create repetition and balance. The decorative geometrical motifs in the lower dress hemming in the shape of triangles chains are inspired by the radio wave at the top of the building. They create the feeling of unity, emphasis, and harmony, giving the design a fantastic look and dynamic shape. Design (6): This design is a long dress has a feminine look and glamour spirit. The main geometrical elements which motivate the design are the triangle, arches, and circles inspired by the building details in the whole building. The functional elements in the design are achieved throughout using a curved shawl piece that covers one shoulder and using a stripe on the other one. This allows easy putting in and taking off and creates asymmetrical balance to the upper area. The long wide lower dress provides the wearer with free movement feeling and safety. The structural elements in the design appear in using the internal shawl that produce double layer to the bodice area, creating weight and bulk effect. The curved lines in the bodice are inspired by the arches in the crown and building windows. These lines move the eye through the entire bodice creating repetition, and sequence. The idea of covering one shoulder in a modern dress inspired by the concept of Art Deco in mixing old trend with novel ones in one design. The repeated multi layers cuts in the lower part of the dress taking the shape of different triangles, which are inspired by the radio waves, produce height and conceal weight. These consequent layers create gradation, harmony, balance, and unity with other design features. The aesthetical elements in the design are shown in using the decorative geometrical gradated circles in the shawl part, which inspired by the circle opening in the four sides of the building, producing the feeling of repetition and consequences. The decorative horizontal and diagonal rectangles in the lower dress layered cuts are also inspired by the geometrical details in the entire building. The using of shiny orange color is affected by the light system in the building, which creates the feeling of happiness, energy, and balance to the design. While using the color purple creates the mixtures of nobility with spiritually and wisdom with mystery all over the whole design. 7- conclusion: This research focuses on the concepts and features of the universal Art Deco style as a revival movement in arts and architectures. The history of Art Deco style, Art Deco architecture characteristic, in addition to the relation between the architectures and fashion were studied in this research. Three of the most famous Art Deco buildings were studded from the point of view of structure, material, decoration and motifs. These examples are used as sources of inspiration for innovation of six fashionable designs, which represent the fashion trend and have added value. The inspired design are subjected to analysis according to; the relation to the source of inspiration (building); the concepts of fashion design (functional, structural, and aesthetic); in addition to the principles of fashion design. This research is a humble trial to innovate and highlight the old and ever after connection between the major human shelters; firmness of architecture and glamour of fashion design. 15

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5- References: 1- J. Diamond and E. Diamond. Fashion apparel and accessories, Chapter 3, Delmar Publications Inc., USA, 1994. 2- S. Faerm. Fashion design Course, Chapter 2, Unit 10, Quarto Inc., USA, 2010. 3- C. Eckert. Design inspiration and design performance, Proceedings of the 78th World Conference of the Textile Institute, 1, 1997. 4- H. Pakosy and S. Yalon. Architectural inspirations in fashion design, The 3rd International Symposium of Interactive Media Design, January, 2005. 5- Wikipedia. Art Deco, www.en.wikipedia.org, November, 2012. 6- B. Hillier. Art Deco of the 20s and 30s, Studio Visa, London, 1972. 7- T. Hauff. Design: A Concise History, 1st edition, Laurence King, London, 1998. 8- J. Blumenson. Identifying American Architecture: A Pictorial Guide to Style and Terms 1600-1945, American Association for state and Local History, Nashville, 1977. 9- B. Hillier. Art Deco, Schocken Books, New York, 1968. 10- B. Hillier. The World of Art Deco, E. P. Dutton and Co. Inc., New York, 1971. 11- P. Bayer. Art Deco Architecture, Harry N. Abrams Inc., New York, 1992. 12- B. Wentworth. Art Deco, www.askthearchitect.org, November, 2012. 13- R. Striner. Art Deco, Abbeville Press Inc., New York, 1994. 14-Architectural Style Guidelines. City of Santa Ana.org/pba/planning/documents/22.Art_Deco.pdf, November, 2012.

Ana,

California,

www.Santa-

15- Wikipedia. Chrysler Building, www.en.wikipedia.org/wiki/Crysler_Building, November, 2012. 16- C. R. Pierpont. The Silver Spire: How Two Men’s Dreams Changed the Skyline of New York, The New Yorker, November, (18), 2012. 17-Architecture Home. Chrysler Building www.liburnes.org/students/media2/Chrysler/Chrysler_arch_geometry, November, 2012. 18Wikipedia. Boston Avenue Methodist www.en.wikipedia.org/wiki/Boston_Avenue_Methodist_Church, November, 2012.

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19- Boston Avenue. Boston Avenue Methodist Church: Tour the Building, www.BostonAvenue.org/tour, November, 2012. 20- D. Everitt and C. Pitts. National Register of Historic Places Inventory Nomination: Boston Avenue Methodist Episcopal Church, United States Department of Interior, National Park Services, USA, July, (7), 1998. 21- Landmarks Preservation Commission. The General Electric Building, City of New York, July, 1985. 22- Wikipedia. General Electric Building, www.en.wikipedia.org/wiki/General_Electric_Building, November, 2012. 23- Wikipedia. 570 Lexington Avenue, www.de.wikipedia.org/wiki/570_Lexington_Avenue, November, 2012.

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