DESIGN EXPLORATIONS
MATERIALITY
Conceptual Project for MFA Program at George Washington University
ABOUT THE PROJECT
We were asked to choose a fashion designer whose work we could study deeply—not just for its aesthetic value but also for its process, materiality, and form.
I chose Issey Miyake, a visionary known for his sculptural silhouettes, technical innovation, and deep reverence for both tradition and forward-thinking design. Miyake’s approach is grounded in curiosity and experimentation. He redefined the relationship between body and fabric, creating garments that are not simply worn, but experienced—shaped through folding, pleating, and movement. His designs embody fluidity and structure simultaneously, often relying on a single piece of fabric to create complex volumes and forms.
My goal was to translate Miyake’s philosophy into an architectural model that honored his process. I focused on the material qualities he favored—lightweight textiles, structural pleats, and rhythmic repetition—and explored how these could inform a three-dimensional form. This project became an opportunity to explore how fashion can inspire architecture that feels both intentional and dynamic.
ISSEY MIYAKE
Known for his technology-driven clothing designs, exhibitions and fragrances, Issey Miyake constantly searches for new levels of creativity and environmental preservation. His signature style is characterized by pleating methods that allows for movement and flexibility. Garments are first sewn and cut, placed between two layers of paper, then sent through a heat press where they are pleated.
As of the 2000’s Issey Miyake began experimenting with clothing constructed from a single piece of cloth. The APOC (“A Piece of Cloth”) line soon evolved into “132 5. Issey Miyake”. Made from recycled materials, the heat pressed garments transform into skirts, shirts, and dresses.
ARCHITECTURAL CONCEPT AND MODEL
Inspired by Miyake’s philosophy of “Regeneration and Re-creation,” this model uses mathematical algorithms to generate three-dimensional forms that are then folded into two-dimensional shapes. Strategic cutting lines guide the transformation, determining the final structure.
Crafted from paper, the origamic design reflects Miyake’s principle of using a single material to create a compact, efficient, and sustainable form—translating his fashion concept into architectural language.
