In 1929 Japanese architect Togo Murano published his manifesto "Yoshiki no Ueniare" usually translated as "Be Above Style" or "Staying Above Style". The essay questioned not only historical, but also futurist approaches. The author rejected indeed in it the use of a formal language of a particular style and era, claiming he was "a rigorous presentist". It is a very brave statement to reject all sorts of styles and affirm your own identity, but it's something that can and should be done in different fields, including architecture and fashion. Japanese zip and fastening manufacturer YKK has just done so by recently opening in London's Shoreditch a very unique showroom.
An industrial space carved out of a former cinema, the showroom currently presenting, displaying and offering to a wider public a wide range of YKK products, was designed by a surprising architect – Kei Kagami.
The fashion designer studied architecture before changing the course of his career and switching to fashion. There are actually no direct references to specific architects such as Togo Murano in the YKK showroom, but simplicity was definitely a starting point. Kagami then gave an industrial twist to the new space - adding metal features, tables that slide sideways, foldable hangers and rails and suspended pulleys and cranes that give a new sense of dynamism to an otherwise static space. In a way this final touch of dynamism could also be attributed to the transformative power of masks in the Noh Theatre, the latter was after all another interesting inspiration behind this design.
Work on the showroom lasted three years and, though it was exhausting, it was also extremely exciting: Kagami planned and designed the space, but also worked in the showroom as a builder. And while the challenge must have been pretty hard, there is more than one glorious lesson to be learnt from this design experiment: YKK bravely bet on a fashion designer working as an architect; Kei Kagami proved instead there are no boundaries between design disciplines, but experience, professionalism, a sound vision and a solid knowledge of materials can produce surprising results.
Can you tell us more about developing this project for YKK – is this a return to your first passion - architecture - and is this the first time you work as an architect for YKK?
Kei Kagami: When I left Japan for London in 1989, it was also the time I left the architecture field and decided to go for fashion. Since then I never thought I would do architecture again to be honest. However, I must say I was lucky enough to have had the opportunity to design the YKK showroom. About 3 years ago the project leader Mr Hitoshi Yamaguchi at YKK Europe asked me about the idea of a YKK showroom in London. Of course I encouraged him to go for it as I always believed that YKK needed it since, rather surprisingly, the company never had an independent showroom in the world before this one. We then started having meetings to talk about the reasons, location, concept, images, ideas and so on. At the time I didn't think I would actually design it, as I thought I was just helping them as a YKK consultant and I was ready to introduce the company to a few architects who I personally know such as David Adjaye and Shin Egashira. Then, one day, Mr Yamaguchi asked me if I could do it. I was extremely surprised at this important request. I accepted without hesitation and following my intuition. Yet, at the same time, I thought this was a brave choice from YKK as they were picking somebody who hadn't been working in architecture for quite a while!
There are some elements that can move inside the shop such as tables that slide sideways, foldable hangers and rails and suspended pulleys and cranes: can you tell us more about the design inspirations behind these pieces? Do they come from zips and from the machines used to produce these components?
Kei Kagami: We decided to reflect a strong industrial image in the showroom for what regarded the visual direction and the first image that came to my mind was a metal factory. Metal factories often have got H-beam frames in the high sealing spaces with cranes moving to carry metal pieces by wires, hooks, pulleys and so on. In my opinion such factories are full of functional beauties and activity. That's why I wanted to bring the movable and adjustable details with the treaded rods into the showroom. These details do not have anything to do with actual zips or the machines that produce the zips. In the showroom there are two press machines used for fixing YKK snaps & buttons, so that people can use this fixing service. These machines bring not only an aesthetically industrial touch, but add a real operative and functional side to the factory-led design.
Did you opt for metal elements also to evoke industrial environments?
Kei Kagami: Yes, we did. When I asked Mr Yamaguchi if there was anything he would have liked to request as visual images in the showroom, he just requested me to use metals, as it was the main material for YKK. But, going back to the inspiration that led to emphasising the industrial aspect in this space, I have worked with YKK for 18 years and noticed that at times there have been some discrepancies between the main purpose of the company and the image the general public has about it. Many people have indeed the impression that it is a reliable, industrial and conservative brand, but not a fashionable one. YKK wanted to change the company's image and made some efforts to be more fashionable for the last 15 years. I decided to call into question this issue and I therefore started with one simple statement - let's accept we can't be fashionable and let's stop trying or pretending to be fashionable; but let's be more spontaneous and embrace instead our industrial roots, and proudly go back to our nature and to our industrial image.
There is something architecturally minimalist in the concept for this space: while working on the showroom, were you ever inspired by the work of any industrial or Japanese architect?
Kei Kagami: I didn't get inspired by any industrial buildings or Japanese architects as I could clearly visualize what I wanted to create at an early stage. I wasn't conscious with so called "minimalism" at all. But, as a result, the space is quite minimal, especially because there is no waste, and the space is focused on the necessity of the function, I guess this may also have something to do with my nature as I'm Japanese. The interesting thing was that, when we found the premises, I realised the space had originally been a small cinema and this started to represent an added value to the project. I therefore decided to add something theatrical on the original industrial image I had in my mind. Then, when I started working on the actual plan, I actually became conscious with Japanese Noh theatre. I wanted to manipulate the theatrical image into something more pure, mental and symbolic. Since Noh stages were often set up in shrines and temples, I called this concept "Industrial Sanctuary" in the end.
How long have you been working on the YKK showroom?
Kei Kagami: As I mentioned above, it started about 3 years ago Mr Yamaguchi spent the first year to complete the project proposal to be submitted to YKK. During that time I researched the location, concept, and functions of the showroom and provided him any supportive information for the proposal. After the proposal was accepted I spent time looking for premises in Shoreditch – it took us another year to get the lease contract. Around the same time, I was working on researching the materials and studying technical things and regulations. For the first 3 months of the third year I worked on the actual drawings such as plan, elevation, section, perspective and detail drawings in one tenth or one fifth. The next 3 months were spent in between meetings with the contractor and YKK. It was a period of changing ideas, materials and details to compromise for the budget. We worked on the construction during the last 6 months. I went to the showroom almost every day to check and advise and, in the last 3 months, I worked there as a builder.
Which was the trickiest part of this project?
Kei Kagami: The budget! I'm sure every single architect has to fight against the budget. But maybe rather than the budget I should say the costs – there was indeed a big gap between my estimation and the contractor's and, to cut the costs down, I worked on the site with my assistants as a builder for the last 3 months. We mainly made furniture such as 4 zip display shelves, 6 window display shelves, mechanical lighting arms and a hanger, a catalogue shelf, a table in the meeting room and so on. It was my personal way to achieve all the details and designs I wanted.
The window display features your designs, do you also take care of the window displays?
Kei Kagami: Yes, I do, since that's my role for the showroom as a creative adviser. I have displayed my old conceptual pieces entitled "Industrial Revolution" in the window for the opening, because they went well with the image of the showroom. The other main reason was I couldn't finish the 6 window display shelves on time, so I had to display something there!
The showroom also features an exhibition area, what kind of projects will be featured there?
Kei Kagami: To begin with we will be showcasing interesting work employing YKK products, not necessarily fashion items, but any kind of products. One day when people start knowing the showroom a bit better, I would also like to exhibit art works and anything original and creative. We are also planning to hold further events there such as workshops and parties.
How does this showroom work, is this a space for fashion industry experts or is it conceived as a resource and research centre open also to students and ordinary people who would like to know more also about YKK products? For example, is it possible to buy YKK products there, and will you be hosting your workshops with YKK zips there as well or will you open such workshops to ordinary people too?
Kei Kagami: We keep calling it "showroom", but that's not its only function as YKK does retail there as well. So the general public is welcome and everyone can buy YKK products there. Our main consumers at the moment are young independent designers and students since we are able to supply products also in small quantity to them. My workshops? They may happen too!
Did you find this project stimulating on a creative level and, after designing the YKK showroom, would you ever work on the design of any other showroom/exhibition space/store?
Kei Kagami: I enjoyed this project very much and I felt it was nice to do architecture again. I never put a boudary really between fashion and architecture, especially for what regarded the "space and structure" and "from 2D to 3D" concepts. If there are opportunities to do something architectural, even furniture stuff, I would be happy to do it again in the future!
All images in this post courtesy YKK, copyright Andy Tommo.
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