RETHINKING

FASHION
REALM
Propinquity of Architecture with
Fashion

HUB
Guide:
Mr. Sangay Penjor
Co-Guide:
Ms. Divya Chettri

Submitted by:
Jangchuk Dema(02180506)
 Introduction
01 Background
Problem statement
Proposition

Sypnosis
02 Aims
Objectives
Scope
Limitations
Methodology

03 Site selection
Rationale for selection

Space Organogram
04 Capacity
 01
INTRODUCTION
 WHAT IS FASHION?
Fashion is more than amped up dress. It’s a reflection of
who we are and what we believe. (Jonas,2021)

Fashion industry contributes to society by alloing us to

express ourselves, our creatity and our beliefs to the world.

01
FASHION AND ARCHITECTURE
Provides shelter for people in different social dimensions.
(Farahat, 2014)

Many architects are inspired by a garment to design a

building and it is the same in the other way round.

02
Literature Review

BACKGROUND
Is national dress destined to become a relic
of Bhutanese past?

03
 National Dress: Brief History
The main characteristics that makes the country
distinguishable is national dress: GHO and KIRA

Introduced: Zhabdrung Ngawang Namgyal(17th century)

Bhutan a unique identity

Since 1989, All Bhutanese were compelled to wear the

national dress in government offices, schools, and on
ceremonial events in order to protect and promote the cultural
heritage (Chow ping, 2021).

04
(Daily Bhutan, 2020) 05
 Evolution of KIRA

1970s
1930s

1980s

2020 2009

(Daily Bhutan, 2021) 06

 Different Costumes in BHUTAN
• Many indigenous groups in the kingdom.

• The isolation of the area - diverse social groups who

invented their own lifestyle and costumes mainly
based on geographical adaptability (Karchung, 2016)

• Now with modern advancements, it’s threatening the

local culture as well as the dominant culture. (Acanela Expedition, 2020)

• Bhutan has few ethnic groups with distinctive

costumes, with Merak and Sakteng in Trashigang,
Laya in Gasa, and Lhop in Samtse .

07
Costume of Merak
Dress will disappear down the line.
Men- Chupa tied with belt, Kango resembling half pants
Women- ngui shing
Hat-tshid paizhuma

(VistBhutan) (Robert Dompnier, 2012)

08
Materials of costume

Produced their own clothing

Extracted from domestic animals.
Limited color of the hair so, natural dyes were used.

Natural Dye(from plants)

• Tsod plant for red colour
(Deka’s Getaway, 2019)
• Indigo (ja‟) plant for blue colour
• Leafs of zhunggen shing for yellow
• Dam-nag (black mud) is used for black colour.

Tshur (rock salt) and sour fruit from ushukyur-moshing is used

to hold the colour on the woollen cloth pieces.

09
Costume of Lhops

Lhops popularly known as the ‘Doyaps’

Dorokha, Samtse
Wraparound garment called ‘pakhi’ made of nettle fibre
Men - Rahem ; female - guih-em. And pungop (shirt) over their shoulder is worn by both males and females.

(VistBhutan, n.d) (Robert Dompnier, 2012)

10
Costume of Lhotshampas

(Tumin, 2018) (Bhutan street fashion, n.d)

11
Is the Fashion in Bhutan Evolving?

12
 Fashion evolution in Bhutan

(Yeewong Bhutan, 2018 )

(The Telegraph)

Emergence of Fast Fashion

due to globalization
(Kindracenta) (ETG)
13
FASHION MIGHT BE EVOLVING BUT IT’S
STILL VERY BHUTANESE

14
 Fast Fashion
• It is inexpensive clothing
produced quickly by retailers
in response to the market’s
latest trends. (Oxford English
Dictionary )

• Take – Make – Dispose

• Endless Cycle of over

production which exploits the
people and the planet.

15
Before the 1800s:

The 1800s

1900s-1950s

1960s-1990s

The 2000s

16
“The average woman in 1930 owned 9
outfits. Now, the average woman
purchases 67 items of clothing a year.”-
Professor Karen J. Pine, Mind What You
Wear: The Psychology of Fashion.
“In 2014, people bought, on average, 60%
more new clothes than they did in 1999,
but kept their clothes for roughly half as
long.”-Greenpeace

17
18
Clothing donation is not a solution.

19
What happen to our clothes after
discarding?

2/3 of the people in UK donate their

clothes to help charities. (WRAP,2020)
70% of global donations end up in Africa
Waste Colonization

DONATED CLOTHES

LANDFILL EXPORTED STORE PC: Martin Bernetti 20

(WRAP,2020)
21
Sustainable
Fashion
Garments and accessories that
are sourced, produced, and worn
responsibly from an
environmental and social
perspective.

What can we do?

i) Traditional textile over
synthetic fibre
ii) Vintage Fashion
Resurgence
iii) Quality and maintenance
instead of quantity and
disposal

22
23
 Circular Fashion Linear Fashion

The continual use of resources, encouraging

TAKE – MAKE - WASTE
regenerative inputs, reuse and recycling.

24
DESIGN BOUTIQUES IN BHUTAN
1) Chimmi House of Design

Tshering Choden
Location:Thimphu

25
2) CDK Fashion House

Chandrika Tamang
Location:Thimphu
‘Quality over Quantity’

26
3) Kencho House of Design

Kencho Wangmo
Location:Thimphu
‘Traditional to convenience wear’

27
 4) She Bhutan

Gyemit Lebcha
Location:Thimphu
‘Contemporary designs with Traditional
touch’

28
5) Made in Bhutan

29
5) Dchen’s Atelier
Location:Thimphu
Contemporary designs with
imported textile.

30
6) Druk Yathra

Location:Bumthang
Traditional Dyeing and Yathra
production

31
Royal Textile Acadamy
Location:Thimphu

32
Fashion Institute of Technology
“We aim at inspiring our trainees
to dream more, learn more, do
more, and become more in their
respective journeys of life.” –
Sangay Choden CEO

Location: Thimphu
Fashion design(12 Western Garment Western Garment
months) Tailoring NC2(9 months) Tailoring NC3(9 months)

Tailoring NC2 & NC3 (6 Textile Designing(9 Tailoring Garments for Souvenir design
months) months) monks and nuns(6 momnths) development(6 months)
33
 NEED FOR PROJECT

HUB
1) Cultural Degradation

● Attitude towards national dress may change in the future if the younger generations are not kept
updated about our tradition and culture (Gyemit, 2016)

34
 2) Sustainable Fashion

“Doubling the useful life of clothing from one year to two

years reduces emissions over the year by 24%.”
(Carbon Trust,2011)

35
3) Environment
and
Fashion

36
3) Environment and Fashion

Fashion industry’s carbon

emission by 2030

37
4) Economy

Import
12,000.00

10,000.00

8,000.00

6,000.00

4,000.00

2,000.00

0.00
India Thailand United states China Bangladesh others

Trade value in USD

World Bank(2018)
Export

World Bank(2018) 38
5) Collaboration with different association

● Royal Textile Academy

● CDK- Chandrika Tamang
● SHE BHUTAN- Gyemit Lepcha
● Dchen Atelier -
● Chimmi House of Design – Chimmi Choden
● Kencho House of Designs - Kencho Kouture
● Druk Yathra – Sonam Lhamo
● Kelzang Handicraft –Kelzang Wangmo
● Made in Bhutan
● Project Bhutan
● Fashion Institute of Technology

39
 6) No Proper Platform

● Fashion is an exploding industry in

Bhutan. (Cahlan, 2016)

● “We are considering working closely

with the government in terms of
promoting the small and cottage
industries and to go into the design
sector. We are considering to set up a
design center in the country.” (Executive
director of RTA, Rinzin O Dorji, 2019).

40
7) Solve Unemployment Problem

World bank

● Fashion designing is slowly gaining ground as a career field in Bhutan. It’s not just caught the
attention of the young, aspiring designers but also that of others including housewives in Thimphu
(BBS, 2017).

41
 8) Bhutan as a BRAND
● Fashion as a tool for Nation-Branding

42
8) Bhutan as a BRAND

43
9) Women Empowerment

44
 PROBLEM STATEMENT

• Modernity is advancing, and Bhutan is going through a period of significant

transformation. Some cultures and traditions are in danger as a result of global influences,
despite ongoing efforts to preserve and promote them. (Karchung, 2014)
• Youths in cities are influenced by the western fashion and following fast fashion has
become a trend. If the younger generations are not informed about our tradition and
culture, attitudes on national attire could change in the future. (Gyemit, 2016)

45
 PROPOSITION
Fashion Hub will promote sustainability in the fashion industry, serve as a startup platform for
budding designers, and promote cultural preservation.

46
SYPNOSIS
 AIM

To design an interactive fashion hub which creates awareness about our culture and fashion
promoting sustainability and to create a platform for professionals pertaining to fashion industry.

47
 Objectives
• To determine how to reduce the impact of fashion on environment through
architecture.

• To research on how architecture and fashion are interrelated

• Investigating how fashion can enhance architecture.

• Incorporate design elements that can create a strong identity and mix of fashion,
business, entertainment and leisure centre.

48
 SCOPE
• This project will provide interactive public space.

• This hub can act as a collaboration centre for the designers.

• This project will act as the main fashion hub for he country.

• The project will incorporate sustainable elements into its

planning and design to make it resilient to climate change.

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 LIMITATIONS

• No fashion hub in Bhutan, so live case studies

was not possible.

• Space related to mass production will not be

provided.

• Only Clothing Fashion is considered.

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 METHODOLOGY

PHASE 1 • Background Study

PHASE 2 • Design Analysis

PHASE 3 • Conceptual designing

phase

PHASE 4 • Final compilation

51
PHASE 1:
BACKGROUND STUDY

Selection of Topic

Literature Review

Problem Statement

Synopsis

Site selection
• Understanding fashion
and the current existing
Space Organogram situation in Bhutan
52
PHASE 2:
Design Analysis

Case studies

Site Analysis

Site Zoning

Area programming
• To get an spatial idea of
fashion hub and how the
Estimated built up area spaces will function

53
PHASE 3:
Conceptual Designing

Concept development

Conceptual planning

Architectural Drawings
• Getting conceptual sketches
and modelling then
completing the architectural
drawings, presentation sheets
3D Visualization and 3D visualizations

54
PHASE 4:
Compilation

Report Writing

Sheet composition

Presentation preparation

• Preparation for Final

Final compilation and presentation presentation

55
SITE
SELECTION
Thimphu
 Rationale for Selection

Market Tourism
Unemployment

Population Design Boutiques Accessibility

56
Population and market size

57
Tourist visits

58
Accessibility and the Location of
design boutiques

(Phuntsho Loday, 2019)

59
Unemployment rate

60
Selected Site
Ecological Park , Thimphu

Thimphu DCR,2016

Location: Near Swimming Pool, Thimphu

18min walk from main traffic, Thimphu

Site Area: 10.77 Acres Google Map, 2022

61
SPACE
ORGANOGRAM
 Public Space

Fashion studio
Retail Space

Fashion Plaza

Design studio Modelling Fashion Gallery Event space

class

Central Public Space

Store Tailoring Food stall Tailoring
Administration Innovation hub

Offices Discussion room

Conference room Store Conference room Store

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 Fashion studio Administration Innovative centre Public space

Design studio Offices Discussion room Event hall

Modelling class Conference room Conference room Retail Space

Sewing space lobby Working studio(Lab) Fashion gallery

Co working space Store Food stall

Store Tailoring space

Small fashion studio

63
CAPACITY
Floating Capacity
Thimphu Population: 138,736
Projected Thimphu Population(2027): 150,595
Regular day: 0.01 x Total population
1387/day
Tourist visit:58593/365=160 visitors per day
Total: 1387 + 160 =1547 visitors
Fixed Capacity
Fashion designing classes- 6 months
Administration:
1:16 (National statics of education)
80 students for 5 teaching staff.
5 staffs for account and management
5 for security

Visiting Hours : 9AM – 10PM Appx 100 people capacity

119 visitors/hour Students: 80
Administration section:15
Security: 5

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WORK PLAN
August Topic selection and
background study

Sept 1-Sept 3 Literature review

Sept 4 Submission

Sept 7- sept 8 Presentation

Sept 11 – Oct 4 Case Study

Oct 5 – Oct 14 Research and Presentation

preparation

Oct 15 Submission

Oct 17-Oct 18 Presentation

65
References

Bhutan, R. T. (2016). Royal Textile Academy of Bhutan. Retrieved from Royal Textile Academy of Bhutan:
https://www.rtabhutan.org/about-us

Bhutan. (2019). Publication of the Tourism Council of Bhutan

Chophel, S. (2019). Population and Migration in Thimphu Thromde. Vol.41.Journal of Bhutan Studies.

De Abreu, P. M. (2018). Sustainable aesthetic in architecture. In World Sustainability Series (pp. 321–357).
Springer. https://doi.org/10.1007/978-3-319-63534-7_22

Development Control Regulation (2016)

Elysekitti. (2015). FUTURE FASHION. Retrieved from FUTURE FASHION:

https://futurefashionelysecadez.wordpress.com/2015/02/22/68

Fibre2Fibre(2012). Does Culture of Any Region Affect Its Fashion Trends. Retrieved from
https://www.fibre2fashion.com/industry-article/6189/does-culture-of-any-region-affect-its-
fashion-trends
References

Jewell, C(2021). CDK: driving sustainable fashion in Bhutan. Retrieved from

https://www.wipo.int/wipo_magazine/en/2021/01/article_0007.html

Joy, E.(2021). What is Sustainable Fashion + Why Does it Matter?. Retrieved from
https://www.consciouslifeandstyle.com/what-is-sustainable-fashion/

Karchung, G. (2016). Diminishing Cultures of Bhutan: Costume of Merag Community.

McEvilley, T. (1992). Art and otherness: crisis in cultural identity. New York: McPherson & Company.

Pem,D. (2019). Fashion industry in Bhutan looks to international limelight and a bright future. Retrieved from
https://thebhutanese.bt/fashion-industry-in-bhutan-looks-to-international-limelight-and-a-bright-future/

Rauninger, P. D., Schulze, D. S., & Leschus, L. (2012). Achieving sustainability in urban. Hamburg: Federal Environment
Agency

World Bank’s Doing Business Report (2018). Women entrepreneurship in Bhutan. The Druk Journal.
THANK YOU