The document summarizes a proposed stage design for a fashion show. The stage design features a "body" structure made of timber frames and boxes, and a stretchy translucent "screen" made of latex or similar fabric. The structure and screen can be configured and reconfigured in various ways to interact with the choreography of the fashion show. During the show, performers will manipulate and move elements of the timber structure behind the screen, distorting the screen's shape and revealing the performers at times. The lighting design will enhance the presentation, starting with a flat white screen and progressing to reveal the structure and accentuate the performers' movements with spotlights during the climactic moments of the show.

1. human body and dress - MOTION generates a dialogue of complementary & cross-referencing shapes
“...hear the sound of paper cracking...” TAO KURIHARA / TAO COMME DES GARCONS white overdress...
ARTICULATION OF THE SPACE BETWEEN SHAPES
Ma (negative space)
Ma is a Japanese word which can be roughly translated as “gap”, “space”, “pause” or as “the space between
two structural parts.The spatial concept is experienced progressively through intervals of spatial designation.
In Japanese, Ma the word for space suggests interval. It is best described as a consciousness of place, not in
the sense of an enclosed three-dimensional entity, but rather the simultaneous awareness of form and non-
form deriving from an intensification of vision.
Parallel Contact Diversion Intersection
01 Body vs Screen 02 Articulation of the Screen 03 Articulation of the Body 04 Interaction 05 Deconstruction
Screen
- soft
- stretchy
- translucent
Body
- edgy
- opaque
Body fully concealed behind Body and screen move in parallel The component of the body are pushed Performers interact with the modified Performers take components of the body into the catwalk
the flat, abstract rectangular revealing the performers to touch the screen and “reveal” them- screen & body on the scene, the show reconfiguring the scene. The body intersect the screen,
screens Catwalk Entry-Exit selves takes place ON the modified Body as the front to back relationship is inverted.
well as on the catwalk.
DISRUPTION: EAST MEETS EAST-END / STAGE AND LIGHTING DESIGN
01 CONCEPT FUTURE BEAUTY: 30 YEARS OF JAPANESE FASHION

2. The proposal The Body The Screen
is based on two elements: a “body” formed as assembly of timber boxes and frames, and a “screen” of Boxes and frames, manufactured in cost effective engineered wood such as Possibly a thin layer of latex, BARRISOL membrane or
stretchy translucent white membrane. OSB or MDF the material own edginess and roughness, will form a backdrop an elastane based fabric with Class 0 rating, will be
for the show (5.5x2.4m circa) and will be manufactured off side in easy to attached to the “body’s” timber frame and will stretch
Important for our proposal is that, what we are showing is purely one of many ways of articulating our “body” transport sections. Specific components of the Body will be fixed via hinges over the assembly of timber boxes.
structure and its screen; these are conceived to allow many possible configuration and the final ones will be or mounted onto wheels to allow their movement during the show and, ulti-
developed together with the performers to fully interact with the choreography. mately, interaction with the performers.
01
The Modules
The “body” structure is composed on a modu-
lar basis, which enables different configurations,
offsite manufacturing, easy transport and quick
assembly.
2x 2x
Before the shows begins, as the public enters the space the screen’s initial configuration will be a flat white rectan-
gle, front lit to conceal the structure behind,
02
1x
2x 1x
As the show starts, performers will swing the edges of the screen to access the stage. From behind the scenes
other performers will push and rotate elements of the timber body’s structure so that their volume will create dis-
tortions on the stretchy screen membrane.
03
1x
During a hypothetic climax of the show most of the movable timber elements will be pushed or “swung” into the
stretchy membrane, the lower boxes will form a higher level or a stepped section of the stage where performers
can extend their choreography.
Ultimately (and possibly for the “club phase” of the event) the screen will be lifted is some sections revealing the
“body Structure behind and allowing for some of its elements to be rolled to other part of the scene.
DISRUPTION: EAST MEETS EAST-END / STAGE AND LIGHTING DESIGN
02 PROPOSAL FUTURE BEAUTY: 30 YEARS OF JAPANESE FASHION

3. The Visual Link between two floors is
provided by means of red light.
Red highlighted columns are visible
from different angles on the entrance
level and lead visitors’ attention to the
lower level. LEVEL -1 - LOWER GROUND FLOOR
The columns are lit by close offset
luminaires placed close to the column
base.
VIEW A VIEW B
LEVEL 0 - GROUND FLOOR
Lighting Concept
The proposed colour of light is Adding the element of time into the de- VIEW 02
STAIR TO LEVEL 0
VIEW 04
neutral white with a good colour sign requires understanding of the speed
STAIR TO LEVEL -1
rendering qualities. The stage light- and movements of the models, therefore BACK DROP PERFORMANCE
ing should not be in the focus, but the presented ideas should be seen as an STAGE
enhance the colour, shape and the example of the possibilities and the di-
texture of the presented clothes. rection the design should develop in the
next stage.
VIEW 01
The general ambient lighting should VIEW 03
be set up in adjacent areas to white From the practical point of view the main
in order to enhance the effect of focus of this proposal is to be sustainable,
the low intensity red light. The red easy to install and cost effective.
light colour is proposed as accent
lighting to create the visual interest Therefore the proposed lighting equip-
and guide the visitors’ view. ment is based on the led technology,
which allows us to minimize the energy
Interactive element of lighting de- consumption during the show and pre-
sign is introduced to create a vivid vent the high temp of the light fittings.
atmosphere and add the space the Optional the similar lighting effect could
VIEW A VIEW B
4th dimension – the time. be achieve with the traditional luminaires,
where coloured gels could be applied to
Proposed lighting scheme re- change the light colour.
MUSIC
sponds directly to the movement
STAGE
of the models, converting the stat- The interactive lighting should be con- 04
ic stage into a vivid and dynamic trolled by DMX (control system wide-
space. The level of the interactivity ly used by stage and theatre lighting),
should be developed in close co- where the movement sensor and the
MAIN ENTRANCE
operation with the choreography responding lights will be connected into
of the show. the one device.
01 02 03
Before the Show Beginning of the Show During the Show Climax of the Show
Public enters the space. The structure and the membrane are back lit with white light. The structure and the membrane are back lit with low intensity red light. The structure and the membrane are back lit with low intensity white light.
The white light is directed onto the membrane and creates a “white canvas”. The light reveals the structure and creates the game of shadow, revealing The dancer are on the stage and their performance is intensified by white Many dancer are on the stage and the main focus is achieved by means of the red spot lights.
The ambient lighting is white without colour uplights on the ceiling. the “body” structure and dancers’ movement behind the “screen”. spot lights.
DISRUPTION: EAST MEETS EAST-END / STAGE AND LIGHTING DESIGN
03 LIGHTING FUTURE BEAUTY: 30 YEARS OF JAPANESE FASHION