Fashion Design: 80% design / 20% material Architecture: 20% design / 80% materialEvery consumer of fashion is aware of the fact that he/she is paying for design rather than material. Furthermore, the pace at which an item of clothing becomes obsolete is dictated by the change of fashion trends and seasons and not by the quality of the item. Therefore the capital invested in design exceeds the funds invested in material quality. In architecture the balance of investments is reversed, the cost of materials far exceeds the investment in design. The design for the Delicatessen clothing store follows the economical logic of fashion design in an attempt to invert this typical condition. Two main strategies were brought in from the world of fashion and introduced into the space: the use of transient materials and the idea of a disjointed layer that would cover the space.The means of production were appropriated from the economy of fashion design. A thin, raw and transient material; the pegboard, was draped over the space. By cutting, folding, revealing and wrapping, the original purpose of the material is transformed to create the display elements, fitting room, desk and store front. By mounting the pegboard on the entire 5m high space, and lighting it from behind, this rough hardware store material turned into an ephemeral, lace-like dress that wraps around the space. The grid of holes, made for hooks, was transformed into a garment pattern. These holes can either act as a display apparatus or they can hold the bare hooks which produce a three dimensional fabric. To begin with, the pegboard material was selected because it is the most basic flexible display infrastructure, which allows the constant change, growth and mutation of the space. Spatial transformations can follow a change in display needs, evolution of the brand or simply the change of seasons. The reoccurring customer who is used to the change of goods can encounter an immersive transformation and the spatial design can become a commodity consumed on a regular basis.In addition the to the vertical pegboard display, horizontal display fixtures, the counter, the mezzanine and the fitting room were cut out of the pegboard dress and “pulled” of the wall revealing the yellow undergarment. The fixtures are found and recycled furniture pieces (an old coffee table, a dresser and a mini piano) that were chopped off flat where they come out of the wall and painted to match the pegboard. Choosing the material at the beginning of the design process reverses the typical design process where materials are applied onto a concept. In this case the materials dictated the forms and functional possibilities of the elements.Fashion design is a creative field that has managed to completely merge with contemporary life. The entire industry is based on global reality and constant transformation. Architecture has to confront the same reality of ever-changing programs, budgets and building uses. If we want to learn from fashion design, we have to change our expectations from architecture. If we don’t expect all architectural products to become monuments, if we can invest less in ‘high-end’ materials, we might be able to give more importance to the manipulation of material and the quality of design rather than the cost of matter, to the designer rather than the contractor.