Located on Avenue Montaigne near the Champs-Élysées, the art deco-inspired Saint Laurent store features a marble staircase encased by rods of nickel-plated brass.

Black and white marble has been used for the walls, floors and a row of shelves, above which hang nickel-plated bars for displaying clothes.

The monochrome interior is reflected in the black and white photographs accompanying the opening of the store.

Formerly known as Yves Saint Laurent, after its founder, the fashion house's name was changed soon after Slimane took over as creative director last spring.

Saint Laurent's Sloane Street concept store in London is set to open in the autumn.

Other fashion boutiques we've featured lately include a shop in Warsaw with an upside-down living room on its ceiling and a Milan boutique featuring glass silhouettes of male and female figures – see all shops on Dezeen.

An exhibition of high fashion inspired by punk recently opened at New York's Metropolitan Museum of Art – see all fashion design.

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A series of tabs and slots are lasercut from rectangular sections of soft, water- and UV-resistant foam, which link together without the use of stitches or glue.

The layouts of these sections are taken from the plans of cathedrals such as St. Jacob's in Šibenik, Croatia.

Different sized elements can be assembled to create sculptural shapes that reference the arches and domes of gothic buildings, then taken apart and rearranged.

"Object 12-1 can be deconstructed and reconstructed in a completely different shape whenever one wishes," says Čop.

One dress curves out from the hips, away from the body, then back past the head like the arc of a ceiling vault. The circular top of a hat resembles a rose window.

Another item has sleeves that are narrow around the wrist then expand toward the body, reaching from shoulder to hip and creating triangular shapes that look like turrets.

Garments in shades of grey or bright blue can be worn inside-out to expose the irregular surfaces of connecting tabs.

"The qualities of the material make both sides soft and easily adjustable to the body," Čop says.

Čop graduated from the University in Zagreb's Faculty of Textile Design with a degree in fashion design and last year designed the costumes for Croatian film Šegrt Hlapić.

More fashion collections we've featured recently include angular clothing accessorised with concrete cuffs and foil-printed silk attire.

See more fashion design »

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An exhibition charting punk's influence on high fashion has opened at The Metropolitan Museum of Art in New York this week. Above: Chanel by David Sims, 2011.

Aiming to examine the relationship between 1970s anarchic subculture and fashion design today, vintage punk outfits are shown alongside contemporary clothing by brands such as Alexander McQueen, Martin Margiela and Karl Lagerfeld.

"Since its origins, punk has had an incendiary influence on fashion," said Andrew Bolton, curator in The Costume Institute at The Metropolitan Museum of Art. "Although punk’s democracy stands in opposition to fashion’s autocracy, designers continue to appropriate punk’s aesthetic vocabulary to capture its youthful rebelliousness and aggressive forcefulness," he said.

Approximately 100 garments for both sexes are displayed across seven galleries, each with a different theme.

One room is based on iconic Manhattan music bar CBGB, represented by bands such as Blondie and the Ramones, while the space opposite takes reference from Malcolm McClaren and Vivienne Westwood’s Seditionaries boutique at 430 King’s Road in London.

Located in the museum's second-floor Cantor galleries, Punk: Chaos to Couture opened earlier this week and runs until 14 August 2013.

More fashion exhibitions currently on show include a collection of David Bowie Is costume, set and album cover design at London's V&A museum and a range of fetishistic prosthetics, also in the British capital.

See more architecture and design exhibitions »
See all our stories about fashion »

Read the full press release from the museum below:

Punk Fashion Is Focus of Costume Institute Exhibition at The Metropolitan Museum of Art

Exhibition dates: 9 May – 14 August 2013
Exhibition location: Iris and B. Gerald Cantor Exhibition Hall

PUNK: Chaos to Couture, organized by The Costume Institute of The Metropolitan Museum of Art, examines punk’s impact on high fashion from the movement’s birth in the 1970s through its continuing influence today. The exhibition is on view from 9 May through 14 August at the Museum.

The Exhibition

The exhibition, in the Museum’s second-floor Cantor galleries, features approximately 100 designs for men and women. A few iconic punk garments from the mid-1970s are juxtaposed with recent, directional fashion to illustrate how haute couture and ready-to-wear have borrowed punk’s visual symbols, with paillettes being replaced with safety pins, feathers with razor blades, and bugle beads with studs. Focusing on the relationship between the punk concept of 'do-it-yourself' and the couture concept of 'made to measure,' the exhibition is organised around the materials, techniques, and embellishments associated with the anti-establishment style. Presented as an immersive multimedia experience, the clothes are animated with vintage videos and soundscaping audio techniques.

Organized thematically, each of the seven galleries has footage of designated punk ‘heroes’ who embody the broader concepts behind the fashions on view. The first gallery is devoted to CBGB in New York City, represented by Blondie, Richard Hell, The Ramones, and Patti Smith. Opposite is a gallery inspired by Malcolm McClaren and Vivienne Westwood’s Seditionaries boutique at 430 King’s Road in London, and between the two is Clothes for Heroes, embodied by a slow motion video of Jordan. This gallery examines designers who extend the visual language of punk, as it was originally articulated by McLaren and Westwood, by merging social realism with artistic expression.

Do-it-yourself, punk’s enduring contribution to high fashion, is explored in the four final galleries: D.I.Y. Hardware, focusing on couture’s use of studs, spikes, chains, zippers, padlocks, safety pins, and razor blades, with Sid Vicious as its icon; D.I.Y. Bricolage, highlighting the impact of punk’s ethos of customization on high fashion, including the use of recycled materials from trash and consumer culture, as epitomized by Wayne County; D.I.Y. Graffiti and Agitprop, exploring punk’s tradition of provocation and confrontation through images and text exemplified by The Clash; and D.I.Y. Destroy, examining the effect of punk’s rip-it-to-shreds spirit, typified by Johnny Rotten, via torn and shredded garments associated with deconstructionism.

Designers in the exhibition include Miguel Adrover, Thom Browne, Christopher Bailey (Burberry), Hussein Chalayan, Francisco Costa (Calvin Klein), Christophe Decarnin (Balmain), Ann Demeulemeester, Dior, Domenico Dolce and Stefano Gabbana (Dolce and Gabbana), John Galliano, Nicolas Ghesquière (Balenciaga), Katharine Hamnett, Viktor Horsting and Rolf Snoeren (Viktor & Rolf), Christopher Kane, Rei Kawakubo (Comme des Garçons), Karl Lagerfeld (Chanel), Helmut Lang, Martin Margiela, Malcolm McLaren, Alexander McQueen, Franco Moschino and Rossella Jardini (Moschino), Kate and Laura Mulleavy (Rodarte), Miuccia Prada, Gareth Pugh, Zandra Rhodes, Hedi Slimane (Saint Laurent), Stephen Sprouse, Jun Takahashi (Undercover), Riccardo Tisci (Givenchy), Gianni Versace, Junya Watanabe, Yohji Yamamoto, and Vivienne Westwood.

The exhibition is organized by Andrew Bolton, Curator, in the Met’s Costume Institute. Photographer Nick Knight is the exhibition’s creative consultant working with exhibition design consultant Sam Gainsbury (who was creative director for the Met’s Alexander McQueen: Savage Beauty exhibition in 2011) and production designer Gideon Ponte (a set and production designer for photo shoots and feature films including Buffalo 66 and American Psycho). All mannequin head treatments and masks are designed by Guido Palau, who also created treatments for Alexander McQueen: Savage Beauty and last year’s Schiaparelli and Prada: Impossible Conversations.

The design for the 2013 Costume Institute gala benefit is created by Nick Knight, Sam Gainsbury, and Gideon Ponte with Raul Avila, who has produced the benefit décor since 2007. Additional funding for the gala benefit is provided by Givenchy.

Related Catalogue and Programs

A book, Punk: Chaos to Couture, by Andrew Bolton, with an introduction by Jon Savage, and prefaces by Richard Hell and John Lydon (a.k.a. Johnny Rotten of the Sex Pistols), accompanies the exhibition. This publication is illustrated with photographs of vintage punks and high fashion. Published by The Metropolitan Museum of Art, the $45 catalogue (hard cover only) is distributed worldwide by Yale University Press.

A series of programs will be presented in conjunction with the exhibition, including a Sunday at the Met discussion on the origins of punk with Glenn O'Brien, Jon Savage, and Roberta Bayley on June 16; a gallery conversation with Vivien Goldman and Curator Ian Alteveer on July 26; and performances by Liars on May 18; and by So Percussion as wellas Man Forever on June 8; a studio workshop on July 20; and related gallery talks in the Museum’s permanent collection.

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Aekae collaborated with typographer Fabian Leuenberger from EuropaType to explore ways in which QWSTION could subtly apply branding to their products in a more integrated and functional way.

The designers transformed the brand's logo into various patterns, which were then laser-cut into the outer fabric of QWSTION's Oyster Grey Special Edition bags, increasing the stretch of the products through the typographic cuts.

The QWSTION brand was co-founded by Fabrice Aeberhard and Christian Kaegi of Aekae studio, who act as creative directors and industrial designers for the brand.

The bags were made by textile laboratory DevelopmentNeverStops as an experiment in branding and are not intended for sale.

Earlier this year we featured these handbags carried by clamping fingers in woven tubes, similar to Chinese finger trap puzzle.

See all our stories about bag design ».

Here's some more information from QWSTION:

A few thousand years ago, artisans were the first to place distinctive marks on their fabrications as signs of quality. At QWSTION, we believe that a product should speak in great terms for itself and a subtle statement of origin is all the branding it really needs. That's why we came up with the concept of functional branding, only placing our name on parts of the product that serve a functional purpose (such as buckles, twist locks, zipper pullers, and rivets).

In correspondence, choosing a typeface that's simple and timeless was crucial. We discovered it in EuropaType’s modern sans serif typeface EUROPA. Run by graphic designer and typographer Fabian Leuenberger, EuropaType is based in Zurich and London. Their approach of developing typeface turned out to be very similar to our approach of designing functional bags: Questioning, refining, and maybe even redefining the shapes of our heritage.

The goal of this collaboration was to push the boundaries of the functionality of branding. Using a laser cutter and bags of the current Oyster Grey Special Edition, we created various patterns based on our logotype. Branding becomes subtle and abstract, and the otherwise stiff material as a result became expandable and enhanced in its utility through the typographical cuts. The products are not intended for sale.

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for QWSTION appeared first on Dezeen.

Angular textured garments are accessorised with concrete cuffs in the Autumn Winter 2013 collection by Ukrainian fashion brand DZHUS.

DZHUS founder Irina Dzhus created geometric shapes from stiff materials to exaggerate silhouettes across the shoulders.

"I analysed shapes and structures of monumental constructions and tried my best to embody their principles in the silhouettes and cut of my designs," Dzhus told Dezeen.

A floor-length white dress with a high neck is detailed with two pleats at the front, which soften as they flare out down the length of the garment.

Other dresses in metallic fabric have straight profiles, though can be cinched at the waist by a wide grey belt in the same material.

Crinkled paper-like material is folded into shapes to create an effect similar to origami.

"I chose textiles that show strong association with building materials and atmosphere," said Dzhus. "I used wrinkled and metallic fabrics, net, glimmering coppery silk, smoky chiffon and other peculiarly textured surfaces."

One triangular top has a structured collar and waistband but loose sleeves so movement isn't restricted. It is worn with a long blue pleated skirt.

A light grey tunic with a flat collar is cut into by darker diamond-shaped shoulder pieces and has gap in the front of the skirt.

Colours range from shades of rust and grey to deep orange and blue. Zips and square buttons provide details.

The square and round chunky concrete bracelets were made in collaboration with MEL Design.

Named Overground, the collection is intended to reference urban forms and industrial objects.

"This word makes an ironic analogy with 'underground' as a creative conception, and at the same time it is an eloquent statement about the grandiose idea of the collection glorifying sublime industrial objects," said Dzhus.

The range was shown at Ukrainian Fashion Week and Kiev Fashion Days Showroom earlier this year. Photography is by Olga Nepravda.

Our coverage of Autumn Winter 2013 fashion collections includes Aina Beck's foil-printed attire and Jaimee McKenna's pleated blue garments.

See more collections from Autumn Winter 2013 »
See all our stories about fashion »

Here is some more information from the designer:

DZHUS conceptual wear brand was founded in 2010 by a Ukrainian designer Irina Dzhus who had graduated from Kiev National University of Technologies and Design and had already worked as a fashion stylist for apparel, accessories and cosmetics campaigns as well as collaborated with celebrities.

The brand’s design concept is based on interaction and transformation of construction modules in order to create new aesthetics of the form – avant-garde and virtually archetypical at the same time, categoric but variable.

An urbanistic Autumn Winter 2013 collection, Overground, was demonstrated at Ukrainian Fashion Week New Names Show and Mercedes-Benz Kiev Fashion Days Showroom.

Architectonical design of the collection interprets monumental structure of industrial objects. Style of the garments glorifies sublime technocratic aesthetics and functionalist utilitarian constructions.

High quality of specifically textured fabrics equalises commercial aspect of the pieces with their grandiose idea.

DZHUS advertising campaign is created by fashion photographer Olga Nepravda. Monolithic concrete cuffs were manufactured in collaboration with MEL Design.

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