Design: Jimenez Lai.

The Fashion Victim is a Museum of Fashion that sets up traps and makes people fall through the building. The traps work differently – some use vanity to lure the victim into an involuntary fall, while others demand the user to make a deliberate decision about falling due to inevitability. If fashion is a re-representation of the self, this museum demands a set of primal psychological renegotiation about our comfort, embarrassment, egoism of the spectacle and thrills of the voyeur. This project is an urban torture instrument that makes the visitors into the most beautiful models and being observed over the details of their fears.

The storyline is programmatic: the museum starts with the most immediate decade of the last century and work itself up (NYC Guggenheim Style) to the temporary exhibition space. Inside that space, there is a giant aquarium that beautiful people wear amazing Prada suits continuously plunge in and out of the water. Adjacent to this view, there is the first trap that lures only the curious. This trap leads the visitor to a giant mattress and a door into an elevator up to the wardrobe. In the wardrobe the person becomes a model – while being watched as he/she changes cloths. After about 15 minutes on the runway, wearing the latest vanity and being watched from above by the sky bar, the new models will realize there is no exit but a jumping platform into a pool 53 meters beneath. This pool is the same aquarium from the temporary exhibitions. This is where the victim becomes most embarrassed about their indecisiveness to jump. Once they do, they will plunge into the Pool of Lavishness where a group of models and wealthy men with cigars will drink martinis next to it. Meanwhile, other route leads to the Sky Bar that views the runway. Should the visitor become tempted, there is a jumping platform into the runway storyline. This is the end, as they will all come out of that same Pool of Lavishness soaked in their Gucci attire. The only exit is through the administrators' working corridors, also programmed as the Walk of Shame.

In other words, the formal pretext of this architecture is precisely three non-linear storylines that rely on unconventional programs.