So excited to have discovered another quality designer investigating the aesthetic potential of 3D Print technology. Natasha Fagg (studied in Melbourne, interning now in London)'s collection Arthropoda investigates embellishment through the facility of technology; the resulting interesting, tactile garments are very impressive - and in the below shoot are very well styled.
Whilst there is certainly a recognizable aesthetic associated with 3D printed fashion design (very similar to the particular 'look' of 3D printed artworks that I wrote about last month on gear talk), the intricacies and visual delight of experiencing innovative new materials, fabrics and garment structure is certainly worth taking note of. Whilst this almost stereotypical 'futuristic' feel to 3D print fashion doesn't look set to develop anytime soon, the work certainly manages to investigate a varied set of themes and subjects. Fagg's work claims to 'explore adornment though two opposing elements'. By juxtaposing 'the crafted' against 'the engineered' through the use of 3D print design and production tech, the designer manages to marry the separate concepts into a single collection of pieces. Whilst this is a success, I would like to talk to Fagg about her work in a little more depth - one could argue that 'the crafted' and 'the engineered' are in fact the same concept in different forms. Either way, these pieces are the kind of objects that I'm desperate to see and touch in person - and I'd especially like to see them worn.
Photographer Melanie Willhide's work has been trending recently as an unexpected change was made to her practice - resulting in some really interesting images.
After having her laptop stolen and then returned to her, she tried to recover some of the work that has been wiped from her hard drive by the thief.
The process redeemed her files but they were corrupted, and the resulting visual is some really nice photography that has been informationally altered. I think that these glitch effects really enhance the already fascinating images by adding an additional narrative; the subjects (and the work) are placed into a different digital, context which as proved to be really popular all over the internet (and in person). What is so great about this work is that the effect was not intentional in any way. It will be interesting to see of the artist alters her practice to incorporate such a visual in the future - and whether or not that will be as successful as this collection, entitled To Adrian Rodriguez, With Love.
This story has only developed my interest in glitch from previous posts, and I'm going to do a bit more academic research into the subject.
Hugely interested by and appreciative of the following interview between Lou Stoppard of SHOWstudio and the previously mentioned designer Iris van Herpen. Some really frank conversation giving a fascinating insight into not only the work, but the character of van Herpen within a fashion/art/tech context.
I'm really excited about van Herpen's forthcoming ready-to-wear collection, which looks beautiful. As a designer, van Herpen expresses her reliance upon haute couture as a process to support her ready-to-wear, which only suggests a strong and relevant future for couture - especially with regards the development of new technology and technique.The collection is also modelled by Grimes which I think is a lovely, creative match.
The ability to digitise a three dimensional object into a data file, and then transform that file back into a physical material continues to fascinate and baffle me. The Google Glass and 3D Printing communities have been intrigued by a story that was released last week in which an object in a public place was '3D scanned' by google glass and then 3D printed.
The idea that by simply looking at something (through glass) may give us the ability to effortlessly and physically recreate objects certainly has some very serious implications upon not only specific fields of interest and industry, but also on how human's interact with and understand materiality. That objects no longer have to physically move through time in order to get from one place to another sounds like sci-fi fantasy - but it is quickly becoming more and more of a realisable and practical) reality.
Obviously, this kind of development is inevitably going to have a really important impact on the museum and heritage industries in particular - especially since Todd Blatt (the guy who did this last week) used a bust from Walters Art Museum as an example of recreating an artwork. Perhaps certain kinds of technology simply aren't compatible with traditional ideas and values of 'the artwork' - in which case, measures will have to be made either to conserve such ideas or eradicate them. An interesting balance.
Charon, by Santa Barbara-based artist Sterling Crispin, is a 3D printed sculpture based on a flightpath performance involving an autonomous quadrocopter (and sensor tracking) and human interaction.
In the past, the concept - and thus the performance as enactment of that - has always stood as the most important part of a piece like Charon. The visible, documented (video) activity of Crispin interacting with the flying drone does very well to illustrate the tension between human and robotic agency as a means of making sense of the world. This theme constitutes the subject of much of Crispin's interesting work; throughout his practice, ideas of techno/life-forces, spirituality, entropy and virtual reality are explored, often by paralleling the human and the robotic (as in Charon). However, the possibility to make a material object out of this flightpath - as a 'shadow of this boundary crossing' (Crispin) - has been realised through the process of 3D printing. I'm really excited about how this technology can allow for a new kind of materiality - which is often simply a means of making data visible and three dimensional. Again, this work follows a developing tradition within 3D printed art of utilising organic forms within a technological context. I think the resulting sculpture stands as a beautiful art object that manages to bring the immaterial, spirit-like quality of Crispin's work into physicality. And there's certainly something rather magical about that.
Quadcopter, motion capture system, OpenGL simulation, 3D print, flat screen television
I feel a new kind of popular internet aesthetic coming on...
The video below explains a new online social media platform designed with creativity and collaboration in mind: by bringing in elements of online images, videos and gifs as well as files already on your computer, To Be offers an easy method of creating a web scrapbook of all your favourite things.
Initial worries I have for this platform will be matters of copyright. In addition, it'll be a shame if everyone's creations start to look the same. The all-over aesthetic of the work in the video remind me of the 'hyper geography' work previously featured on gear talk by Joe Hamilton.
Nike have produced a new app to help designers and developers make environmentally friendly choices about materials through the use of a free index.
This launch is particularly relevant with regards to new methods of production which minimise waste, along with on going investigations into brand-new 3D printed fabrics.
3460 & Digital Dumbo host 'The 4th July in London' 4th July at Pulse, Shoreditch
Appropriately timed in sync with the 4th July, last night saw huge collaboration between two of the most important cities in the world: New York and London. Hosted by 3460 Miles and Digital Dumbo London on the beautiful roof terrace of Pulse, the event concentrated on discussing anything and everything to do with running start-ups on either side of the pond. An amazing collection of London's finest creative founders, technologists and entrepreneurs came together not only to enjoy some evening drinks, but to engage in a fascinating panel talk about extending their projects into New York as well as the UK capital.
As a recent graduate having just moved to the capital myself, I had rather a lot to learn not only about the guests, but about their companies and strategies. Perhaps what was most apparent to me throughout the evening was quite simply how relaxed, enjoyable and supportive the atmosphere of the event was; the generosity within conversation along with the friendly interest offered by everyone made for an absolutely brilliant evening. I was interested to hear the perspectives of successful London based start-ups making a name for themselves in New York - which I can only imagine to be a potentially intimidating mission upon which to embark. Of course, the differences between the cities were repeatedly highlighted: the social aspect of business having so much more importance in the US was an interesting topic, as were more practical points regarding business tax regime difficulties and credit rate issues (coming from London to New York). Jo Jackson offered some really helpful tips regarding visa issues for employees, whilst everyone on the panel agreed that generally, the sell is harder in New York because there's so much more competition - you've got to shout so much louder. All the companies agreed that marketing strategies had to be altered to adapt to a US system, highlighting the differences in consumer behaviour. However, whilst the differences were obviously discussed at great length, the fact that both New York and London happen to be the most influential cities in the world justified the huge efforts made to 'make it in America'. One point I remembered very well was the suggestion that instead of feeling competitive towards either city, the best option for todays companies is to be friendly and supportive in business - especially since so many start-ups are setting up camp on both sides of the pond. Extending networks seems to be a key theme within any business in any field, and if anything last night's event stood not only to represent that, but to support it as well.
Conversation between Joshua March of Conversocial, Jo Jackson of Protein, Pratik Sampat of iHorizon, Ross Murray-Jones of YPlan, Christopher Jeffery of Taylor Wessing and Alex Mecklenburg of Huge was lead by Courtney Boyd Myers (audience.io and 3460 Miles) in an entertaining discussion which lasted around an hour.
Spurred by the event, I'm even more interested in the fashion- tech (in particular) start-up scene in London, as well as New York. Since moving south to the capital only a week ago, I'm already excited for the next event.
I'm interested in which up-and-coming fashion design graduates from LFC have started to utilise 3D printing within their practice - whether in the design/prototype stage or integrated within their final pieces. Having scoured the online portfolios of many MA grads, I've picked the following three designers:
Kay Kwon went down very well at London: Mens Collection last month, with a memorable set of sharp, punchy menswear. He has experimented with 3D printing (with effective results) through the design and production of some darth vader-esque headwear.
As is becoming more and more popular with savvy footwear designers, Marchant uses 3D printing in the design and prototype stages of her practice. By remixing traditional designs digitally, the appeal of her work is situated within an interesting new area of production and aesthetic made possible by these new technologies.
With a collection of accessible, conceptual jewellery, Rob Elford's practice incorporates the production of some really wearable artefacts which are digitally designed and crafted via 3D printing. Having already been recognised and received substantial success, it will be interesting to see where Elford takes his practice next.
Over the last few days, the fashion industry (in particular) has begun to take 3D Printing even more seriously as a direct result of designer Iris van Herpen's A/W 13 couture show at Paris Fashion Week.
Where to begin.
As a case study, van Herpen's latest collection not only illustrates a sophisticated understanding of material performance, but a deep-routed, narrative imagination. The theme of her collection formally marries an eclectic mix of stories, myths and ages: weeping willows sweep alongside hieroglyphics-inspired alien silhouettes; subtle palettes of ancient gold and treasure are juxtaposed between suggestive futuristic materials and post natural states of hybrid medusa transformations. The way these pieces move and sound with the model only add to the performative nature of this elaborate collection, and (very importantly) at no point are we allowed to forget that this is couture. This is drama, this is excess, and this is everything (and in my opinion, more) that you'd expect from the Chambre Syndicale de la Haute Couture at Paris Fashion Week.
Aside from the awe-inspiring pieces that make up the "Wilderness Embodied"collection, van Herpen has achieved a lot with this show. Whilst some of the outfits are completely (fabulously) ridiculous, the designer has - for the first time with her haute couture - included some ready-to-wear dresses. This is a big step forward not only in terms of keeping couture relevant within the industry itself, but for the technology van Herpen has employed within the collection. Rather than simply creating accessories or 'armour' through the use of 3D printing (like in her previous collections), van Herpen and her team (particularly 3D printing company Materialise) have managed to produce a 3D printed garment: a complex, intricate single piece printed in one step. Some of her clothes are even machine-washable for goodness' sake.
This is no longer tech for tech's sake. Process' like 3D printing are beginning to establish themselves within the industry as totally viable technique options for creating pieces of parameter-shifting fashion items. And what's more, such innovation allows even more room for the development of concept and idea, safe in the knowledge that the impossible is quickly becoming manageable. Work such as van Herpen's offers a new perspective on production skill, pushing and maintaining the notion of craft in a whole-heartedly digital context. What I admire most about her work is the way in which this craft exists mutually alongside a variety of sophisticated, interdisciplinary tech - with emphasis on neither. Perhaps this balance is the secret to her success.
If anything, van Herpen's collection has only spurred our interest in - and realisation of the potential of - 3D printing (in particular) within fashion design. What I'm most excited for is the on going developments that we'll start to see in 3D printed materials, which have to be the next major area of innovation. Who knows what van Herpen and others might be creating this time next year.
This commission incorporates the creation of his own image-comparison algorithm (as 'software') to 'sculpt' an image found on Google by using Google Image search as a translator. It is then digitally prepared for 3D print production.
Plummer-Fernandez's sculptures are far removed from the idea of a 'traditional', hand-crafted work; formed entirely out of information and produced entirely through machine and technology, they challenge the idea of the artist as well as the materiality of what the artist produces. One could go so far as to suggest that Plumber-Fernandez shifts the role of the artist by placing 'artistic direction' in the non-existant hands of the Google Image search algorithm - and this is a really thought-provoking, conceptual idea.
The material, 3D printed result is visually rich and in many ways, unrecognisable as a traditional art object. It looks somehow super-imposed into real life.
This process can be applied to any image/object:
These pictures remind me of some work previously featured on gear talk by artist Katja Novitskova:
Digital fabrication is made explicit in these works - so much so that it completely forms the subject of some pieces.