Planet Radikal or the Genesis of the Mutants

l P a

ne

t RadI kal

O r t h e G e n e s i s o f t h e M u ta n ts b y B e l l a R a di ka l

lairotide

editorial

Planet earth was full of waste and overflown with garbage. Attempts to burn or recycle the infinite loads of trash failed and the only solution was to find a safe place to put what mankind did not need anymore. Scientists came up with the plan to clean our planet and transport all futilities to another planet. This radical step initiated the search for a suitable heavenly body and what they created is Planet Radikal – a cold wasteland, far enough away to get rid of all the toxic waste, bulky scrap and other unnecessary stuff.

Gradually the lunarscape transformed into a landfill. Spaceship after spaceship dumped more and more piles of waste and unwanted items on Planet Radikal.

H o w e v e r, o n b o a r d o f t h e s p a c e s h i p s w e r e not only things...

Autumn / Winter 2016

contents

stnetnoc

Ins piration

Page 6 to 7

Photog raphy

Page 14 to 35

M o o d B oa r d

A S pac e O dys s e e

A little journey through my mind in Pictures. Nature, Design, Contemporary Art, Sci-Fi and current environmental influences that inspired me to create the world of Planet Radikal.

The take off to Planet Radikal. Agravic Mutants.

The result of the self-made destruction and its consequents of the damnation of the created innocent species.

Concept

Desig n

Page 8 to 13

Page 36 to 63

P l a n e t R a di k a l

c o l l ect io n

How human beings will be creating Planet Radikal? The story of a fantastical but possible dystopia reclined to the exploitation and pollution of our planet earth up to the science of genetic eneneering.

Visualization and illustration of each „Mutant“ outfit with photos from the catwalk performance vs. the insect it was inspired by.

Including the material concept and a little making of insight.

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concept

P

tpecnoc

l a n e t R a d i k a l Fo r a l o n g t i m e , s c i e n c e h a d b e e n i n s p i r e d by n at u r e a nd t h e a b i l i t i e s f l o r a a nd f au n a had. In the foreground stood research about p l a n t s a nd d e t a i l s a b ou t t h e i r a r c h i t e c t u r e a n d s u r f a c e s , a s we l l a s a n i m a l s a n d t h e i r c ap a b i l i t i e s . B i o e n g i ne e r i n g t a ke s n at u r e ’ s intelligent design as example for new i nve n t i o n s a n d c o n s t r u c t i o n s . A l o n g s i d e , fic t i o n a d d e d a no t h e r i n g r e d i e n t : t h e i d e a to equip humans with animal powers.

Superheroes such as Spiderman with his extraordinary powers and ability made mankind dream about optimizing our species. How great it would be if w e c o u l d f l y, c l i m b w a l l s , n e e d e d l e s s sleep and less nourishment. What kinds o f b e n e fi t s a n o p t i m i z e d s p e c i e s w o u l d bring about in form of labour force and f o r t h e e c o n o m y w o r l d w i d e . T h e b r e a kthrough came fast, but also bittersweet.

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concept

tpecnoc

Besides the few successes, the experiments A r t i fi c i a l e vo l u t i o n b y m e a n s o f g e n e t i c experiments and bioengineering has been p l ay i n g a n i m p o r t a n t r o l e i n m o d e r n s c i e n c e . E x t e n s ive l y s c i e n t i s t s h ave b e e n experimenting with humans in order to c r e at e b e t t e r - a d ap t e d s p e c i e s w i t h s p e c i a l a b i l i t i e s a n d f e a t u r e s . C o n v e r s e l y, t h e i r “playing God” also brought about what they call “faulty designs”. Misconstructions were

the

side

effects,

a

collateral

damage in form of mutants, hybrids of half man and half animals, which could not be used for the planned purposes.

only produced human trash – crazy freaks, mutants

with

malformations,

defor-

mities and abnormities with absolutely no use. For example hominid creatures with insectoid features were produced which showed chitinous exoskeletons, c r i p p l e d w i n g s o r we i r d o u t g r ow t h s s u c h as urticating hairs or pointy prickles.

Though, their malfunction and otherness made them outcasts and as derelicts of society the mutants could not be used as

work

s l av e s .

Killing

them

would

h ave b e e n t o o c r u e l , b u t a d i s p l a c e m e n t seemed to be the right solution for the p r o b l e m . C o n s e q u e n t l y, t h o s e h o m i n i d beings were banned to Planet Radikal.

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concept

tpecnoc

Fo r my c ol le c t i o n “ Pl a ne t

like and how we and the

materials such as plastic,

r e s e a r c h a b ou t t h e m . T h e

Radikal” I had inspiration

world

will

metal

or

which

word ‘insect’ derives from

f r o m d i f f e r e n t fi e l d s . Fo r

be. There are numerous

come

from

crafts

t h e L at i n wo r d ‘ i n s e c t u m ’

example, I looked into

movies from that period

world.

challenge

w h ic h l i t e r a l ly m e a n s ‘ c u t

f e t i s h f a s h i o n , w h ic h a l s o

g iv i n g a v i s i o n o f t h e

was to combine delicate

into sections’. All insects

shows traits and influ-

times to come. The sets

fabric

s h ow d i s t i n c t b o d y p a r t s

e n c e s o f ol d a r m ou r. T h e n

and costumes from those

materials

it came to me that armour

films also motivated me to

craft parts and to unite

thorax

is actually inspired by

make something futuristic

those

They are covered with

nature,

foremost

and

aesthetic compositions.

a

insects.

I

homage to the Space Age.

My

with

e x o s k e l e t o n , h av e t h r e e

nated by the different

Looking

costume

the apparent opposition

pairs of legs and their

natural

design

design it is apparent that

of softness and strength.

capabilities are as varied

which additionally are

not only typical fashion

Ti g h t

as

very aesthetic.

Another

m at e r i a l a s f a b r ic i s u s e d ,

classy

s o u r c e o f c r e a t iv i t y f o r

but also other materials

neath as a new skin is

my o u t fi t s w a s t h e ‘ S p a c e

are necessary to shape

protected by hard and

Age’

new

and

resistant constructions.

fi c t i o n s c e n e . A l o t o f

silhouettes. That is why

I n s e c t s a n d t h e i r phy s i o -

p e o p l e g av e t h o u g h t t o

I decided to experiment

g n o my i n s p i r e d my m o s t

w h at t h e f u t u r e m ay l o o k

with

and I dove into deeper

was

defence

and

the

by fasci-

science

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we

this

l iv e

is into

in

my

characters

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little

‘non-fashion’

wood the

The and

high-class with

tool/

controversies

o u t fi t s

and

work

to

transparent

couture

and are divided into head, and

solid

there

under-

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abdomen. chitinious

are

species.

photography

S

yhpargotohp

p a c e O d y s s e e A g r av i c take

Mutants off

to

or

Planet

the Radikal.

Wi t h t h e a i m t o c r e a t e a f l o a t i n g a n d weightless

atmosphere,

monochrome

setting

the

futuristic

could

represent

t h e i n s i d e o f a s p a c e s h i p , m ay b e a c av e on Planet Radikal or just the classic abstraction of space. The hair and make-up design reshapes the human character i s t i c s t o p l ay u p t h e u n i q u e n e s s . T h e models in wrenched positions represent once more the otherness of the fantastic creatures. Movements and expressions a r e a r t i fi c i a l a n d a g o n i z i n g r e f l e c t i n g t h e i r n e g l e c t s i t u a t i o n i n a n u n d e fi n e d a l m o s t c l a u s t r o ph o b i c l o o k i n g r o o m . To allegorize the debarment from society a nd t h e s e c lu d e ne s s i n t h e i r i n i m i t a b i l i t y, the mutants are intentionally pictured i n d iv i d u a l l y t o s t a n d f o r t h e i r o w n . pLANET rADIKAL pLANET rADIKAL

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photography

yhpargotohp

B l a c k W i d o w S p i d e r pLANET rADIKAL

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photography

B l a c k S p h e x Wa s p pLANET rADIKAL

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photography

yhpargotohp

S h i n y B l o w F l y pLANET rADIKAL

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photography

yhpargotohp

B l a c k D r a g o n f l y pLANET rADIKAL

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photography

yhpargotohp

W h i t e E r m i n e M o t h pLANET rADIKAL

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design

C o l l e c t i o n

ngised

The

collection

Radikal

works

opposition

LAKIDAr TENALp

and details such as hoods,

the

h a i r,

contrast

spikes

above

shape

or a

wings

different

of vulnerability and resis-

armoured body or carapaces

t a n c e . Wi t h t h e m a t e r i a l ,

a n d g iv e a c o m p l e t e n e w

colours, pattern cuts and

silhouette. The contrast of

applications

combines

the materials (couture vs.

futuristic

craft) is removed by the

and also historic fashion

d e s i g n s c r e at i n g a h a r m o n ic

design.

overall

it

Focusing

on

my

impression.

main inspiration, namely

A s s h o e s I wa n t e d t o c r e at e

i n s e c t s , t h e p at t e r n c u t s a nd

s o m e t h i n g my s e l f . Ja p a n e s e

a p p l i c a t i o n p l ay w i t h t h e

Geta-shoes inspired me and,

distinction of the different

again, experimenting with

body parts. The unitards

craft material and wood

are tight and function as a

e s p e c i a l l y,

new skin, also show many

g iv e t h e m u t a n t s f o o t w e a r

d e c o r a t ive l i n e s w h i c h g ive

for Planet Radikal, which

t h e e f f e c t o f h av i n g t r a n s -

allows

them

ferred the bodies into new

on

littered

ones.

the

with clean feet. In Japan,

form

they were worn to keep

A d d i t i o n a l l y,

applications

36

with

and

c o n t e m p o r a r y,

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Planet

above

the

I

decided

to

to

walk surface

a n e w p r o t e c t iv e ‘ e x o s k e -

the

leton’.

a n d fi l t h o n t h e g r o u n d .

The

attachments

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feet

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from

the

dirt

O u t fi t N o . 2

O u t fi t No . 6

O u t fi t No . 7

O u t fi t N o . 1

O u t fi t N o . 4

O u t fi t No . 8

O u t fi t No . 5

O u t fi t N o . 9

O u t fi t N o . 3

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ngised

design

1

1

E r m i n e M o t h

Catsuit and Boning Silhouette with C a b l e Ti e s

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ngised

design

2

2

B l a c k W i d o w

Catsuit and Boning Silhouette with C a b l e Ti e s

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ngised

design

3

3

B l a c k D r a g o n f l y

F l ow i n g D r e s s a n d Boning Silhouette with Macramé Te c h n i q u e

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ngised

design

4

4

O r c h i d M a n t i s

F l ow i n g D r e s s a n d Boning Silhouette with Macramé Te c h n i q u e

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ngised

design

5

5

W i n g e d A n t

C r o p To p S t i t c h e d with 3D Printed Wi n g s a n d Pa n t s with Plotted Flex Print

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ngised

design

6

6

S p h e x Wa s p

Draped Dress with Backpiece Necklet o u t o f C a b l e Ti e s a n d R u f f l e d Tu l l e Leggings

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ngised

design

7

7

S c a r a b a e u s B e e t l e

To p a n d Pa n t s o u t of Chain Links and Shims

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ngised

design

8

8

B l o w F l y

Bodysuit with Hair Laces and S u s p e n d e d Tu l l e Gaiters

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ngised

design

9

9

G o l i a t h B e e t l e

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B o n e d C r o p To p and Mermaid Skirt

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design

ngised

M a t e r i a l

T h e m at e r i a l s I u s e d a r e ve r y

I c o n s t r u c t e d i n s e c t o i d e xo s ke -

d iv e r s e . O n t h e o n e h a n d

letons and made amour pants

there are shiny and trans-

out of ring washers and metal

p a r e n t f a b r ic s wi t h s o f t , s i l k y

chain links. Another peculi-

a n d f l ow i n g t e x t u r e s . O n t h e

a r i t y i s t h at I u s e d 3 D p r i n t i n g

other hand, I used solid, rough

and

or stiff material from craft

as

such as plastic, metal and

Resumed, my collection with

wo o d a n d I g ave t h o s e i t e m s

its

a new function in fashion.

c o n t r a s t b e t we e n we a k ne s s a nd

As flowin g material I s elected

s t r e n g t h a nd c o m b i ne s t h e m t o

chiffon and tulle. Somehow

new aesthetics. The softness

the tight underdresses can

and

be viewed as new skins

fragility

–

designed application materials

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wings

for

dress.

and

a

mirrors

transparency

the

reflects

v u l n e r a b i l i t y.

vulnerable ones. I created

The ‘insectoid anti-aesthetic’

special surfaces, for example

with its pointy or even nasty

by bonding silver foil on

ou t g row t h s t a nd f o r p ro t e c t i o n

fabric

with

a n d r e s i s t a n c e . T h e t wo s t y l e s

latex on tulle or included

c o m b i n e d m a ke a n i n n ov a t ive

a r t i fi c i a l h a i r i n m y p i e c e s .

composition

The things I used, which are

The colours used are black,

u s u a l ly n o t u s e d f o r c l o t h e s ,

white,

are cable ties, ring washers,

metallic. In order to create a

metal chains, wood, silver

futuristic and galactic look I

foil and truck tarpaulin. With

p a r t ly we n t aw ay f r o m n a t u r e .

and

working

grey

cable ties or truck tarpaulin

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little

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and and

h a r m o n y. silver/

design

ngised Pe a r l s S t i t c h e d

L a t e x C ove r e d

White

Black

Muslin

Tu l l e

Chiffon

Chiffon

Structured Faux

Salmon Leather

Tr u c k Fa b r i c

K n i t t e d Tr i c o t

Leather

Imitation

Plane

Mesh

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design

ngised

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Fashion Design + Art Direction Photography + Edit for Editorial Photography at the Show Models for Editorial Dancers/Models at the Show Hair + Makeup Makeup Artist at the Show Set Design Tailoring

Shoes Armour Pants 3D Print Assistants

facebook.com/BellaRadikalCouture

Isabella Schuh Katarzyna Salamon Photografie Richter, Tiv Tyler, Tonight Jelena Grjasnowa Julia Schalitz Mai Lin, Manu, Laura, Antonia , Flore, Veronika, Olga, / Stefanie, Selina Jimmy Klein Isabella Schuh Nina Kleinen Katarzyna Salamon Isabella Schuh Sophie Knaak Julian Bartels Julia Weinstock Daniel Kujawa Isabella Schuh Philipp Mageney „der mit den Nussknackerhänden“ 3D Druckzentrum Ruhr Martin Tiedemann Bilgin Can Isikoglu

Layout + Illustration

Isabella Schuh

Authors

Anika Ellwart Isabella Schuh

l a P

n e

t IdaR lak