Summer Research Journal

FIRST CLASS

MA 2040

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Life On mars Eleanor O’Brien J85108 Fashion Marketing and Communication L5 Visual Research Journal AD5605

O N E W AY

Elon Musk •

Elon musk is developing a mission to take humanity to Mars known as SpaceX.

• “it’s about believing in the future and thinking that the future will be better than the past. And I can’t think of anything more exciting than going out there and being among the stars.”

•

His plan is to establish permanent colony on mars.

• Mars atmosphere has traces of elements that mean we would be able to grow plants on mars.

•

Mars is much colder than earth, but we could warm it up.

•

Mars is one of earth closest habitable neighbours.

• Musk is currently developing Starship, the world’s most powerful launch vehicle ever created.

• Musk hopes that a completely self-sufficient Mars colony could be set up by around 2050.

• “Earth is ~4.5B years old, but life is still not multiplanetary and it is extremely uncertain how much time is left to become so.” – Elon Musk • Space X are preparing for the first orbital launch of its Starship rocket which is expected to lift off next year.

Michio Kaku Michio Kaku is a theoretical physicist and futurist. He is the author of many popular science books such as The Future of The Mind.

Kaku has predicted that by the year 2050 we will be communicating telepathically by sending out our emotions and feelings across the internet, entering the age of the “brain net”.

Kaku has made a prediction looking at how similarly today the iPhone can calculate a pulse but in the future he as predicted our clothes will be able to detect a heart attack. (Moshakis, 2018)

Pierre Cardin is best known for his futuristic style and space age looks.

He had explored geometric shapes within in his designs to complement his space inspired looks. Cardin developed a spacesuit for NASA and in 1969, quizzed officials at their headquarters all around how to be stylish on the moon. Many of Cardin’s designs are in a museum his exhibition is titled “future Fashion”.

Pierre

CARDIN

Cardin’s use of helmets, goggles and vinyl helped towards the release of his space age look during the mid-1960’s

SPACE AGE Pierre Cardin

Pierre Cardin was predicting what life would be like in space, years before Apollo 11 mission and long before Stanley Kubrick’s A Space Odyssey. His designs opened a world to stylistic and image Zeitgeist of the Space Age. Cardin had quoted “My favourite garment is the one I invent for a life that does not yet exist”.

His designs are unique and used unexpected materials being acrylic, Vinyl, sequins and shimmery metals.

He would often cover models faces with masks, capturing how he imagined what space travel would be like.

PIERRE CARDIN S P A C E A G E

Pierre Cardin was fascinated by geometric shapes, He expressed his enthusiasm into designing the Bubble House. Later, he went onto designing the Bubble dress. The bubble dress became an international success and is still popular today. His inspiration came from his stay in japan.

one of the first designers to understand the importance of ready to wear “You don’t walk through life anymore. You run. You dance. You drive a car. You take a plane, not a train. Clothes must be able to move too,” - Andre Courreges.

Rabanne described him, Cardin and courreges as the three muskateers

Andre courreges spring summer collection in 1964 invented the “moon girl” look which secured him the title ‘designer of the space age’, represing a couture version of youth oriented styles. This collection inspired designers such as Pierre Cardin and Paco Rabanne to create their own versions of futuristic fashion.

Andre Courreges pushed fashion into the fututre by fixing it with modern life. he made modern clothes for “modern women living in modern times”.

The “youthquake” altered the direction of fashion in the 1960s. his collections included tennis-ball sunglasses or goggles, helmets, gloves. his most famous piece was the “Courreges boot”.

prada’s search for innovation is inspired by courrege’s designs from the 1960’s.

Jacques Bungert and Frederic Torloting commented in a joint statement that “All his life, André Courrèges, with Coqueline, had never stopped moving forward, always inventing, always one step ahead: A visionary designer, who could already see what the 21st century would be like, and who believed in progress. This is what makes Courrèges so modern, even today,”

“ He invented a universe full of shapes and colours in which elegance could not be concieved without imagination”- Fleur Pellerin.

Courreges designs was inspired through his interest in modern architecture and technology, he was the first designer to use plastic and PVC in his collections. He also had passion for the female body and the way in which it moved. “A woman to driver her car must pull up her skirt. We have failed her in designing her clothes” - Courreges.

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F a l s a hio t i ig The fabricant is the world’s first digital fashion house.

Their intention is to create less fashion waste and create a more sustainable fashion industry. Their belief is “Fashion should waste nothing but data and exploit nothing but the imagination”.

By creating digital samples of designs they are reducing 30% of the brands carbon footprint. They have created digital fashion for influences to use simply for Instagram, with it becoming increasingly popular for people to buy clothes to wear once for a picture, this is a great alternative and helps reduce waste.

MAKING FACTS FASHIONABLE AGAIN December 04, 2020

“Sustainability is the new black!” according to cynics who want to paint it as fashion’s latest passing trend.

Of course we understand it’s easy to tune-out when our global circumstances require the use of the word ‘sustainable’ on a daily basis. But stick with it, sustainability isn’t going anywhere, and we have a remedy for any impending ‘eco-fatigue’. Thanks to rigorously conducted research, The Fabricant has scientific proof that digital fashion not only makes you look great, it also enables the traditional fashion industry to shift its behaviours to help relieve the pressure on our planet’s ecosystem. We’ve always been big believers in the power of data.

One of our founding ideas was that wee could make fashion sustainable by harnessing technology to reduce the environmental impact of garment creation, and in time, fully transition to an industry that makes only digital clothing. We were told it was a very grand ambition, but if you’re going to dream you might as well dream big. So far, in collaboration with the forward thinking brands we work with, we’re taking steps that bring us closer to making that prospect a reality.

Knowing that beliefs are one thing and hard facts are another, we wanted to add empirical evidence to our mantra of ‘fashion should waste nothing but data and exploit nothing but imagination’. With this in mind, we collaborated with Imperial College London, a world-leading university with a reputation of excellence in science, engineering and business, to put together a sustainability report that would add numbers to what we felt to be true: that hat digital fashion, through its use of technological disruption, could positively impact the carbon footprint of the fashion industry.

The research paper, available to download HERE, compares the life cycle assessment of physical fashion versus digital fashion production, using the creation of a single t-shirt as its working example. Its findings were very telling:

• The life cycle carbon footprint of the production of a single t-shirt, from design to disposal, generates 7.8 kg of CO2. A digital-only t-shirt generates 0.26 kg: a reduction of more than 97 percent in carbon impact.

• Wetting processes during the life cycle of a t-shirt amount to 683 litres of water consumption - a digital-only product skips this phase step entirely.

• Environmental pollution caused by the use of chemicals in the physical design and production phase amounts to 12,300 kg. Digital-only generates 0.692 kg.

Beyond the creation of a purely digital product there are significant gains when physical fashion brands use digital interventions in their usual processes. As the report notes with reference to a previous study: • Digital samples replacing physical garments during design and development phases dramatically reduce the brand’s carbon footprint by up to 30% and help to achieve sustainability goals.

It’s this kind of potential that inspired Peak Performance to work with The Fabricant to digitise a large part of its FW/21 collection. The Swedish brand, established by passionate skiers who couldn’t find the practical but stylish apparel they wanted - back in the 1980s - decided to create it for themselves. As a company built around a strong bond with the outdoor environment, transitioning to 3D sampling and digital asset creation that reduces the carbon footprint of its business, aligns with its mindset.

Peak Performance credits the approach with allowing it to reduce several key resources: Energy, water consumption, time and cost, and says: “The The use of 3D sampling and creation allows us to quickly build on core styles, enabling even stronger decisions earlier in the process on colour, fit and features. It will also improve communication with our supply chain and create exciting, new digital designs using these assets as a base.”

Whatever your feelings about the word ‘sustainability’, it is a reality we must continue to facilitate, whenever we can, however we can. Digital fashion has the tools and the scientifically proven facts to support its wider uptake.

Only when more brands embrace the process can we begin to remake an industry that still has much work to do.

https://www.thefabricant.com/

Dezeen The Fabricant designs gender-fluid digital clothes informed by the Renaissance Digital-fashion house The Fabricant has collaborated with RTFKT to create the gender-fluid RenaiXance collection of digital garments, RenaiXance means to rebirth, pointing to the fact that in the digital world we can be reborn time and time again, transforming daily to express multiple selves,” The Fabricant’s head of content Michaela Larosse told Dezeen.

“Our work exists purely in the non-physical space, meaning our pieces are always digital, never physical.”

RenaiXance aims to reimagine binary constructs of clothing, reinterpreting traditional ideas of masculinity and femininity through a renaissance-meets-streetwear lens. lens “Does a character become any less intriguing if it’s wearing a robe and corset regardless of gender?” the brand asks.

The collection comprises platform trainers designed by RTFKT, a corset that took cues from the trainer design, a trio of Renaissance-style robes, large hooped earrings and a ring. ”With With RenaiXance we presented the idea of a ‘Pluriform’ – a multi-expression garment silhouette that can be worn on any body of any size,” she added.

“Digital fashion has an obvious application in the gaming world, yet gaming visuals and Skins still conform to gender ideas established in the physical world, pushing historic notions of masculinity and femininity.”

Dress X believe the amount of clothing that is produced is way greater than what humanity needs. They believe that there are ways to produce less and be more sustainable within the industry “some clothes can exist only in their digital versions”.

Dress X target influencers who buy clothing to take a picture for social media their clothes never need to be produced they can exist in a digital space cutting down waste.

Dress X website was launched in 2020 during lockdown in the midst of the pandemic. their intention is not to stop the economy they want to encourage people to make better more sustainable choices. with digital fashion consumption can continue to grow.

VOGUE Runway Then the models came out, dressed in short, reptile-patterned, digitally printed dresses, their gangly legs sunk in grotesque shoes that looked like the armored heads of a fantastical breed of antediluvian sea monster.

McQueen, according to an internal logic detailed in a press release, was casting an apocalyptic forecast of the future ecological meltdown of the world: Humankind is made up of creatures that evolved from the sea, and we may be heading back to an underwater future as the ice cap dissolves.

The consequences, in fashion terms? Well, it was a one-note, unmissable formula of the kind several other designers have decided is the way to communicate this season.

McQueen’s message throughout was essentially sunk into the short dress—a steady development of his engineered sea-reptile prints, worked into a nipped-waist, belled-skirt silhouette. The colors—first green and brown, moving to aqua and blue—were exceptionally executed and swagged, and molded across panniered structures. Each dress was a work of computer-generated art crossbred with McQueen’s couture-based signature cut.

In a section in which it looked as if McQueen was envisaging a biological hybridization of women with sea mammals, there were trousers whose bulbous flanks mimicked the skin of sharks or dolphins. A reminder of his taste in Savile Row tailoring came via a few looks in which formfitting gray men’s fabric was cut away to reveal “portholes” filled with turquoise (an effect akin to the view from a glass-bottomed boat).

Finally, then? Although there was nothing to show McQueen breaking out from his set design mold, the way he’s embracing new computer technologies and the drama of the moving image puts him at the leading edge of change.

Stella McCartney SPRING 2022 READY-TO-WEAR

BY ANDERS CHRISTIAN MADSEN October 4, 2021

Stella McCartney is doing mushrooms. Tons of them. In fact, she’s so into mushrooms that she decided to devote her entire return to Paris Fashion Week to what she proclaimed to be “the future of fashion.” Presented under an appropriately shaped dome within the Oscar Niemeyer building in the 19th arrondissement, her collection marked the first time a bag made entirely out of so-called mushroom leather has seen a Fashion Week runway.

Making its debut in look 14, Frayme Mylo appeared as a black version of the brand’s existing Frayme handbag. The material was created in the labs of Mylo, which McCartney has been working with since 2017. “The mushrooms are grown in labs, so they use no water and barely any electricity. They are pressed down and formulated into a faux leather,” she explained, adding that four years ago the innovation wasn’t advanced enough to produce a bag. “Now we’re at the point where I feel like I can roll it out. Otherwise I wouldn’t have put it on the runway.”

Inspired by the progress, McCartney covered her collection in a hand-drawn toile de Jouy–like mushroom print and scored the show with a soundtrack made from recordings of high-quality microphones attached to mushrooms during their growth process.

It’s no wonder all those mushrooms had an invigorating effect on her collection. Created in record time (“We only decided to have a show about 10 days ago,” she said), there was an infectious sense of impulse and authenticity about it, which hit the post-pandemic sweet spot.

Dresses cut like swimsuits expanded into slinky skirts and evolved into lean jumpsuits.

Piped bustiers evoked an idea of corsetry within non-constricting dresses. Fringing used in the context of workwear kept a consistent vibrancy and movement to garments, which—supported supported by a bright underwater color scheme—made scheme for an energetic, sexy, and quite dramatic wardrobe, which felt optimistic without entering the annoying territory that often comes with upbeat fashion.

“It’s been such a period of transition, and I wanted to project what the future could be like for the house of Stella: a lightness of touch, a slightly more tender approach, still mixing these sporty pieces and the masculine,” said McCartney. Her mushroom bags will be produced in a limited edition of 100 pieces, and—for now—retail at a somewhat higher price point than your average leather bag. “But it’s not killing any animals; it’s not cutting down any trees. It’s the future of fashion if you can get it right, and I think we can,” she explained. “It’s the beginning of something new.”

2001: A Space Odyssey

by Justin Smith July 3, 2018 Loosely based on two of Clarke’s short stories, 2001: A Space Odyssey was written by Clarke and Kubrick in 1968 simultaneously in book and script form, respectively. Despite a few variations, the film and book both tell the same story and make the same predictions about man’s future in regard to technological. While some of these predictions are a little off from what we have today (think: videophone sequence) others (like, manned space travel to Jupiter) remain outside our grasp. 2001: A Space Odyssey did more than change cinema, it set the stage for events that would change our lives.

Robotics have been a major player in the world of manufacturing for many years, but it wasn’t until 1981 that NASA used the first robotic arm in space for the unloading of spacecraft’s payload.

So, you thought Steve Jobs developed the iPad? As much as I admire Jobs and his contributions to technology and society, Kubrick was over 40 years ahead of him in regard to the iPad. During the Jupiwo doctors/astronauts aboard the ter mission, the two ship can been seen using electronic tablets that look suspiciously similar to Apple’s iPad.

The glass cockpit (an update from analog gauges and dials to digital screens and readouts) that is shown in 2001: A Space Odyssey didn’t come become a reality until the release of the MD-80 over 10 years later in 1979.

Predictions That Became Reality

House Of Dagmar

House Of Dagmar is a Swedish fashion brand that was founded in 2005 by three sisters. They create sustainable and contemporary designs that last for years.

In 2019 they created the label GOOD CHOICE with the purpose to help their customers find sustainable products.

House of Dagmar consists of “contemporary yet playful aesthetic that never goes out of style”. The business launched with three sustainable pillars: high- quality fabrics, high quality production process, and high-quality designs.

Their message is to encourage change within in the fast fashion industry. Encouraging people to start thinking about the longevity of their fashion choices.

Their goal is to be totally carbon neutral, to support climate change and to be a truly environmentally friendly company. (davis,2021)

https://www.wearedore.com/beauty/face-the-future-whats-next-for-the-face/

FACE THE FUTURE: WHAT’S NEXT FOR THE FACE? 2 years ago by The Atelier Face workouts Those deep in the beauty mix will know that facial fitness as a concept is not new. Just look at countries like China, Japan and the beauty-pioneering south Korea where face workouts have just been something you just do for years to contour and shape the face.

But, with places like the UK-born FaceGym now popping up in New York, we’ll soon be dropping “wanna go for a face workout?” into casual conversation like it’s just another hot yoga class. For the uninitiated: The FaceGym motto is very clear: they are not a facial. They’re a workout… for your face. Essentially it involves a lot of vigorous facial massage, or as they call it “muscle manipulation” and some high tech (but again, non-invasive) tools to tone, tighten and sculpt the 40 (yes, FORTY) muscles in your face. There’s even a warm up, some cardio and a cool down. And while it may sound kitschy, and definitely not a super fun time, even the people who really don’t want it to work (like the New Yorker’s Jia Tolentino) have to (sometimes, grudgingly) admit that it does.

Nano and micro current devices Ah, technology. It has a way of normalizing the once outrageous, and perhaps the truest sign of the times is that we believe anything and everything is possible. This is exactly how I felt when I first read about nano and micro current technology, and what it can do for your skin. Without taking you too far back into Senior year chemistry, this technology uses electrical currents to stimulate the skin’s levels of Adenosine triphosphate (or, ATP for short) – which is essentially the energy source driving the production of things like collagen and elastin (the first things we lose in our skin as we age).

Melanie Simon, renowned Electrical Esthetician and creator of the ZIIP nanocurrent device explains further: “Nanocurrent is a bio-identical electric current that can communicate with our skin’s cells by enhancing production of collagen and elastin, eliminating free-radical neutralizing electrons, and boosting the skin’s level of ATP. Low levels of electrical currents have been clinically proven to increase ATP production by up to 500%.”

All of this results in more clarity, better texture and tighter, firmer, brighter skin. skin And, it’s your own body (not a foreign substance) that’s doing the heavy lifting since it’s your own cells (with just a little electrical help) creating the effect. With a device like ZIIP, this is further enhanced with conductive gels that pull the current into the skin and also include active ingredients like specific peptides for firming or plumping.

Microcurrents (in devices like Nu Face) on the other hand are more in line with face workouts in that they use low-level currents to stimulate the muscles (and ATP production), helping to contour, tone and firm the skin. “It stimulates the superficial facial and neck muscles creating instant lift and tone, “ says Melanie “and had better and longer lasting results with continued use.”

The catch is that excess ATP cannot be stored in the body, so to get all the glorious effects, needs continual use.

Techno-facials No, this is not about pairing your glow sticks with your sheet mask. Rather, it’s the move towards facials that lean on technological tools and products to get more for your face. It’s an ethos that New York’s Facial Bar, Silver Mirror has built their business on. As Cindy Kim, Co-Founder and Co-CEO explains, “facials at Silver Mirror include a variety of high-end modalities and products such as microdermabrasion, hydra-dermabrasion, chemical peels, advanced LED therapy, high frequency, derma-rolling, electrical muscle stimulation, specialty masks…”

They use tools such as the terrifyingly named (but effective) “Ultrasonic hammer,” which has both cold and warm functions to speed up the absorption of products into the skin, skin soothe, increase circulation and stimulate the skin tissue (to drive product in deeper) using ultrasonic waves.

Silver Mirror are also advocates for oxygen therapy, which has been around for at least a decade and uses high pressure oxygen combined with concentrated forms of vitamins to penetrate the nutrients deep into the lower (dermal) layers of the skin. Cindy explains “Because Because oxygen is introduced to the skin at the cellular level, it bonds to red blood cells, providing additional strength to the collagen and elastin fibers, which stimulates production of healthy new cells and increases the strength and suppleness of the skin.”

Although all of this may seem like the next level of high maintenance, from the facialist’s perspective, it’s more that there is a quiet acknowledgment that great, healthy skin takes time, and requires constant upkeep… just like staying fit. Rather than just getting a hit of Botox whenever you see a line about to form, there’s a shift towards skin health in general, and not just reacting to the issues after the fact. It’s a kind of wellness woke-ness. Cindy says “consumers are gravitating towards more natural and holistic facial treatments and other consumers are gravitating towards high-tech and active skin treatments and products.” And therein lies the real trend: a mixture of wellness and technology that merge perfectly together to capture both the illusive glowing, youthful skin and the beauty zeitgeist.

Inter will we be growing our own plants in fridges in our own bubble space?

Minimalist decor having only necessities. learning from past mistakes?

rior’s

will we have everything we need in our own space ? home gyms have become increasingly popular during lockdown.

Close ups of the colour workshop done with Tony Green. I decided to do this physically instead of digitally to gain different textures in my work. I chose the colour blue as currently this has be repeated most throughout my research, I really enjoyed this workshop gaining a new methodology.

We have created “a perfect storm” for diseases from wildlife to spill over into humans and spread quickly around the world, scientists warn.

Human encroachment on the natural world speeds up that process.

This outlook comes from global health experts who study how and where new diseases emerge.

As part of that effort, they have now developed a pattern-recognition system to predict which wildlife diseases pose most risk to humans.

This approach is led by scientists at the University of Liverpool, UK, but it is part of a global effort to develop ways to prepare better for future outbreaks.

Exploiting nature ‘drives outbreaks of new diseases’ Coronavirus: A hunt for the ‘missing link’ species With a million species at risk, what do we save?

‘We dodged five bullets “In the last 20 years, we’ve had six significant threats - SARS, MERS, Ebola, avian influenza and swine flu,” Prof Matthew Baylis from the University of Liverpool told BBC News. “We dodged five bullets but the sixth got us.

“And this is not the last pandemic we are going to face, so we need to be looking more closely at wildlife disease.”

As part of this close examination, he and his colleagues have designed a predictive pattern-recognition system that can probe a vast database of every known wildlife disease.

Across the thousands of bacteria, parasites and viruses known to science, this system identifies clues buried in the number and type of species they infect. It uses those clues to highlight which ones pose most of a threat to humans.

If a pathogen is flagged as a priority, scientists say they could direct research efforts into finding preventions or treatments before any outbreak happens.

“It will be another step altogether to find out which diseases could cause a pandemic, but we’re making progress with this first step,” Prof Baylis said.

Lessons from lockdown

Many scientists agree that our behaviour - particularly deforestation and our encroachment on diverse wildlife habitats - is helping diseases to spread from animals into humans more frequently.

According to Prof Kate Jones from University College London, evidence “broadly suggests that human-transformed ecosystems with lower biodiversity, such as agricultural gricultural or plantation landscapes, are often associated with increased human risk of many infections”.

“That’s not necessarily the case for all diseases,” she added. “But the kinds of wildlife species that are most tolerant of human disturbance, such as certain rodent species, often appear to be more effective at hosting and transmitting pathogens.

“So biodiversity loss can create landscapes that increase risky human-wildlife contact and increase the chances of certain viruses, bacteria and parasites spilling over into people.”

There are certain outbreaks that have demonstrated this risk at the “interfaces” between human activity and wildlife with devastating clarity.

In first outbreak of Nipah virus in 1999 in Malaysia, a viral infection - carried by fruit bats spilled over into a large pig farm built at the edge of a forest. Wild fruit bats fed on the fruit trees and the pigs munched on half-eaten fruit that fell from the trees and was covered in bat saliva.

More than 250 people who worked in close contact with the infected pigs caught the virus.

More than 100 of those people died. The case fatality rate of the coronavirus is still emerging, but current estimates put it at around 1%. Nipah virus kills 40-75% of people it infects.

Prof Eric Fevre from the University of Liverpool and the International Livestock Research Institute in Nairobi, Kenya, says researchers need to be on constant watch in areas where there is a higher risk of disease outbreaks.

Farms on the edge of forests, markets where animals are bought and sold - all are blurred boundaries between humans and wildlife, and places where diseases are more likely to emerge.

“We need to be constantly on the look-out at these interfaces and have systems in place to respond if we see anything unusual”, like a sudden disease outbreak in a particular location.

“New diseases pop-up in the human population probably three to four times per year,” Prof Fevre said. “It’s not just in Asia or Africa, but in Europe and the US as well.”

Matthew Baylis added that this ongoing surveillance for new disease is increasingly important. “We’ve created almost a perfect storm here for the emergence of pandemics,” he told BBC News.

Prof Fevre agreed. “This kind of event is likely to happen again and again,” he said.

“It’s been happening all throughout our interaction with the natural world. What’s important now is how we understand it and respond to it.

The current crisis, Prof Fevre said, provides a lesson for many of us about the consequence of our own impact on the natural world.

“All of the things we use and take for granted - the food we eat, the materials in our smart phones; the more we consume, the more someone will make money by extracting them and moving them around the world.

“So it’s incumbent on all of us to think about the resources we consume and the impact it has.”

MINIMALISM By decluttering our lives we can reduce waste and escape consumer culture, buying only necessities. Recently minimalist living has become incredibly popular.

Netflix show tidying up with Marie kondo had a large impact on this, influencing people to cut down the number of items in their wardrobes.

A way to become more minimalist is by keeping a capsule wardrobe having only a small number of items that are timeless classics, never going out of fashion. this ultimately reduces you own carbon footprint.

80 billion pieces of clothing are consumed each year unfortunately due to fast fashion.

“Consumerism is responsible for up to 60% of greenhouse gas emissions.”

Most minimalist choose to live in small housing, this not only forces you to declutter and aiming for fewer items to be kept in the house, but also cuts down the amount of electricity and gas you use meaning a much smaller carbon footprint.

Matt D’Avella shows what most people percieve minimalist lifstyle to be like to what it actually is.

minimalism isn’t just whats deemed as a necessity generally, it’s what is important to you individually.

mimimalism is spending less time on things that aren’t important.

having a few items of similar clothing that wont go out of fashion.

“i don’t spend time chasing unnecessary thing’s that arent important to me”

GENESIS 2:17

ADAM AND EVE

Over consumption • “These trends are not only damaging the environment, they limit opportunities for the fashion industry to succeed in the long-term. The industry already misses out on $560 billion in value from clothing being worn less and barely recycled,” said Laura Balmond from the Ellen MacArthur Foundation.

• Industry produces billions of clothing every year made from cheap low-quality synthetics.

• In 2015, the textiles industry used 98 million tonnes of non-renewable resources, including oil for synthetic fibres, fertilisers to grow cotton and chemicals.

That number is expect to grow to 300 million tonnes by 2050.

• Brands such as Pretty Little Thing contributing to overproduction having Black Friday sales practically giving clothes away.

• Around 3% of clothes from brands like Nike, H&M and Louis Vuitton are never sold and go straight to landfill or incineration. The latter produces heavy metals, acid gases, particulates, and dioxins, which can be harmful to human health.

•

Britain’s landfills full by 2022

• Companies often greenwash with the use of campaigns reducing plastic in their company but avoiding the main issue of fossil fuel consumption.

Gender- netural More and more fashion brands have begun launching gender-neutral collections. Fashion designers have since combined men’s and women’s collections on the runway. Fast fashion brands have been following in the footsteps such as H&M and Zara releasing genderless denim line.

Gucci have already been seen to cut out categories that Is men’s and womenswear, blurring the lines between them and using only non-binary terms. John Lewis have also in recent years combined their girls and boy’s wear collections.

Celebrities such as harry styles has been pushing the boundaries wearing what is deemed as women’s clothing at red carpets and on tour. He was front cover on Vogue magazine wearing a Gucci dress in October 2020. Sam smith is another well-known celebrity who identifies as non-binary.

Gen Z are becoming more known as the genderless generation. 33% percent of those in Gen-Z identify as something other than exclusively heterosexual. A search on TikTok will bring up that the hashtag for polysexuality has almost 10,000 views and is still growing. Gender fluidity is more than a trend to Gen Z and brands are encouraged to reconsider how they are marketing gender fluidity to them.

DION LEE UNVEILS BOLD FALL 2021 COLLECTION

Neutral, monochrome looks take on daring interpretations in the ready to wear collection.

April 10, 2021 TEXT: TRISHNA RIKHY

In a digital runway presentation, the he unisex collection is debuted against a neutral backdrop, a heavy techno beat setting the soundscape for garments built with contemporary technical precision. The future is surreally envisioned: where there is leather, there is mesh; where there are long hems, there are gaping cuts revealing bare skin; where there are boxy, edgy silhouettes, there are form-fitting fabrics.

Clean and suave to the core, the collection underscores a focus on shape and texture over color or pattern. Bold, monochromatic colors make up the garments—vivid vivid black and slate white, interspersed with warm sand, muted lilac, chic khaki and stark gray.

The Australian designer is immersed in everything new, everything bold and heavy, uncluttered by frills, fluff or ribbons, embracing the freedom and grace of a print-less, pattern-less collection. All the attention is turned instead to expression evoked by the garments themselves, cohesive in their daring moulds—where does skin show, where is it hidden? What billows out of the body; what hugs it with transparency; what is layered over and over again for some semblance of a primitive crochet?

Knitwear, cotton, leather and mesh coalesce into a union of fabric and tailoring, turning urning each piece into something nuanced, complex and interesting, structured to unhindered perfection.

Military utilitarianism is evoked by boxy-shouldered blazers and chunky silver buckles, while the new age of urban contemporary minimalism is seen in cutout fabrics and harnesses, crop tops paired with wide-legged pants, bikini bottoms with flowing capes, mimicking the expressive juxtapositions of the modern era.

Dion Lee creates a feat of design with each monochrome look, unwavering and frank.

Standout looks include a sip of a white dress, adorned with tan straps and a series of ring cutouts against high-slitted legs; a mesh bodysuit bringing layers of gray together, the various shades shifting against each other; a lilac bodycon dress that is just as much skin as it is fabric; and a bold, sexy leather harness doubling as a cropped bralette, criss-crossed straps echoing the battle gear of an urban gladiator.

Form and function are simultaneously feats of design and tools of unparalleled modern function with the Dion Lee Fall/Winter ‘21 collection. View the full collection and shop Dion Lee here.

Dion Lee “let your imagination run wild” inspired us to venture away from our gender expectations.

Cut out clothing is seen repeatedly in his spring 2021 collection.

Dion Lee colour pallette is Yello, lime and forest green. He has avoided femine colours which have been seen in past collections such as pinks and violets.

HIs fall collection 2021 see’s boxy shapes and texture over colour. monochrome colours make up the garments.

Dion Lee is immersed in eveything new. embracing the freedom and grace of a print-less,

Tim walker is a British creative photographer. He often plays with proportion in his images, creating surreal Alice in wonderland like imagery with making his models appear as giants in a shrunken background. Tim walker believes that when it comes to his photography its were something goes wrong on set while photographing that makes more story telling.

TIM He has an exhibition at London’s V&A museum called Wonderful Things, he transformed the interior of the gallery to suit his photography going beyond the frame. Walker portrays romanticism in his work and has described it has his own “visions of beauty” and fragments of the world he has inside his mind. Walker has repeatedly described his work as chaotic.

Tim Walker Quotes “Photographers are trying to make sense of this world, put a frame around it” “Life is chaos – we all know that” “As a photographer you’re trying to take screenshots of life and show that it resonates with your sense of what is beautiful.

But the decisive moment is chaotic.”

Walker

“Highlights accessories and ready to wear styled with an all gender focus.”

“presenting masculinity and femininty as relative concepts”.

Introduced Gucci Mx which is a non binary, gender fluid section on their website so people dont have to choose between the Men’s and Womens section

The section indtroduces ready to wear items, accessories, shoes and bags.

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Pierre Cardin, fetish for the bubble. (2015, July 26). A.Gnautacouture. Retrieved from https://agnautacouture.com/2015/07/26/pierre-cardin-fetish-for-the-bubble/ Rikhy, T. (2021, April 10). Dion Lee unveils bold fall 2021 collection. Vmagazine. Retrieved from. https://vmagazine.com/article/dion-lee-unveils-bold-fall-2021-collection/ Roberts- islam, B. (2020, Aug 21). How digital fashion could replace fast fashion. Forbes. Retrieved from. https://www.forbes.com/sites/brookerobertsislam/2020/08/21/how-digital-fashion-could-replace-fast-fashion-and-the-startup-paving-the-way/?sh=2bd0601370d8 Robidoux, J. (2019, Aug 8). Adam and Eve. Manchesterinklink. Retrieved from. https://manchesterinklink.com/adam-and-eve-forbidden-fruit-and-the-fall/ Standen, A. (2020, May 20) The environmental benefits of minimalism. Theboar. Retrieved from. https://theboar.org/2020/05/environmental-benefits-minimalism/ Smith, J. (2018, July 3). 2001: A space odyssey predictions that became reality. Flickfeast. Retrieved from. https://www.flickfeast.co.uk/spotlight/top-10-2001-space-odyssey-predictions-reality/ Sustainable report. (n, d). Thefabricant. Retrieved from https://www.thefabricant.com/sustainability Taylor, K. (2021, Feb 3). Dressed to kill. Euractiv. Retrieved from. https://www.euractiv.com/section/circular-economy/news/dressed-to-kill-the-environmental-cost-of-fastfashion/ Yu, A. (2021, Feb 4). Gender-neutral fashion: fluidity as freedom. Fsdhionunited. Retrieved from. https://fashionunited.uk/news/fashion/gender-neutral-fashion-fluidity-as-freedom/2021020453377

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Nasa. https://mars.nasa.gov/resources/25612/perseverances-first-full-color-look-at-mars/ Sant’Anna, C. (2012). Michio Kaku. [photograph] Flickr. https://www.flickr.com/photos/campuspartybrasil/6856978097/ Gokey, M. (2016). Digital trends. [photograph] digitaltrends. https://www.digitaltrends.com/wearables/smart-clothing-is-the-future-of-wearables/ Foglet. (2019). Brain-to-brain communications. [graphic]. https://foglets.com/brain2brain-communications/ O’Neill, T. (1970). Raquel Welch in a Pierre Cardin outfit. [photograph]. https://iconicimages.net/photo/rw213-old-raquel-welch/ Cardin, P. (1968). Space age look. [photograph]. Avengers in time. https://avengers-in-time.blogspot.com/2012/07/1968-fashion-pierre-cardin-space-age. html Cardin, P. (1992). Sequined Parabolic gown. [photograph]. Edition. https://edition.cnn.com/style/article/pierre-cardin-future-fashion/index.html Print collector. (2021). Adam and Eve with their sons. [illustration]. Getty Images. https://photos.com/featured/adam-and-eve-with-their-sons-cain-print-collector.html griffin, B. (2012). Marc Jacobs in New York. [photograph]. Gettyimages. https://www.gettyimages.dk/photos/marc-jacob-dress Verdy, P. (2004). A model presents an outfit by japenese designer Yamamoto. [photograph]. Gettyimages. https://www.gettyimages.co.uk/detail/news-photo/model-presents-an-outfit-by-japanese-designer-yohji-news-photo/2879125?adppopup=true Walker, T. (2014). Made to order, Christian Dior. [photograph]. Theguardian. https://www.theguardian.com/global/2019/sep/15/tim-walker-fashion-photographer-interview-theresan-extremity-to-my-interest-in-beauty Walker, T. (2017). Bjork wearing marlou Breuls. [photograph]. LuxuryLondon. https://luxurylondon.co.uk/culture/art/tim-walker-wonderful-things-exhibition-london Stopforth, J. (n, d). theguardian. https://www.theguardian.com/global/2019/sep/15/tim-walker-fashion-photographer-interview-theresan-extremity-to-my-interest-in-beauty

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