R E S E A R C H
LIFE ON MARS MARS MARS MARS
a thriving colony
from the ground up.
Barbarella is a historic science-fiction film, released in 1968, about a 41st century space traveler. This film created the 1960’s archeytypes of their perceptions of the future: the utopian vision of colour, adventure and freedom that we can still see today in the 21st century. This historic film is relevant to today’s perceptions and ideas relating to our future - in relation to our clothing, hair, makeup, technologies and freedom of adventure. There isn’t a specific year that is ever overtly stated in the film, however it is clearly set sometime in the far away future; the video release states that it is the year 40,000. At the start of the film, Barbarella speaks to the president over her video communication device. The “universe has been pacified for centuries…” In this peaceful universe, weapons exist only in museums. “Why would anyone want to invent a weapon?” she asks with genuine confusion. This film explores themes of the future - some of which have become true.
TELL US OUR FUTURE
VIRTUAL REALITY
is this the future of design?
One of Steven Spielberg’s newest, contemporary virtual-reality fantasy film “Ready Player One” stirred up a whole round of discussion on VR technology and speculations of what will become of technology in the future due to fast developments. The film is based on Ernest Cline’s 2011 bestselling of the same title novel, which features characters escaping harsh reality by plugging on virtual reality headsets and entering into an immersive virtual universe, OASIS. Setting in the year of 2045 in Columbus, Ohio, people escapes to OASIS to go to every place they have ever
wanted to go, do anything they want to do, and be anyone they want to be, where the only limits are their own imagination. Seeing the current newest virtual reality technology development, the world with this fantasy might not be too far future ahead of us. This film is useful when analysing and considering what will become of technology, as advancements are only going to continue - creating debate on what our future forecast will look like within the innovative and creative space of technology.
Within the historic luxury fashion brand, Paco Rabanne, creative head Julien Dossena presented a breakthrough collection featuring the chain mail that was one of the house founder’s signatures. A cocreator of the 1960s Space Age movement, Rabanne is remembered for his use of nontraditional materials and unique linking technique. In addition, the iconic designer has got a life story as compelling as his design innovations—one that touches on issues of great importance in 2017, from sustainability to the rights of women and refugees. Particularly with reference to many F/W 17 fashion weeks, Paco Rabanne’s ‘Space Age’ aesthetic and looks can be seen again with a fresh interpretation and new eyes are open to analyse the predicted, fashion forward collection. Jane Fonda modeled the designer’s futuristic costumes in Barbarella.
The 1960s space age collections and aesthetic was more than a measure of scientific progress. The anticipation of this next stage of humanity left a strong impression on culture, too. Many famous designers of the time, including Paco Rabanne, centered their whole collections based upon an intergalactic vision of the future and the space age, presenting the designer and the 60’s impersonation of what they believed fashion would look like in the future. Chain shift dresses, large helmets and a pair of bright white boots, created the iconic legacy of the ‘60s and ‘70s, defining the space-age innovation. Now, decades after the first moon landing, the trend has remained current and relevant inspiration for many contemporary fashion houses, as a new space race unfolds.
The silver space-age tunics aesthetic of Pierre Cardin can still be seen on many high fashion runways of today, particularly within the rise of real life space expiditions, such as the Mars Rover. It is interesting to see that the 60’s space age fashion trend is not only still relevant in the fashion industry, but also how it is present in scientific exploration creating a trend that is much more than fashion alone. The rise of modernity in fashion was also explored further through actual space suits, as the trend of Sci-Fi dressing has since developed into much more than just a periodic fashion trend. Many rising digital fash-
ion brands, such as Auroboros and The Fabricant have been inspired by this futuristic and digital aesthetic, creating a present advancement in developing a scientific trend into a physical, real life possibility of digital clothing and design. It is interesting to view how a historic trend has developed into a real life possibility.
Italian-French fashion designer, Pierre Cardin, was a very influencial designer and a key innovator in predicting future trends - curating this ‘Space Age’ fashion movement. Pierre Cardin was a pioneer of space-age fashion, designing modern and futuristic silhouettes, particularly in shimmering lamé fabric. His futuristic designs have been worn by many other famous and influencial icons of ‘60s, such as Mia Farrow and The Beatles.
Contemporary sportswear fashion brand, Adidas, released a collection in collaboration with ‘Parley’, taking stride in going against contributing to plastic waste in aid to contribute further as a brand to the sustainability and responsible pratice within the fashion industry. Adidas has illustrated a different perspective in regards to how we can tackle the impact of pollution and waste that the fashion industry causes. This is because by Adidas creating a collection of footwear using only re-used plastic waste, this sparks for inspiration of what
other fashion brands can do to save the planet and contribute to becoming a sustainable brand on our journey to Mars. It is interesting to see two opposing factors of how the fashion industry could combat the earth’s environmental issue, as brands could choose to follow the digital and virtual reality trend that is becoming more present in the fashion industry daily, or brands could choose to follow the path of Adidas, where they are deciding to maintain producing physical products, however at a more sustainable and responsible level.
“Plastic waste is a problem - and it has reached a tipping point. For every person on the planet, there is one ton of plastic and nearly 80 percent has become plastic waste wreaking havoc on the oceans around the world.” As a sustainably driven company, Adidas has been a big contributor to the resolution of the large problem caused by the fashion industry. Which is why its actions need to be equally as big. The brand has made a commitment to END PLASTIC WASTE through innovation and partnerships. It is important for big brands with a large following to set an example to not only other brands, but also their targeted consumer, as large brands have the ability to influence and guide a large number of people - creating a positive and influential flow of improving the planet in as many ways as we can. When we are thinking of how we can tackle the issue of climate change in regards to our new life on Mars, it is important for fashion
brands to learn and adapt to the world’s current environmental situation, if there is any hope for us to try to reduce the impact that the industry has caused. Since 2012, Adidas has innovated new products with sustainability focused partners like Parley for the Oceans, and the U.S. International Space Station. After introducing a single shoe at the United Nations in 2015, the longterm eco-innovation partnership with Parley for the Oceans will lead to more than 15 million pairs of shoes being produced with Parley Ocean Plastic, setting an example to competitor brands.
British designer Stella McCartney is famous for pioneering more sustainable manufacturing processes as well as only using vegan leather. As a brand, Stella McCartney have always played a key role as an innovator and a leader within the fashion indsutry when it comes to extending the message and influence over the importance of being sustainable due to the gorwing climate change crisis. The fashion brand is now taking their commitment to eco-fashion one step further by launching a line of biodegradable stretch denim. Alongside Italian brand Candiani, the new 10 piece denim collection features use of plant-based yarns, as well as Candiani’s patented Coreva Stretch Technology. This collection sparks innovation and a possible solution to how the industry can act in response to the growing concerns of the external environment. While all Stella McCartney denim is made
with 100 percent organic cotton, traditional denim production requires a huge volume of water and toxic dyes and chemicals to create one pair of jeans. The Coreva Stretch Technology is produced in a safe, toxic-free environment. When reflecting on what possibilities there are to solve the environmental issues on the planet, it is interesting to question whether switching materials and fabrics is simply enough to right the damage that has already been caused? Brands like Stella McCartney add light on the question does more need to be done to achieve the end goal of reducing the impacts of climate change - and should brands follow the digitalisation route that the industry is following - questioning whether this has a larger impact and greater good? Stella McCartney is a good example when considering if this impact is enough or does more need to be done?
Since 2001 when Stella McCartney opened her own brand in a joint venture with Gucci Group (now Kering Group), she promoted a cruelty-free and ethical philosophy and stood against the use of leather, fur, skins and feathers in her catwalks and collections. This statement was followed by an action plan affecting every business decision while differentiating her brand from the rest of the luxury industry that surrounded her. This was a bold step at that time but the brand kept this state of mind and moved forward every year.
This stance on sustainable practices within the fashion industry has left a strong impact on the future of fashion, resulting in many brands to also adopt this ethical, sustainable and responsible approach within their own designs, practices and brand message. This approach to ethical and sustainable practice is likely to be joining us on our journey - our new Life on Mars, as many other designers and brands are following this trend of becoming more ethically responsible and sustainable within their garments.
“Burberry launches ‘Re-Burberry Edit’ made from innovative materials, and global roll out of sustainable product labelling”. As part of its industry-leading product sustainability programmes and building on a heritage of innovation, Burberry launched a curated edit of 26 styles from the Spring/ Summer 2020 collection, crafted from the latest sustainable materials used across the Burberry product range. The introduction of the ‘ReBurberry Edit’ coincides with the global roll out of dedicated sustainability labelling across all key-product categories. The labels will, for the first time, provide customers with an insight into the industry-leading environmental and social credentials of the Burberry programme. This high-end luxury collection is another example of a brand’s response to the global environmental issue, again portraying the message of the importance of how sustainably can we live on Mars? Will we have access to these eco-friendly and sustainable materials and fabrics or will we have to think of an alternative solution?
the future of fashion is
D IG ITAL
Auroboros is the first fashion house to merge science and technology with physical couture, as well as digital-only ready-to-wear fashion. Their collections and digital innovations for the near-future, effectivley illustrates the importance of sustainability and immersive design. The brand seeks to evolve the luxury industry into deeper dimensions - redefining howbrands can imagine, design and affect clothing consumption. The digital and technological elements of the brand, are helping to projectnew and exciting discussions around the idea of a digitalised, utopian future and its relationship to the human body. Auroboros is also a key member of the artists at The Sarabande Foundation: Founded by Lee Alexander McQueen. Auroboros’ digitalisation and innovations within the industry allows us to visualise and imagine the endless possibilities of what technology adaptations could allow us to do on our journery to Mars. It is interesting to consider if the digital fashion world could surpass and become more in demand in comparison to physical clothing garments, due to the ever-growing possibilities and technological enhancements.
“We waste nothing but data and exploit nothing but our imagination. Operating at the intersection of fashion and technology fabricating digital couture and fashion experiences.” CREATIVE EXECUTION “We develop end-to-end 3D narratives for customers and consumers, from concept to implementation.”
PHYGITAL EXPERIENCES “We merge physical and digital capabilities to create interactive brand experiences.”
DIGITAL COUTURE “We create digital-only fashion that can be used and traded in virtual realities.”
THE FABRICANT
SHOWING THE WORLD THAT CLOTHING DOES NOT NEED TO BE PHYSICAL TO EXIST “We are a digital fashion house leading the fashion industry towards a new sector of digital only clothing”. Global sports brand PUMA teamed up with The Fabricant to explore more sustainable technologies to launch its low impact capsule collection ‘Day Zero’. Reducing waste and contributing to the sustainability movement goes much further beyond the production cycle alone, which is why PUMA also developed into new working ways to make its marketing more sustainable. The campaigns images produced by The Fabricant were 100% digital, eliminating the need for sampling, handling, traveling and logistics.
Digital fashion houses, such as The Fabricantprovide an interesting viewpoint of what the fashion industry could look like on Mars and further into the future, because the new adaptations and enhancements within technology continues to widen the prospects of potential future innovations and ideas. Through this PUMA and The Fabricant collaboration, we as the consumer can see how trendy, global and viral brands such as PUMA can still exist with changes that make the already successful brand into a responsible and sustainable company.
Through eliminating the need for sampling of fabrics, sampling of garments, travel, handling and logistics, this unique brand collaboration not only sparks further inspiration for The Fabricant and many other up and coming digital fashion houses, but also brands who are not yet exposed to the digital fashion technological world. Brand collaborations such as this may have the ability to influence other brands into potentially incorporating elements of virtual reality and digitalisation such as fashion shows and sampling into their brands - further extending the message and contributing to reducing the negative environmental impact that the industry has created.
Globally popular and trending video game, Fortnite, has become synonymous with the face of the battle royale genre. Its cross-cultural connections have gone far beyond gaming in recent years. The game’s cultural relevance has gone beyond what creators ever expected, as the game continues to expand and enhance their brand. Other popular brands, entertainment franchises and global musicians were the first to truly realise and capitalize on the power of Fortnite, with in-game crossovers featuring Marvel, Rick & Morty, and the NFL captivating old and new players alike. The next notable milestone in Fortnite’s collaborative portfolio was themulti-dimensional creative partnership with luxury and high end fashion designer, Balenciaga. Within this unlikely partnership, the luxury house replaced their annual Fall 2021 fashion runway show with a video game and already dropped a Sony PlayStation collection instead. This collaboration interesting to analyse because people would perharps not associate a luxury fashion brand with a video game that is targeted towards a younger age demographic - however this in itself can be seen as an impressive marketing move, as both brands are benefitting from the exposure of new and previously unreachable audiences. This movement is also a unique way to visualise how other brands from any industry could incorporate digitalisation within their own brand.
Over recent years, the beauty and well-being industry have seen a large rise in popular celebrities and social media influencers creating and releasing their own brands and marketing these brands against exisiting successful and established brands within the beauty indsutry. These influencer and celebrity beauty and well-being brands include Kylie Cosmetics, Rare Beauty, KKW Beauty and soon to be released R.E.M Beauty by Ariana Grande. Those in the public eye, like celebrities and influencers, already have a high ‘role model’ and ‘influencing’ status in regards to influencing what people should look like and should wear to name a few, therefore when also contributing their influence into the beauty industry also, it is interesting to consider if these people are capable of too much influence. When thinking of what the beauty industry would be like on Mars, it is an interesting aspect to visualise whether these current beauty standards, such as botox and fillers, will create a ‘uniformed’ look as to what we will all look like. Will it be classed as a uniform for us all to look the same? Are people with the power to influence taking their ability to influence too far?
Social media influencer and celebrity, Kylie Jenner, has over 200 million followers on her popular and desirable Instagram page - illustrating her vast ability to influence a very large amount of people. Jenner’s 2015 founded cosmetics company, Kylie Cosmetics, has been very active on by social media, focusing on attracting a younger audience on their Instagram platform in particular. The popularity of Kylie plays a key role in helping to boost brand awareness, product acknowledgement and trend reporting, and the Millenial to Generation Z age demographic are very resposive to the brand’s posts and stories. Their brand’s consumer base sports over 25 million followers - again showing the brand’s siginicantly large impact on their targeted demographic. On Mars, will influencer beauty brands still be as relevant as they are today in terms of setting the trends of the industry?
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