Dear Readers,
Of all the words that come to mind when describing AERE’s inaugural issue, “synthesis” feels the most fitting: It embodies the essence of what we strive for in sustainability: the coming together of different elements to create something new and unique.
This month, we focus on the synthesis between nature, technology and human connection, recognizing that these three elements are interconnected and essential to creating a better future.
As we embrace the digital age, it’s important to remember that technology can be a valuable tool in achieving sustainability. From using algorithms to reduce waste in the manufacturing process to implementing technology within our creativity, the possibilities for a greener world are endless. But sustainable fashion isn’t just about technology and materials — it’s about people. It’s through our shared commitment to sustainability and our connection to each other that we can make a difference.
In the issue, we are proud to feature designers, musicians and brands that are using their creativity and passion to make a difference. From conversations with a digital artist exploring the intersection of tech and sustainability with AI-generated fashion to a local band’s efforts in incorporating fungi and sustainable ideas into music, we showcase the power of creativity in the fight for sustainability.
Within these pages, AERE’s very talented art director, Grace Teo, has poured her heart and soul into every aspect of the design and layout, masterfully weaving together images and text to create a visual journey that showcases the beauty and power of sustainability. Her passion for design is evident in every page. Meanwhile, our in-house digital artist, Syukri Ahmad, pushes the boundaries of what’s possible within his work. His foray into AI-generated images yields breathtaking results, offering a fresh and exciting perspective on sustainability and human connection. His ability to fuse technology with artistry is truly remarkable. Equally deserving of praise, our stylist, Giulia Gianno — who has an unparalleled eye for details and aesthetics, brought our photo stories to life in extraordinary ways, challenging us to think differently about the intersection of technology and eco-consciousness. We are incredibly fortunate to have such a talented and dedicated team of individuals who are passionate about sustainability and creativity. We know that our continued success is due in large part to their unwavering commitment and passion.
So join us in this journey of synthesis and let us come together to create a world where nature and technology work in harmony; where human connection is at the centre of everything we do. Allow yourselves to find inspiration and hope within these pages and let us never forget that our actions today can shape the world of tomorrow.
With love,
Aurelli Lazuardi
Explore the designs of Chirag Kamra, a visionary designer who believes that clothing is our interface with nature. Kamra’s designs are a celebration of humanity’s connection with nature and the environment, promoting a deep emotional bond with the clothes we wear. With a focus on craftsmanship and textural quality, his designs offer an accessible luxury that makes a positive impact on the environment.
“Nature can at times be indescribable,” says Chirag Kamra, up and coming local designer. When we attempt to explore the universe and all its wonders, we are often left with a sense of awe and mystery that cannot be fully expressed in words. This is especially true when we consider the vastness and complexity of nature. Yet, even in the face of this profound mystery, we are drawn to explore and discover the secrets that lie just beyond our reach. In Japanese, this experience is known as Yugen.
Thus, Yugen is not just a word, but a state of being — a state of profound wonder and contemplation that opens our hearts and minds to the mysteries of nature. It is a reminder that, no matter how far we travel or how much we learn, there will always be more to discover, more to explore and more to experience.
US - based designer, Chirag Kamra, has based his entire design philosophy on encapsulating the essence of Yugen through his brand, appropriately named after his inspiration. In a commitment to create a meaningful relationship with clothing, Yugen focuses on craftsmanship and sustainability through exploring nature-inspired imagery in textiles and form.
At the heart of his brand is a deep respect for nature and a desire to showcase its beauty and complexity.“As a brand, my hope is to provide customers with ethically sourced clothing that reflects our values: discovery, creativity, accountability, quality and inclusivity.” Kamra says in an interview. His collections feature intricate, nature-inspired prints and patterns, bringing the wonder of the natural world into our everyday lives. His commitment to craftsmanship and attention to detail are also evident in every aspect. Each garment is thoughtfully constructed to last, with an emphasis on interchangeable modules and components, each piece becomes versatile and can be worn in a variety of ways, encouraging customers to get creative and find new ways to express themselves through their clothing. By emphasising this emotional connection to nature, his collections become memorable and lasting, bringing people closer together and more connected to their surroundings.
In addition to this ethos of community building, Kamra also prioritises sustainability in his design philosophy. His dedication to utilising renewable and circular fabrics have the ability to minimise overconsumption and promote a sustainable approach to fashion. “We work with sustainable fabric suppliers from all over the world,” He explains. As the fashion industry continues to turn to sustainable biomaterials for their collections, Kamra plans to follow suit.
“We prioritise eco-friendly materials like recycled polyester or cotton, and are currently experimenting with regenerative, bio-tech fabrics like mycelium leather and hemp denim.” Kamra also works with textile mills and fabric manufacturers to develop his own circular fabrics, using innovative technologies such as closed-loop systems to create designs that captivate.
His passion for technology and interest in technological innovation also allows him to create solutions that are bound to revolutionise the fashion industry. “I believe that technology can help bridge the gap between traditional craftsmanship and modern techniques, creating new possibilities for sustainable fashion”. One such technology is Augmented Reality (AR), which Yugen uses to offer virtual try-ons for their collections. AR allows customers to visualise how a particular garment will look on them before purchasing it, eliminating the need for physical try-ons and reducing the environmental impact of overproduction and returns. Virtual techniques are also used in the design process, as Yugen creates digital mock-ups of designs before producing physical samples. This allows their team to experiment with different designs and refine them before moving onto the production stage, reducing waste and carbon emissions by minimising the number of physical samples that need to be produced. One unique aspect of Yugen are their outdoor excursions and events.
On a monthly basis, Kamra’s team actively promotes community building through camping trips, outdoor activities and hikes. These events are designed to bring together people from diverse backgrounds who share a common love for nature and a desire to make a positive impact in the world.Through these events, Kamra hopes to inspire people to take action in their own lives and communities.
He believes that by connecting with nature, we can gain a greater appreciation for the environment and a deeper understanding of our place within it. This, in turn, can inspire us to make choices that are more sustainable and to become advocates for change in our own communities. Ultimately, Yugen is a brand that is about more than just clothing. It’s about exploring the beauty of the natural world, building connections between people and communities, and creating a sustainable future for us all. As Kamra says, “We want to provide customers with something more than just clothes. We want to offer them a sense of purpose, a way to connect with the world around them, and the opportunity to discover, wonder and make a difference.”
Written by: Aurelli Lazuardi
LOOK 1 LOOK 2 Designed by:
You know the scenario: you’re carrying an armful of makeup swatches, you’ve stolen a spritz of perfume and you’ve moisturised up to your elbows in the skincare aisle, all while filling your baskets with the latest beauty products. Where are you? Sephora. But if 2023 accelerated any trends in beauty, it’s that immersive, state-of-the-art technology is the industry’s best alley.
Like the most unpredictable silver lining, the change to a Solarpunk-focused society has sparked major innovations, serving as a catalyst that has propelled alternative marketing tools into the spotlight. Testers have been replaced by augmented reality (AR) experiences as phone apps and website plug-ins enable virtual try ons; while artificial intelligence has taken on the role of beauty advisers, making data-driven recommendations based on skin diagnosis, beauty concerns and wish lists — all leading to an uptick in engagement, basket size and sales for brands and retailers alike.
“There is a significant opportunity to drive technology to support this new consumer behaviour.” says Marla Beck, CEO and cofounder of Bluemercury. According to Eleanor Jones, founder of AI-based skincare solutions developer, Skintelligent: “Directional data tells us that usage of artificial intelligence-enabled beauty apps have gone up 200 to 300 percent as well.” Now reaching 2 years old, Skintelligence applies data science to skincare — and most recently, haircare — discovery through something we all have on our phones: the camera. While customisable to the client’s needs, Skintelligent’s platform comprises a 15-step form that measures the skin condition, type and concerns like under-eye circles, pigmentation and fine lines against age, geolocation and environmental metrics, supported with uploaded visuals of the user for better examination.
It is, however, Taiwanese technology company, Perfect Corp, that’s dominating the beauty technology arena. It’s best known for its suite of AI and AR beauty tools that include YouCam for Web and the award-winning YouCam Makeup App, which boasts over 800 million consumer downloads and over 250 brand partners.
One of its more recent developments is YouCam’s AI Skin Diagnostic Technology, which uses AI and machine learning technology to provide instant and detailed skin analysis to users, coupled with corresponding product recommendations. It does so by tracking four skin conditions — spots, wrinkles, texture and dark circles — with advanced iterations to include hydration, sebum production, and redness, before generating a skin health score with accompanying formulas to target each concern. On the custom front, La Roche Posay has integrated YouCam powered SpotScan, the first personalised digital acne diagnosis tool powered by AI. It’s all about reimagining skincare
Similarly at Sephora, the power of virtual makeover at user’s fingertips has existed since 2016, but is now more crucial for beauty discovery than ever before. Sephora’s Virtual Artist takes the guesswork out of makeup colours by applying hyper realistic filters of lipsticks, eyeshadows, and even blushes or contours directly onto one’s face, better illustrating each colour, texture and finish on your skin. And its Find Your Shade foundation matcher allows you to input your current foundation details to find the corresponding shade of any other base make-up found on the site. Despite the digital tools in place, one firm, however, still believes it can help the beauty world’s need for touch. Over the last few months, Hong Kong based beauty packaging company, Meiyume, channelled its energies to touchless testers, rolling out motion-activated product displays that dispense liquid skincare formulas or fragrances in a safe, hygienic way. While distribution is still a work in progress, this could well be the saviour of the in-store tester. Also seeking to put the reality back into virtual reality experiences are brands like La Mer, Chanel and Dior, which have launched one-to-one virtual consultations with beauty experts who talk through the client’s needs and desires as they would at a retail counter, complete with real-world application tips, while their orders are being processed. It’s like having a personal shopper for your vanity. Another tool found at counters and that has been brought into homes is the smart mirror. Taiwan’s HiMirror is an interactive device that masquerades as an oversized mirror with a ring light but once activated, provides deep-learning diagnostics that measure the number and depth of fine lines, wrinkles, dark circles, spots, texture and pores. One of the key highlights is that it can scan, analyse and store images of your face daily to track improvements or non-improvements of your skin, determining whether your products and clinical treatments are really working for you. It also has an in-built skincare management system called My Beauty Box, which keeps track of your purchases, product efficacy and expiry dates, and also provides personalised product recommendations based on acute characteristics of your skin. And what is a mirror if not for applying make-up?
This one not only houses AR technology to plan your beauty style and shades before you create your look, it actually adjusts its LED light colour, temperature and brightness according to where you’re going to ensure you put on the most flattering face. You can even watch a YouTube make-up tutorial on the mirror interface for step-by-step instructions, magnify certain parts of your face, and connect to Spotify, Instagram and Amazon Alexa to order you a ride, meal or new moisturiser. When it comes to mirrors, it’s undeniably one of the finest of them all.
At the heart of fashion lies a boundless well of creativity; one that has always been revered and celebrated for its ability to inspire and captivate. But beneath the surface of its glitz and glamour lies a troubling reality.
The fast-paced nature of the industry has led to a culture of overconsumption and fast fashion, where clothing is designed to be worn only a few times before being discarded. When it comes to local fashion, a more mindful approach to creativity and consumption is needed now more than ever.
While the global fashion industry has gone beyond its tipping point, I believe that by embracing creativity and innovation, the industry can overcome its biggest challenges. At its core, creativity is all about generating new ideas, recognising alternatives and imagining possibilities. It’s what the world needs now — an industry that adopts conscious creativity, where innovation and quality designs are combined with principled action to safeguard our planet and its people. Nevertheless, there is a growing awareness of these issues; a movement towards more sustainable practices, driven in part by consumers who are being more conscious of the impact in their choice.
Many fast fashion companies are built on the classic model of churning out lower quality, copycat products in mass companies at cheap prices. Rather than celebrating clothes as cherished objects of creativity and craftsmanship, the model perpetuates us seeing our clothes as throwaway objects without value, while pitting brands in constant competition in a race to the bottom. Therein lies the biggest opportunity for independent brands to take action. As it stands, many local designers struggle to make it in the industry, competing not just on design but on price with established fast fashion labels and exclusive brands. By shifting their focus to addressing some of fashion’s most pressing issues — like waste reduction — they can stand out not just through unique design, but their sustainability practices too. It’s from this effort that local brands can find a new way to thrive, future proof themselves and command attention both locally and internationally all year round.
Incorporating sustainability into a brand isn’t just about number -crunching the cost of more expensive fabrics, labour or marketing efforts. It involves a complete and unwavering commitment within a company to practise under a different set of parameters; to want to change the way it has always operated. One brand that has done this really well is Esse. Based in Singapore, the womenswear label focuses on releasing smaller, more considered capsules of two to three garments at a time in eco-friendly fabrics. Recently, the brand adopted a pre-order model after not being able to meet the huge minimums demanded by factories. This provides Esse with a number of benefits.
Besides giving Esse the opportunity to better create and understand demand, it allows the team to consciously reduce waste by not overordering material and avoid ending up with excess inventory. While the pre-order model has its fair share of challenges — from customers having to wait longer for orders, to having to source and work with suppliers much further in advance — it helps a small brand manage its environmental impact while creating better financial stability. The cutting stage of a garment — used to ‘mock up’ products to achieve the right fit and silhouette — creates the largest amount of pre-consumer fabric waste. For some brands, it can take five to twenty samples before a garment is finalised, squandering time, money, and fabric.
To maximise efficiency, local label Lily & Lou has digitally sampled its collections from the get-go. Not only would this help the label with its waste and carbon footprint, it has also been able to reduce human error and create greater consistency when it comes to the design and fit of its garments.
Far from thinking of sustainability as a restriction on design freedom, an increasing number of brands on home soil are proving that it presents a whole new world of opportunity and efficiency. Fundamentally, fashion design — or any kind of design, really — has always been about problem solving. If the industry’s biggest priority is to reduce and mitigate its planetary impact, then its the responsibility of all brands, regardless of size, to play their part. This means fixing past mistakes and consciously creating a better future.
Fashion isn’t just a reflection of a designer’s ingenuity or skill, it’s indicative of their values as well as their sense of justice and morality. To create meaningful change, brands, designers and their investors need to give a proverbial damn about changing the status quo — and have enough motivation, gumption and bravery to redress the way things have always been done.
Written by: Aurelli LazuardiAs the fashion industry moves towards a more sustainable future, forwardthinking brands are looking to the past to create a new cycle.
Have you ever wondered where all the old clothes go? Far from being a cautionary tale about fashion and waste, this is a serious question considered by fashion designers as they attempt to make the shift towards more sustainable practices in their work. Whether through committing to halve the greenhouse gas emissions in 10 years, like Gucci has pledged, or sourcing raw materials more responsibly, as LVMH has promised, practical actions have been in motion to turn the industry towards a greener future.
One sustainable movement that has been on the upswing is upcycling. Upcycling is the process of refashioning waste materials into new products and is one way that brands are closing the loop in their production cycles.
Taking upcycling beyond being another buzzword is Maison Margiela, a house whose history has been intertwined with innovative uses of material under pioneering founder Martin Margiela, and is continued under creative director, John Galliano today. For its autumn/winter 2020 show, the brand announced the project, Recicla, which aims to bring sustainability and the house’s ethos of out-of-the-box thinking together.
Recicla — a nifty portmanteau that fuses “recycle” and “replica” — builds on the house’s Replica line conceived by Margiela and is Galliano’s exploration of transforming vintage clothing into very new and now pieces for a current season. Think Coats sheared in half and dresses swen together with dresses, raw hems visible and trailing, the brand’s instantly recognisable 5AC bags made with leather leftovers from luxury handbag factories, and versatile wicker bags woven from taro leaves. “It’s slower fashion, it’s all those things that we believe in and that you can give something another life, longevity, and it’s also buying with a conscience. Recicla is really about recycling and upscaling, and the joy that we will be able to sell these pieces amongst the rest of the collection just thrills me.” Explains Galliano in an episode of his podcast, The Memory Of that was released after the autumn/winter 2020 show.
Of course, other brands are also building this concept of upcycling clothing and deadstock material into fresh collections. One brand that launched with this idea is Switzerland-based Sottes. Started in 2017 by designer duo Jeanne Guenat and Elliot Upton, the brand is gender-less, season-less, and size-less, and sources deadstock material to create its collections.
Necessity is often the mother of invention that has led Guenat and Upton to be more creative and eco-conscious in their design-thinking. “When we came into the industry with our brand, we believed it should be one of our priorities to incorporate some type of ecological method of philosophy if we are to change the way fashion is produced today.”
Explained the duo. New York-based label, Rentrayage, founded by designer Erin Beatty, also turned to the deadstock approach, albeit with a focus on sourcing and utilising vintage clothing. Fans will recognise Beatty from her previous job as co-designer of womenswear label, Suno. The resourceful designer then landed on the idea of creating special, thoughtfully crafted pieces while championing sustainability and real change in the industry. “Honestly, after researching the wormhole that is fashion sustainability, I realised that only by using vintage clothing could I be as creative as I wanted without the waste that goes into creating new materials,” says Beatty about the origins of her brand. “Even the most sustainable fabrics when created from scratch are wasteful.”
She continues to elaborate, “I took to upcycling primarily because I couldn’t find the fabrics that I truly trusted to be sustainable — but it’s so much more.” For example, she lists the way workers are treated in the factories, the enormous energy waste in the production process and the pollution created by extreme distances end products must travel.
“To me, there’s a disconnect between the concept of sustainable fashion and the execution.”
As with all other sustainable practices, upcycling fashion is not without its challenges. Foremost of these concerns is sourcing material to work for new collections. “Production is a bit of a nightmare,” she says. “We have to source each and every piece of vintage, clean and organise it, and then produce each piece individually. It’s a difficult proposition.”
While Sottes’ Guenat and Upton agree that it is a painstaking process, they are quick to say that it does not hinder their creativity in any way. “For us, we gather as much material as we can.” The designers say. “We then become inspired by the fabric to influence the design, rather than the other way around.” They continue.
As the fashion industry continues to grapple with its environmental impact, the designers remain hopeful. “It is now our chance to change things for the better and that doesn’t only mean for the fashion industry.” says Guenat. Similarly, Beatty is optimistic for brands to do a hard reset and re-examine their process. “New technologies seem to be coming each day, and as more brands embrace sustainability they will push materials and capabilities forward.”
Amalgamation is the magical fusion of souls, A beautiful symphony of hearts, that makes us whole. It’s the merging of talents, dreams, and desires, A powerful mix, that ignites the fires.
It’s the celebration of diversity, and the power of unity, A beautiful dance, of love, respect, and harmony. It’s the coming together of different worlds, And the creation of something new, that unfurls.
Amalgamation is an expression of hope and love, A bond that transcends differences, and rises above. It’s the promise of a better tomorrow, and a brighter today, An emotional and expressive amalgamation, that will always stay.
Amalgamation is a concept that represents the beautiful blending of different elements to create something entirely new and unique.
At its core, amalgamation is about celebrating diversity and inclusivity. It’s about recognizing that our differences are what make us truly special and unique, and that by embracing those differences, we can create something that is greater than the sum of its parts.
When we embrace amalgamation, we open ourselves up to new ideas, perspectives, and experiences. We break down barriers and create opportunities for collaboration and cooperation. We learn from each other and grow together, and we create a world that is richer, more vibrant, and more meaningful.
Amalgamation, a blending of minds, A fusion of ideas, that forever shines, A coming together, of many views, A process of discovery, that forever renews.
From the merging of thoughts, and the sharing of dreams, To the blending of perspectives, and the mixing of schemes, Amalgamation brings forth, a world of possibility, And a wealth of knowledge, that fills us with curiosity.
In the melting pot of creativity, we find, A tapestry of expressions, that forever bind, In a mosaic of art, that transcends all barriers, And a symphony of culture, that forever inspires.
From the combination of science, that expands our horizons, To the mixture of literature, that enriches our minds, Amalgamation is the spark, that ignites our passions, And opens up new vistas, that we all can envision.
With each coming together, of different ideas, We create a new reality, that’s free from fears, And bring forth a world, that’s filled with wonder, And a beauty that inspires, and makes us ponder.
For amalgamation, a blending of minds, Is the essence of progress, that forever defines, A process of innovation, that brings forth new insights, And opens up new paths, that lead to greater heights.
Soil holds the key to many climate solutions, so beauty brands are beginning to look to agriculture methods as a way of mitigating their environmental impact.
The beauty industry’s glossary is growing yet again. “Regenerative agriculture,” the latest addition, seems to have significant meaning for our skin and the planet. When we’re all espousing the benefits of scientific-sounding ingredients like glycolic acid, retinol and ceramides, it’s easy to become divorced from the fact that so many of the raw ingredients used in beauty products come straight from nature. Willow, grapes, lavender, rose, almond, aloe, and rice are just a fraction of the natural resources used by the beauty industry to create cosmetics, hair care and skin care.
Despite its reliance on nature, the industry has developed a habit of overexploiting its resources. The production of palm oil, which is in everything from shampoo to toothpaste, is believed to be responsible for 8 percent of the world’s deforestation between 1990 and 2008. While the production of frankincense, often used in fragrance, is expected to halve in the 20 years as unsustainable cultivation has led to a devastating decline in new tree growth.
The impact of the beauty industry on nature extends beyond harvesting practices. The agriculture methods used to cultivate natural ingredients can deplete and damage soil, which poses a serious problem. Healthy soil is not only used to produce healthy foods and raw materials but also for mitigating the effects of climate change. As we know, plants absorb carbon dioxide (CO2) and store it in the soil. However, damaged soil can release carbon back into the atmosphere, contributing to the warming that we’re already experiencing.
As the importance of soil becomes clearer, several beauty brands are beginning to commit to a better way of doing things. At its core, regenerative agriculture is farming in harmony with nature. Practices such as cover-cropping (planting to feed the soil in between harvests), crop rotation (planting different crops on the same land over time to increase soil nutrients), composting and no-till (not digging and turning the toil).
In July 2022, Davines, the Italian, family-owned brand launched We Stand / for Regeneration, a hair and body wash, and physical manifesto for its commitment to regeneration. “We saw this as an opportunity to let people know, rather aggressively, that we are in it for the long haul,” says Jorge Blanco, creative director at Davines. “This product allowed us to start experimenting heavily and start making changes internally.”
We Stand is the first marketable outcome of a partnership between the brand and the Rodale Institute, a non-profit dedicated to researching and educating people about regenerative organic agriculture. Together they formed the European Regenerative Organic Centre at
the Davines Village HQ in Parma, Italy, a 10-hectare site where researchers focus on small to medium-sized farms growing crops for food, nutrition, and beauty.
Davines isn’t alone in its quest to promote a different way of growing. Lush sold a “Regeneration” perfume gift set, each of which used a regenerative ingredient from around the world, while True Botanicals started working with regenerative farms in 2020. As part of its 2030 sustainability vision, Natura & Co, which owns the Body Shop and Avon, has pledged to invest $100 million in regenerative solutions including farming, and Guerlain’s 2022 fragrance, Guerlain Aqua Allegoria Nerolia Vetiver, features regeneratively farmed beetroots.
The fact that many brands are newly embracing regenerative agriculture, and other alternative methods, likely feeds into the fact that it’s regularly reported as a new phenomenon. However, regenerative agricultural methods are very much rooted in history and lean frequently on Indigenous knowledge (often without attributing that knowledge or encompassing the inherent cultural intricacies).
“We believe regeneration is the future of sustainability. It is more than simply limiting our impact, it is about active land stewardship to replenish depleted soil for generations to come,” say Giselle Go and Philippe Terrien, co-founders of skincare brand DAMDAM.
DAMDAM works with a focus on ancestral ingredients which have a history of being used for wellness in Japan such as shisho, a mint used in the Japanese adaptation of traditional Chinese medicine; konnyaku, a root crop that is part of the ancient Buddhist vegetarian culinary tradition “Shojin Ryori”; and komenuka, rice bran which has been used
as a skincare ingredient for over a thousand years. “In the process of sourcing our hero ingredients, we were naturally led by our local community to collaborate directly with independent farmers practicing regenerative agriculture in northern Japan,” say the duo. “Everything is about nourishing the land. Our farmers use the residue from distilling the oils as organic compost to enrich the land, creating a circular cycle. They do not use any synthetic product, instead allowing and encouraging diversity within crops to further enhance the soil.” Brands investing in regenerative agriculture is not just a positive for the environment, in some cases it’s vital to sustain the practices financially. The regenerative methods DAMDAM’s farmers use mean they can’t sell their crops as food as they don’t have the homogeneity that industrial farming achieves. The brand bought an entire harvest of shiso to use in its Mochi Mochi Luminous Cream, enabling the farmer to keep “nourishing the soil and the community.”
The beauty industry’s shift towards regenerative agriculture and sustainable practices is a step towards a brighter future. As consumers, we have the power to support these brands and demand a more sustainable future. Let us embrace this opportunity to make a positive difference and pave the way for a healthier, more vibrant world.
Written by: Aurelli Lazuardi Photos by: Davines and DAMDAM
A zeitgeist is approaching the world of fashion. As the industry goes through a transition from analog to digital, the fashion processes of designing, producing and showcasing has reached a level of complexity and creativity beyond the material world. Essentially made for avatars to adorn, digital fashion refers to a range of different products and garments available in virtual form and in recent years, we have seen designers experiment with various digital mediums from virtual runways to futurewearable NFTs.
Unlike traditional fashion, which requires physical materials — like threads and fabric — digital fashion only requires data and code. This means that there are no limits to what can be designed or created. Thus, a new, multi-disciplined generation of young designers are emerging. With experience and dedication, they embrace new technologies and reinvent the conventional models of production to create an efficient supply chain that’s both eco-friendly and visually stunning.
Based in Singapore, digital 3D artist JJ Low specialises in depicting the surrealism of worldbuilding through his world. From vast ethereal dreamscapes to alien-cyborg creatures, he pushes the boundaries of 3D art by exploring the limits of imagination. “The digital dimensions I create are usually ones that are disconnected from reality,” says Low. “My realms vary depending on the concept and subject which range from aliens, and mechanical creations to natureinspired environments, or a blend of multiple influences; whatever that enhances and amplifies the vision of the project.” He believes that 3D gives fashion that extra kick, spark, and flair, bringing with it a
unique perspective to the image that departs from the conventional physical backdrops that people have gotten so used to. Set in dystopian and apocalyptic looking universes, his designs feature models sporting looks that push against conventional norms. He continues with, “I like to envision that my environments exist in higher dimensions where the laws of physics are nonexistent. And the subjects themselves are on an otherworldly plane.”
Other than using his work to display creativity, he also presents bodies and faces far from the established beauty canons. Using art to question social norms. “I feel that art is an excellent medium to challenge the status quo. As artists, we can often convey and weave narratives that push against conventional norms and plant seeds of thought, sometimes without saying a word.” states Low, “To be honest, I just wanted to try something new and explore the limits of what we consider humanoid or human-looking. I find it so much more interesting rather than replicating something from the real world.”
When asked about the future of fashion advertising and campaigns, he comments: “It’s pretty hard to escape 3D now since we are currently entering an age of content consumption with VR/AR as well as the birth of the metaverse and NFTs.”
With 3D fashion, virtual runway shows and NFTs marking the beginning of how we experience digital fashion, there’s no telling what will come next. Maybe it’s something we can’t even begin to conceive because the technology has yet to be made. And in this universe, the possibilities are truly endless.
Written by: Aurelli Lazuardi Photos by: JJ Low
The wind whispers secrets to the trees, and they sway and dance in response. Leaves rustle and flutter, and birds take flight on invisible currents. The sky is an ever-changing masterpiece, painted with clouds of every shape and size. In this moment, everything is alive, and the world is a symphony.
The ocean stretches out before me, an endless expanse of blue. The waves crash against the shore, a steady rhythm that soothes the soul. The sun hangs low in the sky, casting a warm glow on everything it touches. In this moment, I feel small and insignificant, yet connected to something vast and infinite.
by:
Since its inception in 2001, The Observatory has always been more than just a band, but an idea. They represent the quintessence of adaptation and the fearlessness in evolution, with trophies of experimentation on its mantelpiece. The avant garde art rock act has become one of the longest-lasting bands in the country; they choose not to stick with a sound that works but instead reinvents and refines their sonic craft with each record, having inhabited — and having shed — various genres, from folk electronic to progressive rock.
The current collective of The Observatory consists of Cheryl Ong on drums, and Dharma and Yuen Chee Wai on guitars, electronics and other miscellaneous paraphernalia. On its latest endeavour, the band presented REFUSE, an inter-media exhibition about music, mushrooms and decomposition. Located in a cavernous industrial warehouse in Tanjong Pagar, a strange, almost subterranean landscape unfurls. Tessellated wooden structures divide the darkened space, pockets of amber light leave the exhibition aglow. Out of this faintly dystopian universe rises an island-like platform littered with broken instruments. The air is thickly textured with fog and sound; alien vibrations pulse low in the distance. Eight different species of fungi replace musicians in this space. Mushrooms sprout out of drum kits and broken guitars, leaving traces of decay across film footage and furiously metabolising within glass jars. REFUSE draws on the band’s past and present influences, bringing together their interests in fungi and mycelial networks to explore the twin ideas of decomposition and composition from biological and musical perspectives. The presentation comprises a time-based installation space and archive, and speaks to The Observatory’s constantly evolving methodologies, the communities that surround them, as well as their important place in the Singapore music scene.
LET’S
There has been regenerated or reinvigorated interest in the humble fungus. Fungi take many forms and can be found everywhere. As musicians, what drew all of you towards mushrooms? Why have they captivated your imaginations?
The Observatory: There is still so much about fungi that is unknown to us that makes it such an incredible thing to want to understand. While much of it is still speculative, the speculation itself is already offering us a lot of room for experimentation. The logic that drew us to fungi is not primarily centred on the fact of us being musicians, but by our desire to understand the world, and the importance of the unseen. Much of our practice circulates the subterranean and the substrata. Our work continues to connect the nodes in the networks of translocal music scenes. We creatively coexist in symbiotic relationships with our collaborators. Through a wider lens, we realised that we are very much existing in a similar mycelial landscape or assemblage. We are each a hypha, imbued with a sense of indeterminacy. Constantly informed by our sensibilities to be conscious of our environment and responsible for the space that we share, we look towards sustainability and the need to metabolise meaningfully. We were thinking about these first, before thinking about what fungi can do for us musically.
On top of the looped soundtrack — that will be composed and performed by the band — other instruments have been placed within the exhibition space. As biodata is harnessed from mushrooms growing in the space, these instruments will be triggered to respond. Why was it important for the presentation to centre on nonhuman voices through collaboration and participation?
The Observatory: As musicians, we spend long periods of time writing, composing, rehearsing and making sure we get things right. But for this work, we made a conscious effort to de-compose and relinquish a large part of that control of making music to something else, be it an organism or another natural order. Making this exhibition forced us to relook at our work over the past 20 years, and how we identify as musicians and artists. But the involvement of this force creates for us a new possibility for understanding the impermanence of things. While we spent time trying to understand what we got from the biodata and converting data to energy and sound, we had to also unlearn our humanity. It is our responsibility to give voice to those who are marginalised that brought us to this project. As we researched deeper into the world of fungi, we realised how their importance to the ecosystem had been neglected. Our research entrenched us deeper into ecological discourses, which encompasses the capitalistic exploitation of nature, environmental histories, and the climate crisis.
Relentless experimentation and reinvention are at the heart of what The Observatory has always done, through decades and genres, avoiding a signature style. You have described your music as an “impassioned response to the society it is enmeshed in.” In the context of Singapore, why is this spirit worth pursuing, defending, believing in?
The Observatory: We have always been concerned with the socio-political — a reality that concerns us directly as citizens and living beings on this planet. We talk about the trickle-down effects of greed and power — these are topics that come up in our daily conversations and naturally present themselves in our work in one form or another. We feel a shared responsibility in mapping out these oppression and to present some force of resistance, however small it may be.
Today, organic material and biological organisms continue to captivate contemporary practitioners, with composers like John Cage referencing mushrooms and indeterminacy in his methodologies. How has this touched the band’s own perspectives on bio-sonification and bio-performativity?
The Observatory: The natural world presents itself in many of our works; it runs alongside us but is often unseen. This time, we were interested in the undergrowth, looking at what was below ground and drawing parallels to The Observatory and its networks. Sonificiation was something that came later. Attaching motors, extracting bio-data and giving movement were what we considered speculative organic extensions of the phenotype. They were an attempt to interface these organisms through the medium of sound. A lot of the excitement comes from these unknowns and we are very much looking forward to discovering more.
“Constantly informed by our sensibilities to be conscious of our environment and responsible for the space that we share, we look towards sustainability and the need to metabolise meaningfully. “
Writtenby: Aurelli Lazuardi Photos by: The Observatory
As luxury fashion faces the growing pressure of reducing the industry’s environmental impacts, sustainable tech start-ups are seeing a rise in interest from fashion conglomerates and brands alike.
Luxury is not traditionally associated with sustainability; so much so that the two concepts are perceived as oxymoronic. A decade ago, luxury and sustainability appeared to be conflicting topics due to their opposite nature. While luxury is related to an excessive, exclusive, and prestigious lifestyle; sustainability is connected to a frugal lifestyle aimed at reducing, protecting, and respecting the planet’s finite resources. Therefore, sustainability issues were — more often than not — overlooked in the luxury industry. What we don’t realise is that sustainability is embedded into luxury’s DNA. Rarity in the luxury market is linked to the use of rare resources such as skins, leathers, and pearls that depend on environmental sustainability in terms of the preservation of natural resources. On this basis, luxury depends on sustainability, and at the same time, sustainability finds in luxury a potential ally.
“It’s all about sustainable solutions,” said designer Stella McCartney in a video posted on her Instagram last weekend. The brand’s goal is to “swap out the conventional, bigger industries with these new, problem-solving sustainable companies.” After a US$200 million venture capital fund focused on climate solutions, it seems as if fashion companies and executives alike still see opportunity in start-ups pursuing sustainable solutions. The designer is currently working with investment firm Collaborative Fund to back early-stage start-ups reimagining materials, ingredients, energy and supply chain; working alongside leather-alternative producers Bolt Threads and kelp-yarn manufacturer AlgiKnit.
She’s not the only one to seize the opportunity. Even in the midst of a grim economic landscape, companies such as Chanel and Adidas have all taken a step to enter the sustainable tech space. In June of 2019, Chanel took a minority stake in a green chemistry firm that’s exploring ways silk could replace chemicals used in clothing manufacturing. Bolton-based Evolved by Nature has developed a natural, silk-based alternative to the harsh and toxic chemicals currently used to create many high-performing textiles. The company’s technology allows it to manipulate liquefied silk protein to achieve similar effects. Its patented activated silk can reduce the pilling in cashmere, or enhance the performance characteristics of nylon and polyester.
French luxury giant Kering followed suit, investing US$46 million in San Francisco-based lab-grown leather startup VitroLabs. Kering’s investment in VitroLabs is the latest in a series of recent bets by the group focused on furthering its sustainability goals. “A partner like this is a stamp of approval, and we’re seeing more and more brands starting to look for solutions when it comes to leather and other alternatives to materials,” said VitroLabs co-founder and chief executive Ingvar Helgason. While many companies have focused on plant-based leather alternatives made from mushrooms or grapes, VitroLabs uses stem cells to grow leather that’s indistinguishable from the real thing
without needing to raise and slaughter animals. That means the material is able to plug into existing supply chains of fashion brands and artisans while cutting out the heavy environmental impact and animal welfare issues associated with cattle farming.
In August of 2022, Ralph Lauren took a minority stake in Natural Fiber Welding, a material science start-up focused on improving the quality of recycled cotton. Similarly, Adidas secured exclusive access to Mylo, a mushroom-based leather alternative developed by biomaterials maker BoltThreads.
For many brands, the current trend marks a shift from years of pilot programmes that, while highly marketable, didn’t require substantial financial outlays and didn’t really move the needle. But there are still significant barriers to transforming the industry.
The amount of capital flowing into sustainable fashion start-ups is still small compared to the size of the challenge. When it comes to sustainability investments, the funding rounds that luxury fashion brands participate in rarely top US$10 million, according to publicly available information on investment tracker Crunchbase. But transforming the industry in line with ambitious climate goals will require investments of between US$20 billion to US$30 billion annually, according to January 2020 report by Boston Consulting Group. The good news is that there is significant interest from venture capital funds, impact investors and most importantly, large fashion brands. There are growing tailwinds encouraging more interest in the space too, from the maturation and commercialisation of recycling technologies and leather alternatives to political changes, such as the legislative support for climate action in the US in recent weeks.
To be sure, the fashion industry’s investments in sustainable innovation is in its infancy, but there are promising signs of a broader movement. While exclusive access to maturing technologies or innovative materials with limited availability could undoubtedly give brands a competitive edge, there is a growing understandingthat it is not possible for one company to do it alone. Brands are working more closely with manufacturers in a bid to embed new technologies into the supply chain, pointing to the potential for closer partnerships.
For example, when Fashion for Good — a platform that aims to drive the collective movement to environmentally friendly solutions — first launched four years ago, it started with a handful of brands and retailers as its corporate partners. Now, it counts manufacturers among its collaborators too. “We realised how important it was to get those upstream suppliers at the same table,” said Brittany Burns, director of strategy and development at Fashion for Good. “We felt like it was really important to create these opportunities for a cross-pollination of ideas, but also co-development across the entire fashion industry.”
Written by: Aurelli LazuardiYou wish it didn’t end.
