Hasta La Ideas

Adornments that deploy robotic wings when someone gets too close or change colour when the wearer is embarrassed have been designed for introverts by Goldsmiths graduate Lilian Hipolyte Mushi.

“Layers we wear are the first boundary into our personal space,” says Lilian Hipolyte Mushi. “These structures allow introverts to gradually change their personal temperament continuum.”

When someone comes within just over 80 centimetres of the wearer of a dress covered with distance sensors, wooden arms shoot out into a fan from the back to keep people at arms length.

A pleated hood covered in thermochromic pigments gradually changes colour with fluctuations in body heat, which can occur when the wearer is shy or embarrassed.

The pleated sleeves of another garment are embedded with Nitinol wire, a shape-memory alloy that becomes rigid when heated. This expands the arms to twice the size and then collapses them back when cool, again highlighting changes in body temperature.

“This project explores how introverts use isolation as a mechanism for social recharge as well as a way to navigate social situations,” says the Goldsmiths graduate. “Furthermore, it is an exploration into how the psychology of introverts can be used in our societies and begs to find new ways to help people with social problems such as isolation and loneliness.”

An Introvert’s Transformation to Extroversion was on display at part one of the New Designers graduate exhibition in London, which ran from 27 to 29 June. Part two of the event takes place from 3 to 6 July.

Previously we’ve featured dresses that become see-through when the wearer’s heart rate increases and garments that move and light up when someone stares at them, which are both included in our digital fashion archive.

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This project explores how introverts use isolation as a mechanism for social recharge as well as a way to navigate social situations. Furthermore, it is an exploration into how the psychology of introverts can be used in our societies and begging to find new ways to help people with social problems such as isolation and loneliness.

“Yes I am an introvert, no I am not shy”.

These introverts have the ability to transform into extroverts in social situations by extending the boundaries of their introversion. Their battleground is the politics of personal space versus public space boundaries.

They have devised ways to find a balance between blending in and standing out, by using engineered structures to aid their transformation, whilst protecting their social identities in a world designed for extroverts.

Layers we wear are the first boundary into our personal space; these structures allow introverts a gradual change on their personal temperament continuum.

They aim to spread the power of introverts by sparking conversation amongst their spectators who admire them; and question the choices we make, of presenting and re-presenting ourselves.

Proxemics Protector

Distance sensor controls the space around this introvert’s body, deploying robotic inverted wings when a spectator is within 80.429cm of their proxemics.

Space Inflator

Nitinol Memory wire in the garment’s arms, allows this introvert’s body form to change state by inflating the arm structure when they are extroverted and collapsing when introverted.

Temperament Transformer

Thermal Chromic colour pigments display the gradual transformation process of this introvert by changing colour as they transform back and forth on the Introvert – Extrovert continuum.

The post An Introvert’s Transformation to Extroversion
by Lilian Hipolyte Mushi appeared first on Dezeen.

The platform heels of these shoes by graduate fashion designer Laura Papp are moulded from porcelain (+ slideshow).

“Textiles and laces were dipped into porcelain and then burnt, so the shape remains but the materials are destroyed,” Papp told Dezeen.

Three different gauzes were used to create patterns influenced by stalactites and the stonework of the Sagrada Familia by Gaudí, whose birthday was celebrated with a Google doodle not long ago.

The Porcelain Shoes are each as light as one kilogram due to the half-centimetre-thick heel walls and a pair can withstand weights over 160 kilograms.

Contrasting with the rough heels, smooth white leather is used for the vamps. Each has a different style of opening and slashes up the ankle at various offsets.

The platforms are angled inward from the heel and toe to create smaller soles, which are formed from rubber.

Papp recently graduated from Budapest’s Moholy–Nagy University of Art and Design with a bachelor degree from the Faculty of Accessory Design.

We’ve previously published shoes based on furniture and engineering, and filmed a movie with the designer of a pair of high heels you wear back to front. See more shoe design »

The text below was sent to us by the designer:

This experimental project was for my bachelor degree. My inspirations were the stone surfaces of dripstones and Antoni Gaudí’s Sagrada Familia. My goal was that the rustic features would show up in the heels. I imagined it in white, because it shows the plastics best. The right material was porcelain as it is able to imitate any fine surface, and one of the strongest materials.

The shoes could hold more than 160 kilograms but the platform is not heavy, only one kilogram, because the heel wall is only half a centimetre thick. Finally, three pairs of shoes are made from different gauzes. The vamp is made of leather, which contrasts with the platform. The homogeny and the rustic reinforce each other. The sole of the shoes are made of rubber.

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by Laura Papp appeared first on Dezeen.

These 3D-printed accessories by London fashion designer Catherine Wales can be ordered to fit any body shape and printed on demand (+ slideshow).

Wales creates a digital avatar of the prospective wearer using a 3D scanner so each piece can be custom designed and built specifically for their body shape.

“[The idea] started with a message to the industry that we don’t need size labels in our garments,” Wales told Dezeen. “I felt that the fashion industry needed to integrate more techonology to reflect where society was going.”

The Project DNA collection includes a corset with perforations across the bodice to hold elements resembling scaffolding, which connect to spherical joints that can be added to and altered. “I used my pattern-cutting knowledge to change form and accentuate or reduce parts of the body,” said Wales.

A shoulder piece designed to emulate plumage and a mask that frames sections of the face also feature in the range. She created the attire using a combination of engineering programs to model complicated joints and creative software to build the sculptural forms.

Local studio Digits2Widgets provided the equipment to laser sinter the pieces from nylon, which Wales used because “all the joints needed to be flexible.”

The corset, shoulder adornment and horn mask are on display as part of an exhibition with 3D-printing platform Ground3D at the MoBA fashion biennale in Arnhem, the Netherlands. The event is curated by trend forecaster Li Edelkoort and themed Fetishism in Fashion, which continues until 21 July.

“Corsets have been used in that area for centuries,” Wales states. “Restricting and changing the shape of the body through these accessories all fits in with the fetishism theme.”

Earlier today we published a round-up of digital fashion on Dezeen, which includes dresses that squirm when they’re stared at and 3D-printed garments by Iris van Herpen.

Van Herpen spoke to us about how 3D printing is revolutionising the fashion industry in an interview for our print-on-demand magazine Print Shift, predicting that “everybody could have their own body scanned and just order clothes that fit perfectly.”

Photography is by Christine Kreiselmaier.

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More information from the designer follows:

Project DNA is the three-dimensional accessories collection from London-based designer, Catherine Wales. At the helm of the world’s third industrial revolution, Catherine’s debut offering cross-pollinates high fashion, technology and science to re-evaluate conventional methods of garment construction and push the boundaries of digital fabrication within the luxury market.

Inspired by identity and the visual structure of human chromosomes, Project DNA is created almost entirely with individual and interchangeable ball and socket components that allow it to be built in a number of directions. Produced using white nylon with a 3D printer, the eight-piece collection encompasses a scaffolded corset, a blossoming feathered shoulder piece and a waist bracelet complemented by four transformative headpieces that hide key areas of the face; including a guilded horn and a mirrored mask, and a cut out visor helmet.

Catherine’s futuristic collection is completely unique and can be used both editorially to stimulate conceptual thinking and scientifically to develop the capabilities of luxury fashion prototyping within the 3D space.

As an expert pattern cutter, Catherine originally approached Project DNA with a view to sustainably solve the current complications surrounding garment sizing and manufacturing restrictions. In this way, the collection embraces technological developments in order to cut down wastage and better support consumer demand.

Designs can be ordered and printed on demand.

The post Project DNA by
Catherine Wales appeared first on Dezeen.

Having peeked behind the gates of trophy estates and triplex apartments on both coasts and revealed the “lust, lies, greed, and betrayals that made the Metropolitan Museum of Art,” Michael Gross is returning to the fashion world he so astutely chronicled in Model, his 1995 tome. The author has inked a deal for Girls on Film, “a look at modern fashion photography from a different angle—behind the lens—focusing on the photographers, and the magazines and marketers who hire them to make images of beautiful girls (and some boys) to sell products and manipulate people,” according to a deal report from Publishers Marketplace. The book is slated for publication by Atria Books in 2015, but you don’t have to wait that long to get a fresh fix. Gross’s House of Outrageous Fortune: Fifteen Central Park West, the World’s Most Powerful Address is due out in March of next year. Fingers crossed for chapters on Bob Stern and the joys of limestone alongside scoops on residents such as Lloyd Blankfein and Sandy Weill.
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