From the editor... Welcome to volume two of HI_DEF Magazine, this time around we’re stepping into the third dimension. This issue looks at the amazing world of threedimensional art, fashion and even makeup. I would also like to take this chance to personally thank all who have contributed to the magazine without your wonderful words and articles, this magazine would not have the amazing, brilliant and thought provoking content that it does. Lastly thank you to yourself the reader, for picking up this magazine and giving us a chance! Thank you
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Ines Alpha 001
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Meet 3D make-up artist Ines Alpha Words by Lucy Bourton, Published Tuesday 28 August 2018, Courtesy of Its Nice That.
While working as an art director in advertising, Ines Alpha, like many other creatives, started playing around with 3D renders. Falling down a rabbit hole of programmes, she “discovered the limitless world of CGI” while watching “a zillion video tutorials on how to make organic iridescent blobs and weird creatures,” she tells It’s Nice That. Skills sorted and an aesthetic identified, Ines decided to “unite two of my favourite things in this world: 3D and makeup,” she says. “I realised I could create anything with my imagination and a lot of patience. Since then my fascination for 3D, make-up and cosmetics has been growing bigger and bigger every day.” Now with an Instagram following of over 10,000, Ines’ practice involves creating “enchanted and fantastic versions of reality,” but in a relatable way, moulding her renders into makeup applications the same way you’d apply lipstick or a flick of eyeliner. By developing a range of 3D make-up applications users can apply personally, the artist pushes “further the boundaries of makeup, working on ‘digitised’ 001 | Ines Alpha
bodies, allowing for more freedom with the concepts of beauty,” she explains. “In today’s — and more importantly tomorrow’s society — people will express a desire to transform themselves.” An “illusion”, as Ines puts it, of how we look online is already everywhere from “automated social media filters, advanced
make-up techniques or for the more privileged, plastic surgery,” she points out. In turn, the artist considers her work to be an exaggeration of this current and on-going trend by “trying to fantasise what complete aesthetic freedom of one’s appearance could look like.” Her goal, therefore, is simply to “encourage a fun and creative approach to make-up,” she says. “We need to de-dramatise beauty!” Collaborating with creatives, make-up artists and models has been the natural next step for the artist, as the pool of
people intrigued by her work grows and grows. For Ines, this is the most energising part of her digital art endeavour, stating that “there is nothing better in this world than finding the right artistic connection.” Inspiration follows these collaborations too, whether it’s with artist and model Sheidlina or musician Yelle. “Their faces inspire me, their visual features and graphic universe inspire me, the way they dress and present themselves to the world, sometimes it’s their beauty and sometimes, it’s something I really can’t explain.” As individuals still try to figure out how they want to present their true or digitally rendered representation of themselves to the world, Ines is too hoping that one day her dream of developing an app “where everyone can wear my 3D makeup,” comes true.
Ines Alpha, Feelion Digital.
“automated social media filters, advanced makeup techniques or for the more privileged, plastic surgery,� 002
Ines Alpha, Alpha Flag.
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Ines Alpha, Merry Lamb.
Ines Alpha, Alpha Yelle.
Ines Alpha, Alpha Ruby.
Ines Alpha, Alpha Sheidlina.
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Meet the worlds first blockchain digi-dress. Words by Brooke Roberts-Islam. Published, May 14, 2019, Courtesy of Forbes. Last week, London-based start-up Favourup held a panel discussion between a panel of Instagram-based sustainability influencers about the perils of ‘fast-fashion’ and challenges of conscious consumption. A Q&A session followed, during which the question was raised ‘why not wear digital clothing? If your platform of communication is digital, why can’t your clothes be?’. A heated debate ensued, with the audience and panel protesting that ‘digital fashion would just encourage more consumption’ and that digital fashion is disingenuous because it ‘doesn’t exist’. Digital fashion houses The Fabricant and Carlings are sources of virtual fashion, but this event made it clear that the digital fashion concept needs time to ripen. It is true that digital clothing is not readily accessible to the masses yet, but it took a leap closer this weekend. Digital fashion pioneers The Fabricant, create digital clothing by harnessing 2D garment pattern-cutting software and 3D design software, coupled with powerful film rendering tools to create hyper-real clothing that lives and breathes – online, at least. ‘Iridescence’, their breakthrough collaboration with artist Johanna Jaskowska, creator of the number one futuristic filter taking over Instagram, Beauty3000, and Dapper Labs, the team behind the CryptoKitties blockchain 005 | Iridescence
phenomenon, culminated in an auction last weekend at the Ethereal Summit in New York. The world’s first piece of digital couture created by The Fabricant and worn by Johanna Jaskowska sold for $9,500. But how does one ‘wear’ the couture? There is a 28-day window for the couture’s new owner to provide a photo of the future wearer to the creators in order for them to custom fit the digital garments. As a blockchain digital asset, the unique existence of the garment makes it both clothing and (crypto) currency. Reflecting on the Influencer event, the question begged was “why”. There are several reasons – some rational and environmental, others cultural and philosophical. The relative merits of sustainable clothing are a hot topic of debate, but the fact remains that all clothing has an environmental impact and places strain on our planet. The only truly sustainable option is to go naked, it has been said. The next best solution is to dress digitally. From a philosophical standpoint, the newest generation of consumers – the much discussed ‘Gen Z’ers’ - are typically creating multiple digital personas in online games and on social media. They Iridescence, the worlds first digital dress. live a considerable portion of their lives in digital communities, and it follows that they want to dress and present themselves in a way that is
true to them. Digital clothing allows this to become a reality. The market in crypto collectibles has exceeded $200 billion for the first time this year. The Fabricant reports that “Global brands in the real world apparel market are vying to enter the digital-only fashion space to forge deeper engagement with ‘Gen Z’ consumers - those born after 1997 who have only known a digitally connected world.” Some recognition of this rising phenomenon can be seen in the popularity of Li’l Miquela, the Instagrammer with 1.5 million followers who only exists in the digital realm. This has not stopped her representing global brands and being paid handsomely for it. Other examples of digital clothing gaining prominence include ASOS X Sims and Fortnite, the game that allows players to buy digital clothing from cult brands via collaborations. With games spend running into the billions in the US and UK this looks set to drive digital accessories spend within games too. The legitimacy of 006
the digital clothing extends beyond its blockchain registration – the creation of the garments is based on 2D pattern pieces that are used to create physical garments, meaning it is technically possible to create. Fashion, bolstered by the sale of the first ever piece of digital couture (which only exists digitally and will never become a physical garment) may mean that digital influencers, like L'il Miquela, will surge ahead of the human ones, for now, at least.
Johanna Jaskowska before wearing ‘Iridescence’.
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Johanna Jaskowska wearing ‘Iridescence’.
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Tech14Pack9Collection11 The future of movement Coming soon www.nike.co.uk
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Pop and Dr p o
Three dimensional compositions inspired by Ines Alphas 3D makeup. Art Direction and Editing, Callan Norton. Models, Alicia Joynes, Lucy Phillips & Alice Quinn. Makeup Artist, Kenza Bendaha. Photographers, Alicia Joynes & Lucy Phillips. Studio Assistant, Alice Quinn. 3D Models/Objects, Callan Norton 011 | Pop and Drop
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Designed by Callan Norton. Model, Alice Quinn. Makeup Artist, Kenza Bendaha. Photographer, Alicia Joynes. Studio Assistant, Lucy Phillips. 014
Designed by Callan Norton. Model, Alicia Joynes. Makeup Artist, Kenza Bendaha. Photographer, Lucy Phillips. Studio Assistant, Alice Quinn.
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Designed by Callan Norton. Model, Lucy Phillips. Makeup Artist, Kenza Bendaha. Photographer, Alicia Joynes. Studio Assistant, Alice Quinn. 019 | Pop and Drop
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Blocus is a light typography, somewhere between a Fraktur and a Didone, with broken curves, a strong contrast between thick and thin lines and imposing vertical strokes.
Designed by // Martin Desinde Collections // Gothic, Human made Writing systems // Latin License // SIL Open Font License, Version 1.1 Published on the 7 December 2012 Available at velvetyne.fr
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how digital art needs to be “shaken up badly” Words by Jyni Ong, Published Friday 14 June 2019 Courtesty of Its Nice That
Growing up in a small town in Switzerland, as a young boy Benjamin Muzzin found solace in the computer. “It was a great window into knowing what was going on abroad and the only way to feel part of a subculture for a while as I wasn’t really interested in what was going on in the mainstream media,” he tells It’s Nice That. Years later, Benjamin went onto study media and interaction design at ECAL, experimenting with CGI, 3D and video mapping softwares, which were still new back then in 2010.
and exhibitions all around the world, including Sundance, the digital artist has focused on his CGI outputs ever since, in both an artistic and commercial setting. Currently teaching on the 3D animation course at his alma mater, Benjamin’s personal work continues to interpret nature through computer generated images. “I feel like we humans have a constant need to control nature” says the artist, “so maybe doing it in a virtual space is paradoxically the most extreme way to do it, but also the most harmless one.” Drawing out this predicament through a three dimensional virtual realm, his work also touches on sci-fi themes and fears from the 60s and 70s. He applies the label of Consequently, “digital art” loosely to his work he landed a however, noting: “I don’t think regular job that this term will live on for that creating live much longer. It is already merging visuals for clubs in into many other disciplines Geneva including as most of our daily activities Le Zoo, controlling involve new technologies; art up to 16 different forms included.” If anyone projectors at the intends to stay at the forefront same time. “As you of the discipline, Benjamin can imagine, it was an states the work must move in the amazing playground experimental direction. “I have the to experiment with all kinds of weird visuals as largescale installations,” Benjamin tells It’s Nice That. Going onto exhibit his work at arts festivals 023 | Benjamin Muzzin
feeling that everything is becoming flat and focusing too hard on trying to look perfect. Social media is having a terrible impact on the quality of the works that are being produced. We can see that things need to look kinda sexy rather than meaningful, and most of the time, the research part is totally invisible even though it’s a majorly interesting part of the work. Some punk rawness would actually be refreshing and things need to be shaken up badly.”
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“Social media is having a terrible impact on the quality of the works that are being produced.�
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Contributions Ines Alpha Words by Lucy Bourton, Published Tuesday 28 August 2018, Courtesy of Its Nice That. itsnicethat.com inesmarzat.com Iridesence Words by Brooke Roberts-Islam. Published, May 14, 2019, Courtesy of Forbes. forbes.com Pop and Dro p Designs by Callan Norton Model, Alice Quinn Makeup Artist, Kenza Bendaha Photographer, Alicia Joynes Studio Assistant, Lucy Phillips. callannorton.co.uk aliciajoynes.co.uk lucyannephillips.com instagram.com/cocokenza.mua Blocus Designed by Martin Desinde martindesinde.tumblr.com Available at velvetyne.fr Benjamin Muzzin Words by Jyni Ong, Published Friday 14 June 2019 Courtesty of Its Nice That itsnicethat.com benjaminmuzzin.ch Front & Back Additional 3D elements Designed by Callan Norton callannorton.co.uk Executive Editor Callan Norton
033 | Contributions