Life On Mars research file

LIFE ON MARS. THE COLONY

FASHION FORECAST & NARRATIVE SUMMER RESEARCH PROJECT LIFE ON MARS

BY FREYA DAVIDSON AD5605

We as a world have just come out of a historic paradigm shift, that will go in the history books as the time the world stood still. It has changed the spirit of the times The Zeitgeist (the general intellectual, moral, and cultural climate of an era) What’s next? We have established in Brand Development that we have to be more aware of the planet and the environment? Do we need to buy less fast fashion?

From our conversations with Dr Em Child, we have learnt that this year, 2021 landfill in the UK is full. If we are to believe the government when they say that they’re introducing all cars to be clean (electrical) by 2030, is that enough? What have we learnt? Will we learn?

‘THE IS

FUTURE

BEYOND REACH’

‘HUMANS CANNOT SUSTAIN THE CONDITIONS ON THE RED PLANET’

THE YEAR IS 2030.

It’s been 10 years since the coronavirus pandemic closed down the planet. The world has moved on. It has innovated, adapted and progressed. Things are familiar, yet different. Is it a better world or are there just more shiny gadgets distracting us from cracks in the foundations?

In 2020, the youth wanted to save the world. They took a stand. But after 10 years, did they save the world?

Not quite. They made progress that the next generation can build upon. A huge, ethnically diverse youth.

In 2030, every company will have a ranking system, based on their purpose and values. When Generation Alpha start applying for jobs, they will look for this.

The pandemic has really been a big blow for this generation. People are graduating into a world of recession.

This has impacted their thoughts and their careers – more will go for jobs that are ‘pandemic proof’. Think more scientists, more doctors, more people in government.

PUSHING BOUNDARIES

PUSHING BOUNDARIES

EXPLORING NEW POSSIBILITIES

EXPLORING NEW POSSIBILITIES

In 2020, health became a priority. After all, governments prioritized health over their economies during the pandemic. It will be at the forefront of every company‘s mission statement.

Little details will be optimised. A trip to the spa in 2030 will be more like a trip to the doctors. We will have checkups where we will learn more about our health, body, biology, and how to better it.

There will be more of a focus on the outdoors, an aspect of the urban environment that we took for granted until the pandemic in 2020.

Finally, there will be no more rush hour, because we will have more of a work life balance. Life as we know it will be far more flexible and we‘re going to be working in a far more global way. Commuting for work may not be necessary anymore.

How can we tap into the creative capacity of humanity to solve some of the challenges we have around our environment? How do we also provide jobs or opportunities for people, while technology makes other roles obsolete?

We have the impulse to try to create profits and remove people from jobs - remember that the biggest cost to a business is labour. Our economies are not set up to handle this. So we need a platform that allows people to contribute and be remunerated for that contribution.

We continue to invest in AI solutions. At some point, we are going to build a brain that is smarter than us in every single possible way. Because we want to make things more efficient, we want to make things more cost-effective. That will be our last invention. If we are not cooperating as a species by the time this thing comes, it is likely to remove us from the equation.

Over the last 10 years, our predictions of the future have been so clinical, so minimalistic and so tech-obsessed, it‘s almost like we want to be robots. We are so sick of being ourselves. We need to reclaim the human.

But we‘ve also issued ourselves a warning today. We can‘t become complacent. That’s really important. We still need resistance. The activism must not stop. Generation Z is the answer to a truly equal collaborative society.

WHY?

THE

HIS TOR IC

FAS HION

BRA ND

PREDICTING OUR

F U T U R E. HISTORIC FASHION BRAND - PACO RABANNE

THE FUTURE REQUIRES RESOURCEFUL THINKING. If Isaac Newton was alive today, he might have come up with a fourth law of motion just to deal with fashion trends, which seem to defy all existing rules by moving forwards and backwards at the same time. Fashion is supposed to take us into the future, but wait long enough and yesterday’s trends will come back eventually, some returning faster than others.

In 2017, for example, we’re seeing the return of Paco Rabanne’s signature metallic chain-metal dresses, which first walked the runways in the 1960s, and were “in” again in the early-aughts during Paris Hilton’s heyday.

The Space Age trend began in the midto-late ’60s with designers like Courrèges, Rabanne, and Pierre Cardin, who were inspired by the global space race.

In the ’60s, Space Age style revolved around the idea of exploration—of pushing boundaries further than ever before, whether that meant with materials or silhouettes. It truly felt new and exciting because the “future” everyone imagined of flying cars and men on the moon was still far off. Anything was possible.

Or rather, on a more optimistic note, if tech innovators like Elon Musk are making life on another planet seem less like a Hollywood movie and more like a possibility in the not-so-distant future, then fashion innovators like Karl Lagerfeld have to start thinking this way, too. If there’s one thing that a brand cannot do, it’s be left behind.

Designers like Paco Rabanne were experimenting with new materials, using metal and plastic to create dresses reminiscent of chainmail and armour. Even designing costumes for the 1968 cult classic Barbarella, Rabanne was one of pioneering designers for 60s space-age fashion.

Paco Rabanne’s futuristic, space age design concepts are current and relevant as a result of the idea that we as humans may explore and inhabit outer space one day. Rabanne may well have designed our future without realising it.

“When I think of Paco Rabanne, I don’t think retro I think revolution, rebellion and renaissance,” Julien Dossena says.

In the hands of Spanish designer Paco Rabanne, the Space Race became the perfect stimulus for envisioning an avant-garde future. Working with a series of innovative materials – including paper, plastic and, most famously, metal – Rabanne’s designs often resembled very beautiful (and sometimes scanty) armour from a mysterious universe. Playfully claiming to have “travelled to Earth from the planet Altair to organise civilisation on this planet 78,000 years ago”, Rabanne’s art-clothing hybrids allowed for a particularly evocative form of time travel, bringing suggestions of medieval-era chainmail and other historic attire into an uncertain modern age. His daring cutaways and pioneering methods of construction featured in the 1968 sci-fi film Barbarella have been copied many times over the decades – updated versions of his chainmail dresses have been sported by celebrities including Paris Hilton and Bella Hadid, while a recent reissue of his much-beloved 1969 metal bag was an immediate hit.

With the prospect of living on mars one day, we as designers, fashion lovers, tech creators have to be resourceful and design with the idea in mind that our clothes have to be able to sustain the conditions on Mars. Fashion needs to evolve, because in 10, 20 years time when we are living on another planet, we won’t have the resources we have now to design. Rabanne is an example of a forward thinking designer who has designed with the future in mind.

ACCESSORIES Space Age’ white-and-silver colour scheme, were worn with astronaut-style accessories like flat boots called ‘go-go’ boots goggles and helmets, shiny gloves.

MAKEUP Eyes were the main features high-lighted. Heavily done mascara-ed eyes, bold liner, adorned with bold, shiny and metallic eyeshadow. Fancy decoration inspired by clothes or accessories, was done around the eyes, like little sequences or discs were stuck which enhanced the make up. Lips were done in pastel and pink shades. The colour was sometimes subdued due to extravant eye make up.

SHOES The French designer André Courrèges introduced the “space look” in the spring of 1964 included go-go boots. Gogo boots eventually became a staple of go-go girl fashion in the sixties. The boots were defined by their fluorescent colors, shiny material, and sequins.

The go-go boots were one of the items that presented in the collection, and became one of the must-have item for go-go girls during the sixties.

PIERRE

CARDIN

THE FUTURE OF INTERIOR DESIGN BACK TO THE FUTURE

Fittingly named Palais Bulles, or “Palace of Bubbles,” this residence represents the fundamental ideas of architect Antti Lovag, who views architecture as a “form of play- spontaneous, joyful, full of surprise”.

“Lovag

sees the straight line as “an

aggression against nature”; Palais Bulles is a reminder that life

cyclical

is , the world is round, and good things don’t always come in boxes.”

Cardin ‘infused his personality into his business’.

That infusion formed the DNA of Cardin’s brand: the geometry of his shapes and structures, and the relentless drive to experiment. We are taken through the beginnings of Cardin’s influential career, from the Cosmocorps collections that made his name synonymous with the space age, through to furniture design and later experiments with structure, fabric and movement. Cardin is described as ‘a man of paradoxes and contradictions... a man with no boundaries or limits in himself as in the universe’.

Though Pierre Cardin was technically the second er of this marvel, Palais Bulles seems to have custom-built for him—he long associated himself Space Age Futurism and appropriately had his first success, in 1954, with a bubble dress.

ownbeen with solo

Cardin’s love for the extravagant, space age shapes and silhouettes of his designs also transferred to his taste for interiors. His revolutionary design concepts have made him a futuristic designer, whom potentially designed the future of fashion and interior design.

THE THE FUTURE FUTURE OF THE OF THE ‘INFLUENCERWORLD’ ‘INFLUENCER WORLD’’ WHY?

Art School has established itself as London Fashion Week’s torch-bearer for diversity. It has consistently championed those from all walks of life, using trans models, models from all ethnicities, short, tall, fat, thin, young, old. Breaking down the constraints of menswear and womenswear, the brand is also unisex, tailoring its clothes to all. Over the years, it has grown a community of like-minded individuals – weirdos, ravers, lovers and outsiders – to build one succinct brand identity.

Throughout lockdown, Loweth has been working on Art School’s SS21 collection, titled Therapy, with a total 54 looks.

This collection unites Art School’s past, present and future – something Loweth was keen to do before starting the design process. Rather than make the transition of brandspanking-new-Art-School too quickly, Loweth has chosen to respect the work and dedication the duo has put into the label, while looking out into the near, glittering, future.

Is

Art

School

the

future

of

contemporary

fashion?

The face of the brand working hard to tackle societies most prominent issues of gender stereotyping, inclusivity and acceptance. THE FUTURE.

In order to think about what the future may hold for the fashion industry, we have to focus on the present moment and continue to solve problems within society that are occuring at present, this is exactly what Art School owner, Eden Loweth is doing.

The future will be liberation to all of humanity from any form of constraints. Eden Loweth is working on solving our issues through fashion so that the future can be free. WE CAN PUT OUR TRUST INTO ART SCHOOL LONDON THAT THEY WILL DELIVER A FUTURE FREE OF CONSTRAINTS TO EVERYDAY LIFE.

CONTEMPORARY FASHION BRAND

H

OW

TEC H

Overconsumption of fashion is a big issue within the fashion industry at the moment. In particular, the influencer world consume way too much, that for the majority ends up in landfill.

As technology progresses, the real world e.g. manual labour and anything that generally requires the use of a human being will become jobs that robots will undertake. In 10, 20 years time, humans will be useless because we don’t have superpowers, we are not perfect or capable of doing the impossible.

COUTURE HO USE IS PAV ING

The dual luxury brand was the first to debut a digital-only collection at London Fashion Week.

AURO B O R OS

T H E WAY F OR DIGITAL F AS H I O N.

CONTEMPORARY FASHION BRAND - AUROBOROS

Even for social media influencers, physical fashion will be a thing of the past meaning that they won’t have the opportunity to throw away clothes they don’t like. The good thing about digital fashion is that it has zero envionmental impact. Are we currently looking into the future being all digital or is it just a fantasy?

Although the digital side of fashion is not exactly new, the concept that fashion could exist only in a digital format would allow more creative freedom and self expression. Influencers would be able to collaborate with digital fashion houses on the basis of them curating and tailoring their virtual outfits to match their insta feed.

“The carbon footprint for producing one digital item is, on average, 97 per cent less than it is for a physical garment. Digital clothing is more sustainable, zero waste and inclusive to all bodies, as virtual pieces are ‘made-to-measure’ with each garment individually digitally manipulated onto the wearer,” they explain.

WHY?

IS FASHION BECOMING TOO POLITICAL?

AOC made a literal statement with her ‘tax the rich’ Met Gala gown With the devastation of the coronavirus turning the cracks of society’s inequalities into deep chasms, the past 18 months have been a politicising period of time to say the least. As a result, many have found themselves cycling through periods of online activism, familiarising themselves with its most popularised ideas and discourse. Be it – quite rightly – through the worldwide proliferation of BLM protests, the decimation of Palestine, or the climate crisis, a new generation have equipped themselves with all the songs and slogans of protest.

Perhaps, then, it was to be expected that guests at this year’s Met Gala would want to make some kind of “statement”. First out the gate was congresswoman Carolyn Maloney who wore a Suffragette-style dress with “equal rights for women” splashed across its purple and green wings – a kitsch, though still relevant, call for justice given the state of Texas’ near-total abortion ban. Then came Alexandria Ocasio-Cortez, dressed by Aurora James in a white tuxedo-gown, with the words “tax the rich” emblazoned in bright red lettering across her back. “We really started having a conversation about what it means to be a working class woman of colour at the Met,” the congresswoman said while on the red carpet. “And we said we can’t just play along, but we need to break the fourth wall and challenge some of the institutions.”

Whether AOC’s proposition was problematic or not – after all, rich people should obviously be taxed more – it’s reminiscent of the way in which the internet has sanitised and flattened the language of socialism into lite, Forever 21 catchphrases. See also: “eat the rich”. Slogans that gesture towards activism and a vague political conscience while being wholly vapid.

Fashion has always had political references. More so now than ever before. Fashion is about creative freedom. Freedom of expression. Women in particular have always been known to make a statement with the clothes they wear, whether that be dressing extravagantly to attract attention or using it as a tool to enact change. The point is that fashion contains hidden meanings and messages, it is a creative field with no boundaries.

Since the pandemic, fashion has brought together a community of like minded individuals whom have brought to light, issues that have not been addressed, people have become more political and have started to protest their views and opinions through fashion e.g. The Black Lives Matter movement. The pandemic has most definitely proven that fashion is more than just pieces of fabric hung on the body. With the fashion industry being one of the biggest industries globally, people see it as a way to reach a larger audience to get their message across.

Is it necessary to bring politics into the future of the fashion industry?

Is fashion too political?

The idea of moving to mars could potentially result in a political debate.

However, just like anything else, political discussions occur through contrasting views and opinions. For example, one person might suggest that the idea of even being able to leave the planet we live on is irrational thinking, but the next person might believe that it is the best solution to avoid a mass extinction event taking place.

With reference to the political statement ‘TAX THE RICH’. Bringing politics into fashion could be seen as a beneficial tool for creating a new life on mars, political messages can bring to light the ongoing climate crisis on planet earth, we can use political messages as warnings indicating that we need to act now.

B

A

R

B

A

RE

LLA

WHY?

The best-known version of Barbarella, though, will always be the 1968 movie. The plot, such as it is, casts Fonda as a space adventurer from an idyllic future Earth in which war has been so thoroughly banished that people barely know what it is.

This cult classic is noted for the opening sequence in which Jane Fonda performs a striptease in zero gravity. The costumes, designed by Paco Rabanne, were the epitome of what we still consider futuristic dress; PVCs and leather, chainmail crop tops and plastic leotards, as well as embodying the essence of 1960‘s pop culture.

The movie was not so popular at first being quite wacky and liberal, but over time it has become a classic, as has the outrageously futuristic style of the silly and spaced out heroine.

HISTORIC FILM/TV SERIES - BARBARELLA

This film and Jane Fonda created the archetypes that we still have today of the 1960s perception of the future: the utopian vision of color, hair, love, sex, adventure, freedom etc.

There isn’t a specific year that is ever overtly stated in the film, but it is clearly set sometime in the far away future; the video release states that it is the year 40,000, while Netflix claims that it is the 41st century. At the start of the film, Barbarella speaks to the president over her video communication device. The “universe has been pacified for centuries…” she (Jane Fonda) exclaims. In this peaceful universe, weapons exist only in museums. “Why would anyone want to invent a weapon?” she asks with genuine confusion.

The future portrayed in Barbarella is ordered and peaceful; people no longer live in a “primitive state of neurotic irresponsibility”. Sexual liberation, particularly that of women is addressed adamantly in this film.

Barbarella reimagined our future, moving on from the morals of the 20th century and depicting a new, futuristic morality. It’s all about paving way for a brighter future where women feel liberated in their own body and in everyday life.

The main thing about this role is to keep her innocent. You see, Barbarella is not a vamp and her sexuality is not measured by the rules of our society. She is not being promiscuous, but she follows the natural reaction of another type of upbringing. She is not a so-called ‘sexually liberated woman’ either. That would mean rebellion against something. She is different. She was born free.

Fashion designer Paco Rabanne was responsible for Fonda’s costumes. Rabanne was influenced by the women’s liberation movement and designed outfits in the style of metal armour, drawing influence from an Indian philosophy that posited an age of iron.

BLACK MIRROR “Black Mirror” isn’t just predicting the future—it’s causing it

BLACK MIRROR

Black Mirror is a demonstration about the darkest side of the human soul and how technology can fuel our worst impulses.

However, looking in the mirror is more than simply seeing yourself. Mirrors are used to measure our looks and to assist us in making changes. Similarly, it seems reasonable to suggest that the object of this black mirror be vital evaluation of what it tells us.

“Nosedive”. The first episode of the third series is essentially bringing up the issue of how we as a society are so fixated by how we are perceived through social media. It gives us, the viewer a sense of feeling uneasy about your very own usage of social media platforms we use on a daily basis.

BLACK MIRROR WHY?

CONTEMPORARY FILM/TV SERIES - BLACK MIRROR

Black Mirror is one of the most intriguing and unsettling series of the last ten years, thanks to its main character, technology. It’s fascinating how certain scenarios are readily relatable to the audience. The show gives you insight on the disturbing power of technology and how it will only become more of an issue in the future. It brings up complex topics and, or ideas that can honestly be real within 10-20 years from now.

The majority of episodes are set in dystopian near-futures with novel technologies that exaggerate a trait from contemporary culture, often the internet.

Recurring themes throughout Black Mirror include data privacy and surveillance, virtual reality, individualism and consumerism.

Black Mirror can be seen to demonstrate a negative view of unending pursuit of scientific and technological advancement. The majority of episodes end unhappily. However, characters who carefully consider the risks of technology with which they engage are met with happy endings.

Black Mirror not only aims to entertain, but it also invites us to think about how technology can harm society and transform our behaviour. Each episode shows how an existing technology could evolve in the near future, for better, or especially for worse. Technology can be dangerous in itself, but more often malicious designers or users use it to manipulate, humiliate, coerce, enslave or kill.

While Black Mirror seems to unfold in the near future, the show depicts worrying current trends. Its creator, Charlie Brooker, surfs the technological news, cleverly incorporating it into terrifying scenarios.

The contemporary British TV series informing us of what the future will look like dives deep into the dark side of technology and human nature, it gives us a preview of what technology will do to our future. the science fiction anthology series was made with the intention of examining modern society and the unexpected consequences of new technologies.

With continued advancements in technology, we as humans are becoming more resourceful and intelligent with what we already have. It comes as no surprise that Generation Alpha are expected to be the most intelligent generation ever as a result of the world they are being born into, this generation will either make or break the future of technology.

Black Mirror focuses on a tech infested dystopian future that controls everyones lives. The sci-fi series is almost like a message to humans that technology is not the issue, it is the people that misuse it that cause the issue. These stories are not warnings, Technological advancements are inevitable, but it is up to us as to whether we make it a positive or nagative experience.

i-D

WHY?

Investigating the fashionable masks of the future.

As face coverings become mandatory around the world, designers are working to make protective equipment more wearable. face masks are not only a sign of respect for public health but are increasingly becoming mandatory during our current global health crisis.

This report, published by The Journal of the American Medical Association, suggests that companies like Apple and Nike have already started producing face shields. This is also true of emerging designers, who are beginning to reimagine the face shield for the luxury fashion market in an effort to make personal protective equipment (PPE) more wearable.

With manufacturing already underway “with a large partner”, it might not be long before there’s such a thing as a luxury face shield market. “How do we encourage mass adoption of an unwanted necessity?” The answer, it seems, is wearability

MAGAZINE EDITORIAL - THE FUTURE OF FACE MASKS

Since the beginning of the pandemic, people have adjusted to a new way of life. Washing and sanitising hands after being out in public seems to have become a daily habit and leaving the house without a face mask feels strangely abnormal.

“Think of these as modified sunglasses rather than an adapted face shield.” The “adapted sunglasses” will have an anti-fog coating and be made from polycarbonate, the same material as traditional sunglasses.

Doucet is working to deliver them at a low price point to reach “as many people as possible”.

“From sustainable options to better manufacturing and supply channels, the COVID-19 pandemic has highlighted the systemic issues we have in PPE.” “Face shields are increasingly becoming a topic of conversation as mask supplies are limited and masks can only be used so many times.

As both experts reiterate, face shields are not currently recommended as a replacement for masks, but it’s clear the conversation on how to improve the wearability of PPE is currently underway. As designers across the world continue to get creative with their solutions, a Black Mirror-style image of streets filled with futuristic face shields doesn’t seem like that distant of a reality.

‘FREEDOM DAY’ 19th July 2021 The day in which face masks and social distancing remained no longer mandatory felt like a relief for many, but didn’t seem to make a huge difference as the COVID-19 virus still remains to linger in the air. It may no longer be compulsory to wear a face mask, but not wearing one does not change the fact that our lives have not and will not return to normal for a while, many of us still wear one as we know that freedom is still yet to come.

As face masks have become the norm for the majority, we need to look into the future of how we can reintroduce the face mask with a more sustainable approach. Face masks as we know them are not the most comfortable especially when in confined indoor spaces. With some adjustments, we can transform them from a piece of material to a high-tech sustainable mask that gives more protection than a small piece of fabric would.

We need to stop disposable face masks becoming our next ecological disaster.

Face masks are now a crucial part of our daily lives, but their irresponsible use and disposal are contributing to plastic pollution.

“Disposable masks are the new plasic bags.”

While the wearing of masks is imperative for slowing the spread of the virus, 75 percent of those used ultimately end up in landfills, floating in the seas or are incinerated, releasing harmful toxins into the atmosphere.

“Plastic pollution was already one of the greatest threats to our planet before the coronavirus outbreak,” “The sudden boom in the daily use of certain products to keep people safe and stop the disease is making things much worse.” recommended measures include designing face masks that can be more easily recycled, and expanding waste collection, particularly in lower-income countries.”

With the coronavirus pandemic very much ongoing, mask-wearing will be an integral part of our everyday lives for some time to come. With that in mind, we all have a responsibility to ensure that the production, wearing and disposal of masks has health in mind — not just ours, but the planet’s, too. As wearers, that means critically evaluating our consumption choices and changing our behaviours accordingly. But we also need to see large-scale infrastructural initiatives implemented by our governments, healthcare systems, and businesses — sustainable solutions that take a full life assessment of masks into consideration. If they really are here to stay, let’s not add them to the growing list of issues that we as a society still have to solve.

What if we could create something so versatile, that it offers more protection than we have at present, a mask that provides maximum coverage of the face to protect ourselves from the future of unknown events, we could change the world with a face mask, the possibilities are limitless, we are more than capable of creating something that protects and fits into our revolutionary, technology dominated world.

WHY? Here’s why the future of fashion doesn’t involve owning any clothes.

Fashion is not what it used to be. Rewind only five or six years ago, when we had just passed the peak of the fast fashion explosion.

Boohoo had recently gone public, snapping up eCommerce upstarts Pretty Little Thing and Nasty Gal, adding gasoline to their online growth. Established fashion giants were turning their Fashion Week venues into stage shows, with Chanel displaying its latest collection in a giant airline terminal and Tommy Hilfiger building an entire indoor mini-beach, complete with boardwalk.

Now, this whole model is under intense scrutiny. The whole industry is under a review of conscience, with consumers opening their eyes to the sustainability problem. Last year, Boohoo was battling allegations of modern slavery and now fighting a proposed $100 million class action lawsuit. The fashion industry itself has resolved to change its operational mode, with the declaration of Rewiring Fashion and updating industry practices to suit today’s digital age.

Finally, throw in a global pandemic and a switch to remote working, and even the context for wearing fashion has changed. With no social contact or special occasions, many of us haven’t worn anything that buttons up at the waist for some time, let alone make decisive fashion choices when it comes to buying and wearing “an outfit.”

The pandemic has highlighted the reliance of certain industries on face-toface contact and social occasions. Whilst the more obvious affected industries lie within leisure and hospitality, fashion is still far from unaffected.

Even more interesting, the challenge that fashion faces is a combination of two contrasting consumer sentiments. Wear it once—but also—buy less.

In a world where we see each other more online than face-to-face, an emerging ‘wear it once’ culture is being bolstered by the rise of style-conscious social media users. Pre-pandemic, stories were rife of Instagram influencers buying items once for an outfit photo, before returning them again..

Take aside the growing pressures of keeping your social media “fresh,” it is the months of limited contact that have led us to acknowledge that most of the items in our closet have barely been worn. Whilst trying to break from the monotony of a Zoom-friendly top with sweatpants below, many consumers are also lacking an ‘occasion’ to dress up.

At the same time, people also want to buy less. We know consumer spending has been hit due to Covid-19 but, even pre-pandemic, buying patterns were also moving towards extending the life cycle of clothing. According to Lyst, searches including sustainability related keywords increased 75% year on year.

MAGAZINE EDITORIAL - HERE’S WHY THE FUTURE OF FASHION DOESN’T INVOLVE OWNING ANY CLOTHES.

Is

it

possible

to

own

more

outfits

without

creating

more?

One of the fashion disruptors aiming to solve that question is By Rotation, a social fashion rental app where users can rent their own luxury clothes and accesories to other fashion lovers.

With a combination of reduced store access and increasing sustainability awareness among consumers, the pandemic has actually increased business for the company. By Rotation ticks a wealth of boxes for conscuious consumers, satisfying both the ‘wear it once’ phenomenon, whilst also giving users a chance to reduce their impact on fashion production, spend less and earn their own money whilst doing it.

The social nature of the app adds an extra level of service to the user experience, with individuals often able to respond to tailored requests, such as sending items on the same day. The online dynamic between users also improves discovery for “rotators” who often follow and rent from the same person multiple times.

Renting and sharing clothes is one idea, but what if the clothes don’t exist in real life at all? - the concept of digital fashion. The digital shift is here to stay but, like traditional retailers, there will be post-pandemic behaviours for these disruptors to address. Consumers may not feel the same about sharing clothes, as they do about sharing hotel towels - when they are, in reality, the same.

Of course there is also that option to rent out your clothing or even sell for the purpose of giving an item a new lease of life through upcycling/ remaking. This way, instead of disposing of an item of clothing you don’t like anymore, you could either get crafty yourself and do some DIY work on the garment e.g. tie dye, cutting, sewing. Or rent them to someone else.

When it comes to being sustainable and saving the planet, there is always something you can do with your unwanted gems rather than disposing of them and them ending up in landfill. DISCARDING OF ANY TYPE OF CLOTHING IS NOT THE ANSWER.

Is

it

possible

to

own

more

outfits

without

creating

more?

One of the fashion disruptors aiming to solve that question is

By Rotation, a social fashion rental app where users can rent their own luxury clothes and accesories to other fashion lovers.

With a combination of reduced store access and increasing sustainability awareness among consumers, the pandemic has actually increased business for the company.

By Rotation ticks a wealth of boxes for conscuious consumers, satisfying both the ‘wear it once’ phenomenon, whilst also giving users a chance to reduce their impact on fashion production, spend less and earn their own money whilst doing it.

The social nature of the app adds an extra level of service to the user experience, with individuals often able to respond to tailored requests, such as sending items on the same day. The online dynamic between users also improves discovery for “rotators” who often follow and rent from the same person multiple times.

Renting and sharing clothes is one idea, but what if the clothes don’t exist in real life at all? - the concept of digital fashion. The digital shift is here to stay but, like traditional retailers, there will be post-pandemic behaviours for these disruptors to address. Consumers may not feel the same about sharing clothes, as they do about sharing hotel towels - when they are, in reality, the same.

THE

FUTURE OF FASHION

WEEK COPENHAGEN FASHION WEEK SS22

FASHION WEEK - COPENHAGEN FASHION WEEK

PRESENTS WHY?

Sustainability was the word of the day at this year’s Copenhagen Fashion Week for the spring 2022 season. The Danish capital’s newly implemented rule states that all brands participating in shows must be at least 60 percent sustainable to be included. And everything Danes do—from the beauty products they put on their impossibly fresh faces to the overcoats they wear in case of a quick rainstorm to the Teslas they drive—stems from a sustainable or eco-conscious mindset.

Not only are Copenhagen residents ahead of the curve sustainability-wise, they also have one of the most gender-fluid and diverse fashion weeks. During a whirlwind three days, most of the collections I saw were entirely unisex.

Some brands showed love for women’s bodies by having pregnant women walk in their shows.

For instance, Ganni, who, this season collaborated with Levi’s on a capsule collection of upcycled denim pieces; they will be rentable as part of its new rental service Ganni Repeat. And the sustainable brand Designers Remix, which showed upcycled pieces that proclaimed “I used to be a curtain” (shades of Maria von Trapp) or “I used to be a couch.”

The shows also took what Copenhagen Fashion Week CEO Cecilie Thorsmark has called a “hybrid” approach” to their streamlined three-day schedule.

Meaning, they took the form of everything from online films to exhibits to outdoor events that brought Fashion Week out of its ivory tower and into the midst of the city.

While none of these are brand-newconcepts, they do show that the days of the runway show as default event may be behind us.

Could we be looking at the future of fashion week that, like Copenhagen, are shorter, more eco-friendly, and contain a mix of digital and in-person events?

RICK OWENS PARIS FASHION WEEK SS22

WHY?

“Everybody is going to want to flex. Everyone is going to want to show that they are stronger than ever, that they’re more powerful than ever.

It’s a little horrifying, but I get it. So that’s where my head is right now.

I’m thinking, nobody wants to see humility. Nobody wants to see a humble lesson. People want to see that we’re back to full power.” Then, smiling mischievously, he concludes: “People want to imagine that everything’s going to be fine, and that we’ve got it all under control.”

Every so often a designer leaps ahead of the zeitgeist to show a collection that enthrals and hypnotizes the audience with an unexpected hand of genius. Such was the case at Rick Owens on Thursday at Paris Fashion Week, the need to be free, to be the best we can be, to dress in equal parts warrior and goddess during unexpected and uncontrollable times. Life is too short. To be bland is a maxim for many, but an especially relevant sentiment to Owens’ customers and admirers.

With furniture and homeware now a successful business next to the readyto-wear, Rick Owens has cemented a signature that unapologetically pursues beauty, yet is more timeless and relevant than he may imagine.

It almost seems as if the SS22 collection has predicted a darker, much more mysterious, and freeing future, the shapes and silhouettes of the designs each form their own definition of what the future of fashion may look like in a far distant universe. The ‘Wader Boots’ of which are a piece in his collection may have potentially been designed with sturdiness and grip in order to withstand the treacherous grounds on the red planet.

WHY?

DIGITAL FASHION

to ater irw v f ith s o n w o l l s ign. ga othe f des l 00 c 7 l o over physica uture o s f e is n tak lacing e h t t e i r p e reh here shirt, re lly be at t d. The aw h t d e tia is ploit worl cotton ploit x on oten x i e e p h a s fa is the In ld solu ne gital ination dfill or n the e o s cou i ? k d a m ustry hio out one mag ing lan d s i b a n i f a l e l n h tua thing but t overflow Is digita fashio g e n rld i g h z . e wo l. othin es with orkers re for t ama h n t r e a Th and re issu ctory w er futu l ove is digit l a e t s i er at was no mo paid fa health n lov , one th o r i d , e h n e d for of un cloth , fas shows er a e n n c a o a t l e t n p tion o a cl ffec owly bu a ll in f fashio i t n t s l s o sda ns tion y ha t we are the indu d ictio ew era l r t b s a e ion an tha for yr a n uest r, now nce e years n? man ing for q a n h h t i u e c th s a W ar ev sig ic ha n. How e, is this ed over and de prep m e e r c o a ti id nd fa ion 9 pa rproduc other s e have duct 1 ing o r d i p e e w o reas ct th s ov t ov c e s l C i h n d i c h c e n t a f as oa sta rfe Th aste ing out o f the ob ble appr well “the pe all w s a g in ions created ration is rn com me all o re dura t y a l c e i o r su erco der a m mun te have ew gene o be wo v m o o o try t new un for c and was . “The n going t ” h c a e t t all? ive hing is nt r a n e h e o t start m d a et ce on r to be m elian he envir n secto y. If som r o t g n d t t wi hio ee ut bili s it n a gro rns abo igital fas ustaina e o d s e d , edia conc ” for the ent and m l a i m oc storm environ on s n t r u o w abo to be e c n o only

ges’ d i r f l at Se r o o er fl city. n g i s e the d rtual i o v t a s r isito l into v a t , r s o k wee rap e o v w o t c t nex ill dis e h w t p r i Fo agsh fl n o Lond

The space is a pop-up in collaboration with Charli Cohen, a London designer of physical and digital streetwear, and Yahoo Ryot Lab, Yahoo’s content studio. Pokémon also lent its characters to the project in celebration of its 25th anniversary. It’s mostly there, however, to prompt customers to explore “Electric/City,” an immersive virtual environment shoppers can access in the store by scanning a QR code or visit online at home through a dedicated website. The collaboration also includes an array of products for sale, both physical and virtual.

The project is the latest example of how fashion companies and retailers are trying to bridge the divide between the real and digital worlds. Many brands are anticipating a future where they’ll meet more of their customers in video games and other virtual environments.

Selfridges, which has leaned heavily into creating engaging in-store experiences, is now looking to virtual ones as well.

“The whole theme of the project is merging the physical world and the digital world, and offering clients the choice to either buy the digital or the physical garment.” “That’s where the world is going now, where you have that choice of where you want to experience it.”

Where the collaboration comes to life is inside Electric/City. Cohen, who designed it with Ben Thompson, head of partnerships for the Charli Cohen brand, said the aim was to build it out like a video game, giving visitors the feeling they were travelling through and interacting with it.

“When somebody is wearing one of the garments, they scan the QR code and through Snapchat they’re able to activate this lens where Pikachu appears next to them in AR,” Cohen said, referring to augmented reality, which overlays computer-generated elements on the real world.

Anything that breaks the perception of realism, of this wow moment, it breaks the magic.”

F UT U R

E

This past year has been very tough and stressful on everyone, the pandemic brought many current issues to light including mental health. Being inside for so long has damaged our mental wellbeing and has resulted in feelings of loneliness, anxiety and fears of what the future may hold. With difficult times still ahead, self care and self development has become a daily, healthy habit of which many people are adopting into their lifestyle.

Whether that be taking some time out of your day to focus on meditation or journaling or even a spare hour to cleanse yourself. For example, adding a morning skincare routine into your daily activities will do wonders for your mental health.

W ELL N E SS NIKE SKINCARE MASK

As a society, we have all come to terms with the fact that the COVID-19 pandemic is here for the long run, therefore, our mission is to design with the future in mind. korean concept designer min chang kim visualizes a futuristic NIKE wellness and cosmetic product — an LED skincare mask. Kim brings life to the idea of a product combining elements of the skincare industry, with the sporty identity of NIKE. Unlike many of the emerging face mask and shield designs in response to COVID-19, this product provides a stylish experience. ‘From exercise to the post-excercise skincare process, I tried to reflect NIKE’s identity,’ explains kim. ‘Which emphasizes confidence, exercise, challenge and passion through this beauty device.’ Targeted to young adults in their 20s and 30s, the primary concept behind the design is to help users build confidence, a self-development routine and management in their everyday lives.

WHY?

FUTURE WELLNESS (BEAUTY) - NIKE SKINCARE MASK

LIFE O

MARS the Internet ‘is an alien life form’.

Bowie was an explorer of what it meant to be human. He took us places with his music and creativity. And he was curious and interested to find out how new technology would shape him and us.

It’s hard not to look around now at what’s happening – like when you get Instagram ads for things you looked at online two weeks ago – and not believe his prediction was almost too close to reality.

In David Bowie’s 2000 BBC interview with Jeremy Paxman, he basically predicts where we all find ourselves now. Talking about the impact the internet will have on music and society, Bowie remarks: “I don’t think we’ve even seen the tip of the iceberg. I think the potential of what the internet is going to do to society – both good and bad – is unimaginable. I think we’re actually on the cusp of something exhilarating and terrifying.”

Paxman, for his part, isn’t convinced, replying: “it’s just a tool, though, isn’t it?”.

“No it’s not”, responds Bowie. “It’s an alien life form. Is there Life on Mars? Yes, it’s just landed here.”

“I think we’re actually on the cusp of something exhilarating and terrifying.”

“a gloriously strange sci-fi anthem”

There are various theories explaining the meaning of Bowie’s most cryptic song; according to some, it’s about a girl. At the time, Bowie said: “I think she finds herself disappointed with reality... that although she’s living in the doldrums of reality, she’s being told that there’s a far greater life somewhere, and she’s bitterly disappointed that she doesn’t have access to it.” He later described her as an “anomic heroine” which means someone alienated, socially unstable, and distanced from their own society.

HOW WILL WE BE

LIVING IN THE FUTURE?

MAR

S

24 0

0

SpaceX founder Elon Musk has revealed his grand plan for establishing a human settlement on Mars.

In short, Musk thinks it’s possible to begin shuttling thousands of people between Earth and our smaller, redder neighbor sometime within the next decade or so. And not too long after that—perhaps 40 or a hundred years later, Mars could be home to a self-sustaining colony of a million people.

WHAT ARE WE WAITING FOR...

THE ANSWER DOESN’T HAVE TO BE INCONCLUSIVE. THE EPIDEMIC IS CHANGING US, WE ARE AWARE THAT OUR FUTURE IS INDEFINITE, BUT WE HAVE OPTIONS. WE ALWAYS HAVE OPTIONS!! WE ARE THE CREATORS OF AN UNKNOWN, FUTURISTIC UNIVERSE. IT’S UP TO US TO BE RESOURCEFUL, IT’S UP TO US TO FIND A WAY TO MAKE THE IMPOSSIBLE POSSIBLE. CLIMATE CHANGE WILL CONTINUE TO DESTROY, DEADLY VIRUSES WILL CONTINUE TO WREAK HAVOC TO OUR LIVES. IS THIS REASON ENOUGH TO WAKE UP TO LIFE, TO WAKE UP TO THE REALITY THAT OUR PLANET IS DYING.

“The future of humanity is fundamentally going to divide along one of two directions: Either we’re going to become a multiplanet species and a spacefaring civilization, or we’re going to be stuck on one planet until some eventual extinction event,” What resources will we need to sustain the conditions on Mars?

Landing is one thing. Thriving is another.

If you take a look at evolution on Earth, 99.9 percent of all life forms have gone extinct.

When things change, either you adapt or die.

That’s the law of Mother Nature. We face various hazards. First of all, we have self-inflicted problems like global warming, nuclear proliferation and bio-engineered germ warfare. Plus, Mother Nature has hurled at the Earth a number of extinction cycles. The dinosaurs, for example, didn’t have a space program. And that’s why the dinosaurs are not here today.

On the other hand, we shouldn’t use this as an excuse to pollute the Earth, or let global warming run wild. We need to fix these problems without having to leave for Mars or another planet, because it’s impossible to remove the entire population of Earth to Mars. We’re talking about an insurance policy—a backup plan in case something does happen to the Earth.

We have had three waves of scientific innovation.

The first wave was the industrial revolution e.g. The steam engine. The second wave was electricity e.g. TV, cars, space program. The third wave was technology e.g. computers and the internet. Now we have the fourth wave which makes up artificial intelligence and is going to change the way we view Mars. Many people say Mars is cold and desolate, and there’s nothing to grow there. We can genetically modify plants and algae to thrive in the Martian atmosphere. But who’s going to do the heavy lifting? We all would like to see futuristic cities on Mars, but robots are going to become much more adapted to working in these harsh environments by the end of this century, so we expect to see robotic construction workers building the fantastic domed cities you see in science fiction novels.

With the way technology is heading at the moment, inhabiting another planet in the not so distant future is not so much of a fantasy anymore. Everything in the world progresses and adapts. As mentioned before, dinosaurs were the only form of life centuries ago and they were eventually wiped off the face of the earth, therefore, it’s only a matter of time before the world decides that humans should follow the same path to make way for another species of life. If we leave it too late, there may well be an opportunity for global warming to destroy our planet.

If moving to another planet is going to be our best and only option, then we will have to start thinking about putting a plan into place as to how we can actually inhabit a planet that is currently nowhere near attainable for humans to set foot on.

OUR

PLANET

IS

DYING

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Image References FIGURE 1: https://pin.it/30OkMoz FIGURE 2: https://www.nicolasritter.com/MARS FIGURE 3: https://www.123rf.com/photo_147990535_stock-vector-realistic-ripped-adhesive-tape-for-fix-beige-orbrown-torn-piece-of-masking-tape-isolated-realistic-.html FIGURE 4: https://schonmagazine.com/away-to-mars/ FIGURE 5: https://www.hungertv.com/feature/five-emerging-fashion-photographers-you-need-to-follow-in-2018/attachment/fashion-photographers/ FIGURE 6: https://www.anothermag.com/fashion-beauty/9306/paco-rabannes-space-age-go-go-boots FIGURE 7: https://www.crfashionbook.com/fashion/a25351689/julien-dossena-paco-rabanne-fashion-profile/ FIGURE 8: https://edition.cnn.com/style/article/space-age-fashion-scn/index.html FIGURE 9: http://www.theblogazine.com/2013/09/the-space-age/ FIGURE 10: https://www.vogue.com/article/trends-paco-rabanne-fall-2017-ready-to-wear FIGURE 11: https://medium.com/@adititalreja/space-age-era-of-1960s-d673b2ed6333 FIGURE 12: https://www.bocadolobo.com/blog/architecture/sneak-peak-inside-striking-pierre-cardins-palais-bulles/ FIGURE 13: https://www.theothersight.com/pierre-cardin-le-design-l-art-et-la-mode/?lang=en FIGURE 14: https://www.wsj.com/articles/the-retro-future-planet-of-pierre-cardin-11564670527

FIGURE 15: https://www.voguebusiness.com/technology/these-platforms-want-to-be-the-farfetch-of-digital-fashion FIGURE 16: https://www.conten.tech/post/fashion-digital-auroboros FIGURE 17: https://thesmartfashion.com/valentines-day-gift-guide-the-best-of-digital-fashion-forbes/ FIGURE 18: https://www.dazeddigital.com/fashion/article/54124/1/aoc-made-a-literal-statement-with-her-tax-therich-met-gala-ball-gown FIGURE 19: https://pin.it/1cWPc5B FIGURE 20: https://ew.com/tv/2017/12/29/black-mirror-crocodile-interview/ FIGURE 21: https://i-d.vice.com/en_uk/article/wxq8d4/investigating-the-masks-of-the-future FIGURE 22: https://www.kapruka.com/shops/deliveryProductPreview.jsp?id=elec00A2793 FIGURE 23: https://unsplash.com/s/photos/mask FIGURE 24: https://www.medicalnewstoday.com/articles/why-might-face-masks-reduce-covid-19-severity FIGURE 25: https://www.pikist.com/free-photo-szwjj FIGURE 26: https://www.news-medical.net/news/20200810/Scientists-reveal-the-best-and-worst-face-masks-to-usefor-COVID-19-protection.aspx FIGURE 27: https://1000logos.net/forbes-logo/ FIGURE 28: https://www.ethereallondon.com/2020/10/28/ethereal-x-by-rotation/ FIGURE 29: https://www.byrotation.com/how-it-works

FIGURE 30: https://www.byrotation.com/ FIGURE 31: https://www.elle.com/fashion/a33636970/copenhagen-fashion-week-spring-2021/ FIGURE 32: https://www.anothermag.com/fashion-beauty/13627/at-rick-owens-a-beautiful-marriage-of-strength-andfragility FIGURE 33: https://graziamagazine.com/articles/rick-owens-spring-summer-2022/ FIGURE 34: https://www.lsnglobal.com/fashion/article/25476/the-fabricant-gives-access-to-digital-couture FIGURE 35: https://www.showstudio.com/news/institute-of-digital-fashion-and-machine-a-take-fashion-retail-intothe-future FIGURE 36: https://www.businessoffashion.com/articles/technology/how-selfridges-is-bringing-virtual-fashion-to-physical-stores FIGURE 37: https://www.designboom.com/design/futuristc-nike-skin-care-led-mask-encourages-self-development-04-19-2020/ FIGURE 38: https://www.designboom.com/design/futuristc-nike-skin-care-led-mask-encourages-self-development-04-19-2020/ FIGURE 39: https://www.octopussgarden.es/product/david-bowie-ziggy-stardust-t-shirt/ FIGURE 40: https://www.pinterest.co.uk/pin/355784439284921497/ FIGURE 41: https://www.musicmusingsandsuch.com/musicmusingsandsuch/2018/1/21/feature-life-on-mars-will-weever-see-another-icon-like-david-bowie