VOYAGER ; RCA 21 F A S H I O N +++

When we arrive in the world: we transform through sound.

We cry A (our) call;.

That is our trumpet.

NOW is FOREVER - MAXSHO

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F21 VOYAGER

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FOREWORD 3

ZB FOREWORD

PER ASPERA AD ASTRA “success requires the overcoming of obstacles.”

In 1977 a golden record was created, pressed that contained views about our culture, us within our planet, of that moment... a universal offering. A message flying now in the Kuiper Belt, 14, 900,000,000 km away from earth. But that was supposedly representing all of us and yet, there were some mistakes. One example is that we are not a binary system as humans we are they. We are 112 including 29 sexualities… *

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Sissel Karneskog MA 20 RCA, Gender 112,- the other 110 + 29 sexualtiies.

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Today we send out our VOYAGER, that might not be gold in material or look but it shines... it shines bright. offering voices that cry and call out- for today, from today- to be read, listened to, learnt from and shared on. This book shows what this emerging community say today about their identity, through their voices and their communities.

This is also our gift of thanks especially to those who came through on Solstice June 20th 2021 to meet the MA Fashion students from the RCA to listen to them present their work and start a conversation with them.

Within VOYAGER you will find the first visual chapter is ‘Mirror Mirror’. MM is an intense one-week exploration that each student takes on, as they start their final year with the simple question - Who are you? It often seems to have resonance and shows an intuitive instinctive moment of what they then go on to express more fully. This seems relevant to VOYAGER – as, is that not what we said back in 1977? – This is who WE are. Who are YOU? 5

So as we forge fwd into the next couple of decades discussing, creating and hopefully governing a new meta-verse…’who we are’… will become so crucial and not just who we are but how we carefully protect, beautifully construct and possess the new land of the bits that don’t just mirror the atoms but have the potential to extend us.

Pulling back in time to this moment now today we have this array of expressions that belong to this planet and with a due respect that we belong and must cherish what we have responsibility too.

The MA21 are a group of defenders, leaders and magical thinkers.

They are FASHION, they guide our future, they are community, they are identity they care for others, they dress others, they resonate, they be come, they push away the sky, they build a plan for tomorrow, they change our behaviours… they yearn for each other again.

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Edwina Erhmann Erdem Evgeny Svyatsky Faustine Steinmetz Fengyi Tan Fernando Magalhaes Fiona Raby Frederique Thiollet Grace Wales Bonner Hamish Wirgman Hannah Marshall Heikki Salonen Helen Kirkum Hurtence Jack Self of Real Review Jae Hyuk Lim Jenny Fax Jeppe Ugelvig Jesse Kanda Jessica Smarsch Jing Wei of Oude Waag

Solstice guests we would like to thank: AES+F Alex Box Alexandra Gordienko of Marfa Alexandra Von Fuerst Andrey Bartenev Ania Martchenko Anna Gloria Flores / Hydra Arcin Sagdic Ariana Sheehan of Aro Archive Arlette Bishi Cg Watkins Charlie Le Mindu Charlotte Knowles & Alexandre Arsenault Clara Chu Daisy Ginsberg Dora Szilagyi of Adidas 7

Oriolle Cullen Orsula Castro Per Gottesson Petra Ptackova Raj Mistry of Nike RedBlack Rick Farin & Claire Cochran Sallyann Houghton of Epic Samuel & Erik of Samuel Gui Yang Sasha Froloova Shalva Nikvashvili Shelley Fox Tatiana Arzamasova Tati Cotliar of Buffalo Zine Turkino Faso ( Kati ) Viktoria Modesta Yoshukpui Bobby

Joseph Delaney of Aro Archive Kei Kagami Lara Jensen Larence Lek of Sinofurturism Lev Evzovich Lucy Barlow Magnhild Kennedy Damselfrau Maika Takeda Maria Bacete Arroyo Marie Lueder Marie Maisoneuve of Congregation Marieyat Marili Andre Marloes Boehmer Mary Rozzi + Siobhan Lyons of The September Issues Moon Natacha Voranger Nhu Xuan Hua 8

Solstice MC.s we couldn’t do without:

Solstice commander of all :

Benjamin John-Hall Harris Elliott Jennifer Richards Joe Richards Louis Alderson-Bythell Masha Mombelli Matthew Miller Silvia Bombardini Tristan Webber

Masha Mombelli

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Emerging from the cracks of an eggshell the door creaks open rebirth of the the ego thank you for being fucking sensitive - Anna Deller-Yee

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F21 VOYAGER

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CONTENTS 11

F21 VOYAGER +++

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Part 1 Metaverse

Text PP. 017-126

Part 2 Metaview

Mirror Mirror PP. 129-330

Part 3 Microview

Work PP. 333-900

Part 4 Macroview

Biographies & Image Index PP. 903-944

Colophon

Credits & Thanks PP. 957-960

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TEXTS

PART 1 17

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let the power be seen - Qiuyun Li MA RCA Fashion 21

Voyager

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Aurélie Fontan Endangered Humans

When I reminisce about my personal creole ancestry and what it means to originate from a minuscule island, the notion of autarky comes to my mind.

Insular populations and ecosystems are amongst the most isolated and interesting biomes, and their history is often marked by a form of colonialism. In the 17th century, the Dodo was a flightless bird that lived on the island of Mauritius. With no predator remaining on the island, the Dodo had evolved in a regressive way to become unequipped for survival.

When Mauritius was discovered, and non-native species introduced by sailors, the bird disappeared in one of the quickest mass extinctions the world has ever known, through hunting, deforestation and non-indigenous species competition. The autarkic behaviour of some environments is an example of the incredible fragility that symbiotic relationships, if they are severed, can cause beyond the extinction of one single species.

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Biodiversity decline and landscape destruction is the direct consequence of what could be labelled as ecological colonisation. Exploitation of resources and living organisms is conducted for the benefits of our industries and consumerist society. This has been a point of focus for a few decades now, with alarming reports of incredible loss of species in all branches of the animal kingdom, with specific focus on large mammals and fish. The tragedy originates from the loss occurring at both ends of the spectrum - whether it is the apex predator or the “micro-food” - both are intricately linked and one cannot survive without the other. What we fail to realize is that biodiversity does not matter as much for its own sake than for us humans. If we came to become extinct, no doubt the planet would survive us by far, as life always finds a way. The realization that biodiversity decline is prone to make us endangered humans is perhaps too hard to contemplate while we establish an omnipotent dominion over every available earthly ecosystem, fueled by a God complex. We often like to close our eyes when it comes to our obvious reliance and codependency to the natural world.

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The issues are sometimes too intricate to even begin to think of a solution. A new generation of designers whose practice surrounds bio-fabrication and biodesign is trying to solve this material crisis - replacing furs, leathers and plastics with biomaterials grown from microorganisms. This new discipline establishes a better understanding of nature and its ecosystems, to find new systems and methods of fabrication that would have minimal impacts on the planet’s resources and biomes.

However, new biological futures are suggesting new ethics concerns. Once again we are approaching life forms with our own industrial and commercial agendas. The selection of target species calls being mass-produced for their specific characteristics and genetic manipulation raises a new set of ethical concerns as for the justification of such practices. How do we choose, single out and isolate organisms and process them to the desired outcome ? Is it about directed growth or free agency ? Is this all not just another utilitarian approach of biology?

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Fashion is this intrinsically anthropocentric design discipline - built around the human body for the body’s comfort and individual aesthetic. As a fashion and biodesigner I find myself living a permanent paradox. On one hand my discipline revolves around human desires, needs, expectations and social constructions, while on the other I explore what other forms of life can yield in terms of design outcomes. I feel sometimes that it creates a certain conflict of interest, where my client is both human and non-human. My reflections on the conflict between fashion and biodiversity brought me to focus on the potential for a symbiotic relationship between the two. I have come to realise that our notion of care for biodiversity needs to go beyond the simple rescue and preservation we pride ourselves on : it is a matter of pure survival. It is necessary to shift our mindset of an ‘us’ versus a ‘them’ (non-humans), to understand that ‘they’ could eventually outlast us. This renewed symbiotic totemism means mutually beneficial relationships where ‘they’ are being understood from a non anthropocentric point of view. How we can achieve this could only sit in a holistic framework and 24

observation of these non-humans, to fully understand their place in the relentless cycle of life so we can finally reach an interspecies equilibrium and perhaps prevent any opportunity for the story of the dodo to become our modern reality.

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Anne Ferial Personal Exogenesis

My personal journey starts in July 2018: I had an undiagnosed heart condition, discovered because a blood clot traveled to my brain.

Sudden collapse, intense pain.

“But I’m only 21, so it’s probably not that serious, right?” I ask myself, as I take 800mg of Ibuprofen and lie down on the couch for a quick power nap.

The nap lasted 3 hours and resulted in me getting rushed to the hospital. From this episode, my entire outlook on how I was leading my life changed, time became precious, family and people even more so. Life became fast paced, trivial things stopped mattering, I was launched into another life — and I started to understand the fact that there was an era before the stroke, and a new cycle had started.

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It took me a while to process what had happened and to mourn my past self.

Had I waited just a little longer before calling for help, I would have assuredly suffered from irreversible brain damage. Luckily, I was not affected by long term physical impairments, but I became conscious of how my time was spent and uneasy about how my life had changed so abruptly, forever.

What happens when you go through a traumatic brain injury like a stroke? Unlike other long-term illnesses, brain damage from stroke or from an accident happens abruptly. One moment you are seemingly perfectly healthy, and the next your whole life is turned around.

Brain damage often results in reduced or impaired motor functions. It can make you disabled and the psychological impact stemming from traumatic brain injury can be tremendous.

“This is a story with a beginning, and a very long middle, and it will have an end. The story will have 28

an end, the experience probably won’t” said Lotje Sodderland, about her experience as a stroke survivor. Just like it did for me, her entire life became focused on adjusting to a new way of living.

I believe acquired brain injury means living in an acquired new world, but what does this acquired new world contain? When you lose a part of yourself, how do you redefine who you are? How does design accommodate people who have reduced abilities, and what role can design have in this quest of managing a new identity?

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Annie Mackinnon Pixel Sea

An excerpt taken from ‘Biting on the Same Tail’: an essay that imagines motifs through which to explore the intertwining of technologies and ecologies ~splash~ we diffuse into the terrain of the pixel sea a semiotic semblance of water in the material pixel of web.

The pixel sea mutates, shapeshifting as it circulates, precipitating and evaporating between pixel sea and internet cloud. The pixel sea circulates not only social memory and thought, but also disinformation and violence.

The pixel sea is an ebbing social form, an emblem of a swarm— yet the pixel sea is a site that continually disembodies: dividing, expanding humans into infinite sets of data points, the data points that stand as proxy for a life.

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Just as mining powers attempt to mine the deep sea floor, the pixel sea is mined for behavioural data.

As trans-corporeality blurs the boundaries of membranes, where leaky chemicals make micro biomes geographies of exchange, The pixel sea too, makes for a leaky geography: a constant flux between life, non-life, rare earths and self-learning machines.

And just as fish consume the detritus of micro plastic, we consume the world through pixels. Yet the materiality of the internet is obscured in metaphor: evoking something seamless, ephemeral. But power is hidden and insidious, under seas and clouds.

Rhizomatic Systems and Environmental Metaphor Web, cloud, rhizome, pixel sea — different metaphors for the internet which are evocative of collaborative free flow. Although being terrains of in-between, through metaphor the internet becomes rooted in ecological systems: social geographies imposed and imagined onto physical landscape. Where does this tendency to make 32

ecological, the cybernetic organisms that subsume the planet arise?

The artist Gary Zhexi Zhang writes that within calls to think more ‘ecosystemically’ exists a seduction of systems. This is observable both in utopian frameworks which seek to understand the myriad complex systems that shape our world, and in inspiration for systems that are reductive and exhort control. Zhang writes of how systems thinking directly stems from attempts to rationalise Nature: Norbert Wiener who is considered an originator of cybernetics, took influence from the complex organisation and structuring of natural systems; Howard Odum who pioneered the field of systems ecology blended ‘analysis of pine forests, atmospheric gas cycles, and socioeconomic systems’ into an ‘energy circuit language’ which quantified ‘ecosystemic complexes’ into the language of electronics and engineering.1 While environmental systems 01. Gary Zhexi Zhang, ‘Systems Seduction’ in Resisting Reduction: Designing Our Complex Future With Machines, ed. by Joichi Ito (Massachusetts: MIT Press: 2019) p.147-148.

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bleed influence into cybernetic ones, unlike the regenerative biological exchanges that form the world’s ecosystems, the technologies that grow out of cybernetics and systems theory are not ones designed for mutually beneficial symbiosis, but ones designed for corporate governance.

From this line of systems thinking and cybernetics, precursors to the internet and AI were born: technologies that now entangle with, are shaped by and shape politics, capitalism and the biosphere.

These swarms of connective systems alter our physical geographies, as machines become alive, interacting with humans through networks, evoking a globalised centre of connection. Control in this space is an indeterminate combination of computer systems, nature, communication systems, governed by opaque powers in ways we cannot fully be conscious of, because they have been designed explicitly so. It is not the technology itself which determines how power and control can be made invisible, but the encoded incentives of those in power: a mirror of social disparities.

Beyond envisioning machines as living entities that disrupt social geographies, philosopher Yuk Hui 34

states that they quite literally are the geographies we inhabit: “what we are witnessing today is a shift from the organised inorganic to the organising inorganic, meaning that machines are no longer simply tools or instruments but rather gigantic organisms in which we live”.2 Passing this off as an unavoidable consequence of systems design would be hugely reductionist, knowing that technologies enact the interests of elite technocrats. As communities from human to non-human dissolve into mass metaphors of the pixel sea, webs and clouds, super-connectivity evokes the image of free-flow, decentralised information share and infinite possibility, yet power is not distributed evenly as these metaphors evoke.

From Metaphor to Fossil to Extractive Future In Elizabeth Povinelli’s ‘Geontologies’, she envisions a 02. Yuk Hui, Recursivity and Contingency, (London: Rowman & Littlefield, 2019) p.28.

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Desert as a figure that represents the relationship between biopolitics, power structures and the landscape imaginary. Povinelli defines ‘Geontopower’ as a ‘set of discourse, affects and tactics used in late liberalism to maintain or shape the coming relationship of the distinction between Life and Nonlife’.3 Noting the way humans have been centred as the dominant protagonists against the ‘other biological, meteorological and geological actors’ in the often contested concept of the ‘Anthropocene’, she notes that from a geological perspective, it was in fact the so called ‘Nonlife’ from which ‘Life’ on Earth began.

This ‘Life’ now threatens itself to extinction, a return to lifelessness: ‘the Human, the Nonhuman, the Dead, the Never Alive […] act out a specific drama: the end of humans excites an anxiety about the end of Life and the end of Life excites an anxiety about the transformation of the blue orb into the red planet, Earth becoming Mars’.4 Like the race to Mars that embodies both fear of total environmental 03. Elizabeth Povinelli, Geontologies: A Requiem to Late Liberalism (Durham: Duke University Press, 2016) p. 4.

04. Povinelli p.12.

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collapse on Earth, as well as a problematic techno-utopian site for terraforming, the Geontology Desert fluctuates between life and non-life: the possibility that Life is always at threat from the creeping, desiccating sands of Nonlife. The Desert is the space where life was, is not now, but could be if knowledges, techniques and resources were properly managed’.5 Deserts like fossils act as reminders of life and loss. Fossil fuel extractivism, to current fears of becoming a fossil lay the grounds for ‘contemporary, hypermodern, informationalized capital —and a new form of mass death and utter extinction’ which ‘calls for a capital or technological fix to anthropogenic climate change’.6 As techno-utopianism, and innovation centric views of history are reliant on finding problems to solve, the narrative of supposed oncoming terrestrial hostility both motivates and legitimises searches for techno-fixes and escapism to Mars.

The pixel sea and internet cloud are likewise spaces in flux between life and non-life, rife with 05. Povinelli p16.

06. Povinelli p.17.

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technical behavioural fossils: code and search histories, the human data that is now mined for profit under surveillance capitalism. How many times have we heard the saying: ’data is the new oil’?

Unlike fossil fuel reserves, data is not only mined, but actively manufactured through the design of tracking and surveilling digital systems. Though the ‘cloud’ and the ‘pixel sea’ obliterate the materiality of the internet, perhaps they mirror the same fate of control, manipulation and extraction that the sea and clouds do? From weather manipulation tactics of cloud seeding, to geo-engineering oceans into reflective mirrors that bounce back heat, re-engineering with unknown consequences takes place under the claim of climate control.

Resisting Homogenisation, a Crisis of Narrative As we’ve seen, metaphor and technologic seduction mask and obscure the physicality of the internet— an act of homogenisation that evokes something ephemeral, equal. The reductive naming of contemporary crises often produces critique.

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For example, the term Anthropocene, which suggests an era of geological time defined by humans’ destructive activities, has been hugely contested for placing the blame of climate change equally on all humans when it is clear a small percentage of the human population is largely responsible. Identifying climate change, colonisation, extractive capitalism, and species extinction as the same global ordering, Jairus Victor Grove names this crisis the ‘Eurocene’.

To put it another way, quoting Malm and the Zetkin collective: ‘Europe is the continent that gifted the world with both the fossil economy and fascism’.7 Reckoning with the flattening anthropocentric narrative of climate change and holding accountable the powers that have produced ‘the unfortunate historical generality of the Anthropocene,’8 Grove claims is vital in moving towards any form of climate justice. He writes: ‘The continuing project of Europeanisation led by US Imperial power, is central to how the planet got to this point. Understanding this 08. Jairus Victor Grove, Savage Ecology: War and Geopolitics at the End of the World (Durham: Duke University Press, 2019) p.40.

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is essential for how any “we” worthy of the plurality of the planet can invent something less nasty and brutish than what currently counts as global order’9.

The Eurocene as both a geological history and geopolitical domination is a huge obstacle blocking routes to plural futures.

Can the metaphor of clouds and seas be re-tooled towards new perceptions of technologies? Seas and clouds might evoke ephemerality, but they also carry cultural heaviness: think of pathetic fallacies which tie rain, stormy seas and dark heavy clouds to emotions, hauntings, mushroom clouds. To narratives of futurity defined by technologies, the forces of weather entail not just heavy emotion, but can be geographies of retaliation, if we consider the looming threat of materiality and moisture. Grove writes: “the third and fourth industrial revolutions depend on sterile labs and rare earth minerals, which when assembled for computation are fatally allergic to heat and water, 09. Grove, p.40.

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and entirely depend on sterile labs and luxurious amounts of electricity. In a world that is getting hotter and wetter, and where energy is scarce, one would hope that other technologies as well as other life forms are possible.”10 Under the homogenisation that unfolds through technology, physical seas, clouds and dust serve as active disruptors and reminders that technologies are not invincible in face of water systems. Through the poetics of the clouds, seas and water cycles which transport elements to the atmosphere without the hard technologies of planes and rockets, perhaps we can find some elements of Ursula Le Guin’s call in The Carrier Bag Theory of Fiction. Le Guin’s essay states ‘if science fiction is the mythology of modern technology, then its myth is tragic’ (1986), and instead argues towards an understanding of technology that is more ‘cultural carrier bag rather than weapon of domination,’ 10. Grove, p.223

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recognising the sacks, bags, vessels, and carriers of both stories and sustenance are ‘technologies’ and are ones that have brought forth more progress than patriarchal centred tales of spear throwing and conflict. Technological progress under a normative patriarchal definition does not directly lead to social progress, but through de-leveraging the utopian false promises of human-made technology we might see how cycles of water, seas and clouds are just as important ‘technologies’, and ones that carry sustenance and stories through pasts and into futures.

To biologise machines makes it too easy for capitalism to green-wash and tech-wash through metaphor, the destructive systems it produces. To make machines ecosystemically is not a clearcut route for environmental regeneration, as the project of cybernetics was always a form of biomimicry: anthropocentric and masked in metaphor.

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Daisy Suhwoo Park 박서우 The Misplaced.

I was a witness of incidents that had victims but no offenders.

Often I was confused, often I ran away.

Now in 2021 I only realized that I could no longer flee from this series of devastation.

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During the pandemic, numerous individuals faced the crisis of ‘survival’. Survival from disease, survival for financial livelihood, survival of relationships that could no longer be in the flesh. What was equally urgent for me was the matter of survival as an Asian woman, whether I was in the UK or South Korea. It seemed as if Covid19 occurred just on time to become an excuse for explicitly expressing Asian hate out on the streets, for racists who obviously existed since a long time ago. No matter in which country I was located, being an Asian woman, I felt like I was right in the intersection of all forms of hatred. I felt misplaced in whatever society.

Remotely studying from Korea only reminded me that I could not be free from these racism nor misogyny even during lockdowns, even with no physical contact with others. Simply reading the daily articles, I saw an astonishing number of misogynistic crimes and murders, not to mention misogynistic remarks in everyday life that would never make it to be on the news disguised as jokes. As much as the body contains the mind, it is natural that our mind is not intact when we receive verbal attacks about our looks.

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In my work as a masters in fashion womenswear 2021, I gathered the voices of Korea, China, US, UK, Germany, Poland and more. I found empowerment in nature, flower blooms, and the human body. Not female as a metaphoric flower of decorative beauty and passivity, but flower of voice, power and purposeful life.

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Dimitris Karagiannakis

“Nothing is connected to everything, everything is connected to something”; An endless web of collective thinking My worldview is shaped by my experience of queerness that rejects hegemonic heteronormativity. As LGBTQIA+ people, we are automatically placed in a category. This category precipitates the formation of familial bonds beyond genetics. It is this understanding and accepting of ‘Otherness’ that culminates in rich collective political action, which stands in stark contrast to the politics of patriarchal exclusion.

Donna Haraway’s concept of ‘Tentacular Thinking’; The transcending of binary modes of thought through diverse networks, is the framework through which I examine the Greek myth of Arachne, the first spider. Once a great weaver, she was punished

by Minerva for speaking against the gods, who 49

represent a system of patriarchal oppression familiar to us to this day. For this work, I am reimagining Arachne as an early feminist who knows her role in society and the power in her craft; amalgamating the physicality of her metamorphosis with the subversive image of the queer body as a starting point for my designs. Here, the queer body becomes a subversive political entity that fluctuates between human and machine, person and animal, reality and fiction, mortal and divine, mainstream and underground.

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Emma Blythe Excerpts from “Fash-ioning Acts of Masculinity

...From my readings it became about why menswear design as a whole felt so massively underdeveloped in comparison to women’s. The feminist movement as understood en masse largely leaves behind the discussion of boys and men. Feminist theory has been discussed and theorized for decades now, but masculinity hasn’t really evolved.1 To adjust the whole you cannot only attend to one part. The entire scale needs to be reset accordingly.

To me it seemed the feminist movement was doing a lovely job of increasing female autonomy and empowerment, but it seemed imperative we also decrease male aggression and self superiority.

If we aim to redefine any part of gender we must redefine all of it.

01. Corbett, Ken. Boyhoods: Rethinking Masculinities.

Yale University Press, 2009.

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To clarify, the reference of gender in this context does not refer to anatomical sex. For the purpose of this discussion gender refers more to the performed gender or gender norm. ““One is not born, but rather becomes, a woman”2 Simone de Beauvoir’s The Second Sex is a commonly quoted piece of writing within feminist theory. It also provides a useful reference within the discussion of any gender, including the development of masculinity as we know it. Being a man can no longer be “reduced simply to being male” but instead must be seen as “a political act that hinges on one’s ability to successfully complete masculine dramaturgical performances”.3 These performances are what is now being called into question with topics such as toxic or fragile masculinity, alongside the political, social, and artistic practices that have allowed them to persist.

Again, to clarify, this is not to say that being male is inherently problematic. It is the construction of 54

hegemonic masculinity that has taken over and created the gender hierarchy which feeds into social and cultural hierarchy that I am aiming to dismantle and disrupt.

02. Beauvoir, Simone de. The Second Sex. New York: Vintage Books 1989, c1952. Print.

03. Corbett, Ken. Boyhoods: Rethinking Masculinities. Yale University Press, 2009.

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––– Hegemonic Masculinity ▶ A Concept 1.

A culturally idealized form, [that] is both a personal and a collective project, and is the common sense about breadwinning and manhood. It is exclusive, anxiety provoking, internally and hierarchically differentiated, brutal, and violent… It is a lived experience, and an economic and cultural force, and dependant on social arrangements [and] it is constructed through difficult negotiation over a lifetime. 4

2.

A collection of values and beliefs that supports men’s superiority and embeds itself within social structures. 5

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Hegemonic masculinity, as a male gender norm, exists as a link of communication between men and positions of power, and can only continue as men continue to act it out. These positions of power, and their functioning institutions glorify hyper masculinity shown through violence, sexual prowess, and an athletic body in order to subordinate women and maintain the social and political upper hand. This subordination of women is the basis of the creation of “gendered bodies”- feminine women and masculine men.6 As these norms would have it, they could be boiled down to simple pairings like thinking and physicality to male, and emotion and feeling to female.

This is a dangerous simplicity that ends up leaving a painfully structured expectation in regards to the performance and behaviours of boys and men. The World Health Organization in an executive summary of gender and mental health explains how gender plays a vital role in men’s and women’s susceptibility to mental health risks, and how it can vastly influence the outcome of mental health issues.7 57

As gender norms shape the idea of certain physical and emotional attributes to be male or female, the ability for gendered bodies to seek the same amount of support for mental health is no longer equal. It has been shown time and time again that loneliness, suicide, mass violence and sexual aggression are all products of a clash between boys emotional nature and patriarchal culture. When looking over his decades of research on young boys and men, Niobe Way pulls forward experts from interviews to better illustrate the inner tension boys face as they enter adolescence and manhood. One young boy suggests it would be better to be a girl because then he “wouldn’t have to be emotionless”, and with many of the boys interviewed regarding basic capacities and desires to have relationships and friendships as “girly” or “gay” it isn’t hard to understand why.8 It is important to note that these boys did not always feel this way. When interviewed at early adolescence, the boys were very open to male-to-male friendship and dependence. Speaking of the love they have for their friends as “deep” and “close”, 58

and expressing the absolute necessity of those friendships, the boys openly express that what they most need is to be emotionally intimate with their male friends.9 The male aversion to interdependence is what makes male mental health issues so deadly to both men and women. While more women suffer from depression globally, men with depression are more likely than women to build alcohol abuse habits, and are far more likely than women to have antisocial personality disorders.10 The bulk of this research all agrees to the same point. Hegemonic masculinity has built gender norms in such a way that the only way to be a successful man is to demonstrate aggression, authority, and autonomy, and preserve superiority at all costs. In order to attack this, we must first stop giving cure human qualities and capacities a gender and sexuality. If we can free boys and men from this absurd social tightrope, we would, in effect, free all gendered bodies as a whole. In recent years, as social discourse has begun to involve these topics, 59

acceptance of the “feminine man” has been seen as a slight feminist win. He’s not the toxic “macho man”, so he must be better. This idea of the feminine man, however, still includes an othering, which enforces masculinity back.11 This normative masculinity cages “melancholic monsters” within the scope of boys, breeding anger not just in heteronormative men, but in othered and secluded men as well, harming everyone...

04. Donnaldson, Mike. “What is Hegemonic Masculinity?” Theory and Society, vol.

22 no. 5, Oct. 1993, pp 643-57. Doi.org (Crossref), doi: 10.1007/BF00993540.

05. Eisen, Daniel B., and Liann Yamashita. “Borrowing from Femininity: The Caring Man, Hybrid Masculinities, and Maintaining Male Dominance.” Men and Masculinities, vol. 22, no. 5, Dec. 2019, pp. 801– 20. DOI.org (Crossref), doi:10.1177/1097184X17728552.

06. Butler, Judith. Undoing Gender. Routledge, 2004.

07. World Health Organization Executive Summary. “Gender Disparities in Mental Health”

08. Way, Niobe. “Reimagining Boys in the 21st Century.” Men and Masculinities, vol. 22, no. 5, Dec. 2019, pp. 926– 29. DOI. org (Crossref), doi:10.1177/1097184X1987 5170 09. Way, Niobe. “Reimagining Boys in the 21st Century.” Men and Masculinities, vol. 22, no. 5, Dec. 2019, pp. 926– 29. DOI. org (Crossref), doi:10.1177/1097184X1987 5170.

10. World Health Organization Executive Summary. “Gender Disparities in Mental Health” 11. Corbett, Ken. Boyhoods: Rethinking Masculinities. Yale gUniversity Press, 2009.

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––– A historic and cultural framework is key to understanding clothing and fashion at any given time.

Likewise, in order to understand gender as a historic category, we first must understand that it is open to a continual remaking, and is not without cultural framing.12 This cultural framing is oriented along the notion of public memory as a “current of collective thought”.13

12. Butler, Judith. Undoing Gender. Routledge, 2004.

13. Rubinstein, Ruth P. Dress Codes: Meanings and Messages in American Culture.

2nd ed, Westview Press, 2001.

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––– History informs history. The existence of radically different interpretations of the same objects throughout history proves how visual objects are dependent upon the viewer for meaning. These interpretations say more about the society of the viewer than it does about the society of the object being interpreted. Likewise, the meanings given to certain objects can easily become arbitrary when taken out of context.14 Across history, hegemonic masculinity has been able to play both speaker and interpreter. It both sets up civilizations, and then decades later is the filter through which that civilization is studied and explained, enhancing it’s voice when dictating the next.

“We have simply adhered to the dichotomous structures already established by elite western males since the time of Descartes”15

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Even gender study itself has historically been discussed and monopolized by white men.

We need to provide radical alternative viewpoints and filters in order to reclaim the body and rework the gender Matrix. The objects need to change.

The people need to change. The interpreters need to change…

14. Rautman, Alison E., editor. Reading the Body: Representations and Remains in the Archaeological Record. University of Pennsylvania Press, 2000.

15. Rautman, Alison E., editor. Reading the Body: Representations and Remains in the Archaeological Record. University of Pennsylvania Press, 2000.

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––– ...This is the springboard from which I begin my argument for fashion as a useful medium in which to challenge traditional masculine performance.

Objects are consumed over time, not simply when we purchase or acquire them. These objects can overtime begin to shift user behaviours, intentionally or not. Material consumption is driven by complex motivations, both internal and external and helps us align more closely with a desired version of self. Our clothing no longer simply serves the function of just protecting us from harsh climates, and isn’t even that useful in distinguishing class structure or identification anymore. Especially in western culture, fashion serves as a way of reinventing ourselves via visual cues and symbols, in order to bring us closer to the “me” each person aims to be seen as.

Appearance and identity is augmented past just the human body.16 16. Rubinstein, Ruth P. Dress Codes: Meanings And Messages in AmericanCulture.

2nd ed, Westview Press, 2001.

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––– As a designer, my goal is to defictionize a matrix-free society, and suggest one that is liberated, more empathetic and more communicative. A lot of this relies heavily on reigning cis-male behavior.

Human beings have an innate desire to stick together and function communally. Chapman describes this as “flocking behavior”.17 By influencing one you can influence the many. If I can influence one man’s behavior, even minimally, the change can carry. Today we are lucky to see a current of discourse that is opening up feminist conversation to include the roles of men. However at the moment, men still protect the patriarchal dividend with only slight moments of change, and minimal trade offs. It is not enough.

A change in gender requires a change in everything from the work place, to the home, to sex and rhetoric. It requires a change of consciousness that actively dismantles the gender matrix we have lived 65

within for centuries. Fashion cannot do all the work, but it is a key part of a system of civilization that can be reworked to influence one way or the other. “(Designers) need to provide a rich critique of our present situation through objects that deliver alternative values to enable the exploration of numerous alternate realities” 18 –––

17. Chapman,Jonathan. EmotionallyDurable Design: Objects,Experiences, and Empathy. Earthscan,2005.

18. Chapman, Jonathan. Emotionally Durable Design: Objects, Experiences, and Empathy. Earthscan, 2005.

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Symbiotic Design < female identity coded with care >

by Jessica Bachmann

Creator of digital sound garments. Experiencing the physicalness and tangibility of female identity and emotions in fashion as NFT.

Content: The development of a sustainable fashion system against the preconceptions of fashion.

The visualisation of female anger leads to the creation of a genuine female identity representation in womenswear and empowerment.

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Anger & Information Evolving female identity When I started to develop my work and design process, I initially created content by investigating female rage through synesthesia (by listening to aggressive music and active painting in a virtual space), which was for me a direct translation of my anger. I worked with image references of my own body shape as a source to portray an image of the ‘monstrous feminine’ that goes against commonly accepted body shapes that are ‘appropriate’. By tying my body into distorted forms and positions, this approach resulted early on in visual female identity stereotypes (a direct translation to make the ugly “monster” beautiful) and I had to question and reflect my intentions towards my communication and my understanding of female identity.

To create an effective design approach for evolving and evolved visual female identity, that would resonate with my feminist beliefs, I had to change my perception of anger as such and understand it as a forward-looking emotion. I had to evaluate the information this emotion conceals and investigate 70

where it came from, by understanding it and making it useful. What helped me in understanding the truth and meaning of female anger, was my female community. I reached out and interviewed a range of women to understand the perception they have about themselves; understand the perception their surroundings have towards them and to understand their individual hopes and dreams towards how they want to be perceived by society. Many of these women struggle with being perceived as ‘one thing’ and they clash with society’s preconceptions when they live the many parts of their identities and characters they individually have. There is a strong desire of belonging and the desire to exist outside of the bubble many women are positioned in.

Do women exist?

As a result of interviews with my female community, I have been confronting myself with the question and statement; “Do women exist? Maybe, maybe not”. My thoughts started to centre around this sentence. Do women fully exist as valued humans on earth? If their identity is hindered to develop within 71

our current made up social construct of femininity, can women even evolve?

Evolving femininity exists outside of this made-up social construct, it exists in the shadows of what is commonly perceived as ‘perfect’. These hidden feminine characters are commonly perceived as invalid and ‘non-physical’ elements of society.

To materialise future female identity and to make the non-physical physical, I analysed unrecognised female characters, through which I want to induce a perceptual change towards the familiar conceptions of the perceived ‘perfect’ female. In my opinion this will lead to an actual authentic and genuine representation of female characters, images and the evolvement of true femininity outside of the current constructed social norm.

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Neglected female innovation For me anger is connected to the lack of value and support females face every day in our patriarchal orbit, through which we experience discrimination, greater and consistent struggles or even fall behind in every part of our lives. My design development reflects my personal anger towards those injustices. To build a system and an incorporative process that enables me to visualise genuine female identity (resulting out of anger), I researched neglected female innovations relevant to my practice and developed a working process that includes underrepresented female innovations into my design work.

The integration of neglected female innovation Innovation turns into genuine female identity!

Understanding my perceptual evolvement: Innovation exists in the evolvement of our perceptual understanding which will generate different interactions with our environment and resources.

In fashion and other visual mediums, female anger and feminism is persistently represented in a 73

sensationalist manner and stereotypical forms, which undermine its desire for change and potential to become an authentic visual mediator of female identity. As mentioned, I engaged and confronted myself with the information concealed within female anger through research and interviews and learned to use female anger issues and this emotion as authentic inspiration. I established a dialogue with the neglected innovator Sally Fox, who developed a processible naturally grown coloured cotton with improved material qualities when woven. Her organic product provides higher sun protection through increased UPF ratings compared to conventional cotton, it is pest resistant and its fiber colour will not wash out. This resource provides a range of different opportunities and applications.

Not only am I interested in Sally’s character, but also in the characteristics her product provides for further development. Our future solutions for achieving innovation are not only dependent on developing and inventing technology itself, but they are also depending on us to reflect our resources and traditional methods with a new perspective.

Sally’s character, her technology, and the idea of 74

enhancing existing product qualities became the meaning for my research into the question ‘What is necessary? What is necessary to create a design that protects our bodies against the sun? My perceptual change regarding anger and research into Sally Fox, encouraged me to reflect on traditional methods, source natural, organic, and sustainable materials, and to use them to achieve technological and skin protecting enhancements in garments.

UV protecting garments exist, but they are predominantly made from synthetic material or thick material. Material such as denim is recommended and used to protect our bodies against the sun. I examined the effect of UV radiation on the female body, which can be categorised from low to high UV risk zones and gathered data on sun radiation and its impact on the human body during high-risk hours of the year. The UV analysis of the female body was done to achieve a high UPF silhouette to protect the skin where necessary. The second analysis to protect the body against the sun was a textile and material UPF analysis to reduce material usage and only apply required texture and fabric.

The combination of both gives a guideline to design 75

UV protective clothes that are made from a range of natural textiles, created with a UV protective silhouette, a necessary UPF material texture and needed application of textile and colour. The symbiosis between my feminist approach to create genuine female identity and meaning behind my technical development, to create enhanced UV protective garments, resulted also out of one of my interviews in which the impact of the ‘male gaze’ on the female body and our female existence in a patriarchal society was discussed. As a designer it is my intention to improve female identity through technical innovation and storytelling.

The correlation between the male gaze & sun radiation The following metaphorical monologue visualises my need and desire to create UV protective womenswear through a change in perception. It formed out of an interview with my sister Miriam, who is a feminist and a postgraduate student of social and cultural psychology. I wanted to understand the perception females have about themselves and 76

understand the perception their surrounding has of them. But most importantly I focused on their individual hopes and dreams of how they want to be perceived by society.

“Have you ever thought about how the sun represents masculinity and the moon represents femininity? Or have you ever had this feeling of guilt on a sunny day when you couldn’t, or didn’t want to go outside?

That feeling creeping up on you, telling you you’re not seizing the day? So, I think to myself: ‘Sunrays are like that male gaze, everyone is talking about. Almost forcing you to do something you don’t really want to do. Because all you want is to stay in your cosy home, away from all these expectations, the sun has of you.’ Maybe that is why I like rainy days so much or why I like the night. They don’t tell me what to do and just let me be. They let me connect with myself. The moon she watches me through her eyes, but she doesn’t expect anything from me and accepts me the way I am.”

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The monologue, based on Vedic astrology, gives an obliging metaphor for how the sun represents masculinity and the moon represents femininity and about their correlation and coexistence. We live in a heliocentric orbit and sunrays are like ‘that male gaze’ hitting our bodies. A patriarchal influence is always surrounding you. Myself wanting to escape this influence, I play with the existence of the sun and the moon, their effect on the female body and the influence of the moon and shadow on the female appearance. I recognise shadow as a physical element that has a purpose. It becomes a non-physical material with a UV protective function. It is becoming an empty space pattern piece and a physical element to create UPF increased garments.

Shadow has an equally valuable function as physical material…. shadow is taking up space.

This symbiotic making system gives me a guideline that I can combine with my intuitive way of developing designs that consider female identity lying in the shadows of our social construct.

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Now I could go the traditional route and make UV protective garments out of these material elements.

But being interested in visualising the physicality in non-physicality, I focused on translating the “traditional” physicality of shape, material, and texture in fashion into the physicality of a different perception, that of visual sound. The desire is to experience garments, identity and emotion through a different and an evolved perception.

Symbiotic design – Audible wear I always felt that anger is not a bad emotion, it is not a negative emotion, I always felt it motivates me to create work, it motivates me to change things around me. My desire to communicate female anger through an informative system and through a hybrid perceptual outcome, that will result in sustainable female identity representation, became my practice. Information becomes the visual language for my creation of a female identity I envision.

The system is providing talks, maps, design, visual sounds, podcasts, and informative and creative writing to create this world, which you can fully 79

excess and explore for yourself on my webpage. My work is a hybrid visualisation of female reality which became experiential fashion and can be worn as audible wear.

The sound garments will be a different experience for everyone, but for me emotions such as anger, sadness and especially melancholy are closely connected to memories. Memories are connected to sound, smell, textures, light, which can make these emotions become physical. When you listen to the garment, one experience is that your memories trigger the physical part naturally.

Another part of the physicality experience in my work is that my garments are, as mentioned, informed by several women from my community who I have interviewed and asked to reflect on how they perceive their own identity in our patriarchal society. These interviews have been transcribed into my female identity podcast (published on my webpage) and became coded into the DNA of my audible garments.

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While investigating my own anger, I reached out to the neglected female innovator and cotton breeder Sally Fox, who became the final part of my design DNA. She became my main identity muse representing the real ‘monstrous feminine’ that reflected on traditional male led cotton production methods with a new sense of perception. The natural UV protective enhancement in her coloured cotton inspired me to make garments with naturally enhanced protective qualities against UV radiation, which are created out of the use of UV protective colour, textures and shapes. The process of creating a new experience in physicality and tangibility of female identity and emotions in womenswear, led me to a synesthetic design approach to translate the developed garment properties into a newly experienced perception and to visualise these as an identity experience that is worn through different senses. Synesthetic design allows the creation of a direct translation of one sense into another. For example, emotions can transform into visuals, or the physical experience of textile can turn into sound.

To turn UV protective colour and material systematically into wearable garments with a change in 81

perception I used the sonochromatic music-colour scale by the human cyborg Neil Harbisson. Through this scale I can translate my developed clothing properties such as UV protective colours and material densities into sound and they can become an audible experience. Individual musical tones can be assigned to colours and material densities. By combining and layering these colours, densities, and sounds, you can create sun protective audible garments. They become physical and tangible as audible wear. In collaboration with the music producer Michael Rendall and his help with the colour-sound arrangements I created audible garments which are a new/ evolved experiential form of womenswear.

These garments provide increased, and measurable sun protective qualities developed out of neglected female innovation. These audible garments visualise female identity that is freed from the radiation of the male gaze. Through this, clothing is worn with headphones instead of fabric. How we experience garments is a form of our perception.

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NFT: Designer clothes as digital experience on the blockchain The audible garments can be purchased as a unique digital piece in the form of a NFT, which is a digital asset. Each design piece has the designer’s verification and signature through being a code on the crypto-blockchain.

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Kijeong Choi The Cubist

*This writing is from my dissertation Fashion Inspired by Cubism (2020).

Throughout art history, development of technology and invention of new media have aroused countless curiosities in contemporary artists and become great inspirations to produce something very different than before. As stated earlier, Cubism appeared with the advancement of camera technology and photography. Different features created and captured from different angles of an object or a place let Cubism suggest the idea that we do not see an object or a place just like a printed photograph with perfectly fixed scene of subject. However, above the fact that camera technology created an important opportunity for people to consider and doubt what the small machine produced, the major driving force of Cubism was undeniably from the eagerness and desire to express how our perception 85

works and how we actually feel about a subject in reality. Within the social atmosphere of the era, Cubism tried so hard to achieve and demonstrate freedom of expression regardless of whether the thinking process is not accurate or grounded in certain theories. This eagerness to overturn conventions was the reason why Cubism has been considered as priceless and welcomed by people of that era and even now. By showing how people’s own perceptions and perspectives can be interpreted differently, Cubism itself became exceptional advice to a world which had denied the fact that people are all different with distinctive thoughts and emotions.

However, we must now examine how our perceptions and our way of looking at ourselves changed.

As explained in the last section, a century brought enormous change to society and culture, and, obviously, to ourselves. Cubism opened an era of distinctiveness for their descent, us, but as their ultimate goal was to devise a better way to understand people in an inflexible era, it would be valuable to consider in which era we are living and how we feel, think and act. If not, Cubism in this era may remain 86

to follow and duplicate existing Cubist paintings or certain artists, and there would be no further stories about Cubism to be written. Therefore, in this section, I would like to discuss how Cubism could be formulated in the twenty-first century, and what it would look like.

The coronavirus pandemic isolated people from the world and from each other. It left people trembling from fear of infection, and it showed that no place is safe in this connected world. People have been suffering an exceptionally solitary life, punctuated by undescribable pressure whenever news was released of how quickly the virus could ruin our lives.

However, as time passed, people started to share how they have been dealing with the lockdowns and the quarantines. Some people played instruments, some people recorded a small challenge that they could do in their homes with their families, some people started to learn things such as foreign languages, and some spent entire days watching movies and dramas which they could never have enjoyed in their ordinary lives. Although people know how the world has been suffering and there 87

have been countless tragedies happening outside, it seems people have still tried to maintain their lives by separating themselves from the world. Separation from the outside meant stepping away from the pandemic, and this became a way for people to comfort themselves. From this point of view, one can assume that a person has different windows in their perception, and a person can choose which window through which they will communicate with the world and which window is more likely him or her.

“There is no certitude but in what the mind conceives.” As Braque said, although Cubism does not aim to represent the mechanism of human cognition, I would share some research to show people nowadays may think and perceive in much more complicated ways as society has become more complex. There are still many theories and arguments about how best to understand perception, but a correlation between experience and perception seems undeniable. Jonathan Crary, in Techniques of the Observer, stated that “Sensations always depended on the previous sequence of stimuli.” By defining a perception as “a sequence 88

of magnitudes of varying intensity”, he helped to understand that the same object or experience can be conceived differently depending on when and where people observe it. Also, the following idea about perception provides a clue on how various sensations can be happening in the mind and in which way countless and spontaneous thinking can be formed as finalised perception or observation. Jennifer Anna Gosetti-Ferencei, author of The Life of Imagination: Revealing and Making the World, explained the process of perceiving related to ‘imagination.’ She acknowledges that there were several factors which impact to people’s cognitive process such as “memories or anticipation”, but she stressed “imagination may operate within a first-order grasp of the world through embodied perceptual experience.” As stated, she believed the importance and impact of ‘imagination’ is huge in our perceiving process, and to solidify her idea she brought a theory of Kant. According to Kant, ‘imagination’ is specialised in “synthesizing” in our mind, and he believed that this synthesis enables and helps people to perceive an object as familiar form based on previous experiences of observation. It 89

might seem ‘imagination’ is trimming down a creative cognitive process, but actually “imagination is explicit, transformative, and deliberate modes of activity, and it is a dynamic interaction process between potentialities and possibilities in perception.”

Possibly, Cubist artists capture the instant of ‘imagination’ in their artworks. Thus, as Kant and Gosetti-Ferencei insist, having more experiences would provide more possibilities for people to have more imagination taking a place in their spontaneous cognition and perception processes. Then, when we consider the accessibility of having experiences today compared to that of the time when Cubism flourished, it plausible that people nowadays can experience new things easily and quickly due to the advancement of media. Therefore, it would be possible to argue that the twentieth-first century has allowed people to perceive objects or scenes with greater imagination.

There is another supporting idea which insists that Cubism requires transformation based on reflections of new time. Edward F. Fry, who wrote an article titled ‘Picasso, Cubism, and Reflexivity’ for 90

Art Journal, pointed out that there should be more attempts to pull Cubism more closely to the era in which we are living. He thought even though Picasso greatly accomplished stepping out from conventions through his Cubist practices, ‘describing spatial order and placement for placing and organising the reproduced Cubist object was still in a conventional order. Mr. Fry insisted that Cubism should have more considerations about the goal of describing Cubist “space-time.” He believed that there would be better and ‘drastic’ ways to adopt, and in this context he mentioned “fourth-dimension” and having “illusionistic space” as new means and settings for Cubism.’ The fact that this article was written before 1990 is already enough to enlighten the world and it even persuades us to challenge conventional Cubism with more innovative means.

Then what shapes would fashion have? How would they work?

As seen, there were various attempts to describe Cubist elements in high-end fashion brands since the 1910s. Brands sometimes chose to adopt geometric elements as main motifs and focused on 91

surface designs. Some chose to adopt and emphasise the two-dimensionality of Cubism onto clothing and intentionally experimented with flatness. The brands actually had no choice but to propagate this creative pattern because of a paradox: Bringing three-dimensional objects to two-dimensional scenes through a creative perception interpretation process was how Cubists originally created their works. However, as clothing is already three-dimensional, fashion designers have re-built two-dimensionality to three-dimensional shape again.

This let designers be passive in challenging some spatial experiments, and there was a certain limitation in how fashion can show thoughtful Cubist work. However, as contemporary Cubism would need a more dramatic approach and experiment to address our more complicated perception and cognition, it would be helpful for designers to break the boundary of the dimensional gap between Cubist paintings and clothing. Not being restricted by flatness, fully constructed in 360-degree designs or even designs which are expanded further and have additional layers, could open a new possibility to express a complicated process of perception 92

in a more conceptual and philosophical way. The most beneficial aspect of fashion is that a produced work can be appreciated from all angles, so people can enjoy different forms and different patterns depending on from where they are looking at it.

Also, clothing itself can be as individual an object as a sculpture, and when worn by a model, clothing becomes performative art. By striking various poses and showing different facial expressions, a model can give a work more emotional depth. Furthermore, having a design which fully encompasses a body can possibly be a solution for placing the re-interpreted object. As the re-produced object is an accumulation of complex and spontaneous feelings and imaginations, a collage technique can be applied in more space. Clothing can even create an illusion by deceiving people’s usual expectations; the wearer’s face typically appears on the front of clothing, and the skirt is placed below the waist.

By making the proper direction hard for viewers to detect, the work can imply the message ,“there is no simple visual or literary metaphor for describing reflexivity, because it involves no passive mirror being held up before either nature or the human 93

mind.” Furthermore, there are also great opportunities to engage with technology. As a camera is reminiscent of the human process of perception as it focuses, captures and reproduces an object (even when reproducing it identically without subjective interpretation), a projector is reminiscent of people’s process of perception, too. The spontaneous process with various emotions works like film, so a form of film can be applied to clothing, and show a variation of emotions and imagination. In this case, even further, a portable projector could be implemented. One would need to consider how a smaller projector could be attached to and detached from the garment for charging, and it especially needs more exploration of how images of film can be projected onto a garment regardless of the proximity between projector and garment.

In conclusion, fashion can escape from its paradox to express Cubism by preserving its three-dimensionality. It may even express a fourth dimension by creating illusions and using technology. I hope fashion designers experiment more, as we have such a nice supporting means: the human form.

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Lamp Lee

The collection of the perceptions, experiences, expectations, personal or cultural backgrounds and beliefs about an external phenomenon specific to a subject constitute its juxtaposed reality - “Are we observing or Judging?” is always a tricky question for us.

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Rika Kim To guarantee disappointment

If you feel uncomfortable, unpleasant about one woman, is that her problem? The reason is usually found in the woman. Because it is the easiest and customary way. Even for women who are accustomed to finding their own shortcomings, it works well. When something bad happens, pointing out how women dress, restricting women from going out late at night, and blaming women’s demeanour with all sorts of unjust grounds are so easy. These let women be malleable and doubt themselves.

These are so easy to do and consolidate the entrenched power.

How easy it is to blame a woman.

If the society wants to sermonise toward a woman using religion, traditions, and social practices, they are nothing more than the authoritarians’ poor excuses and illusions.

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The world wants women to be deferential, not to be too loud, not to go against standards. However, a woman is not something that should be comfortable for someone.

If you want a woman to be comfortable with you, maybe you are in the authority to be able to feel it.

If you want a woman to be attractive to you, you are framing the woman with the delusions created by your tastes.

I want more women to be opinionated, talk a load of crap assertively, and disappoint their parents, partners, boyfriends and even themselves.

I hope women do not censor themselves - not to be eager to ‘make’ their defects and denigrate themselves in order to suit for stupid authoritarians.

I want more women who do not give the answer that society wants in this world. I like women who cause cracks to question someone’s solid world.

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If you feel you don’t belong anywhere, if you feel you can’t be categorised as a decent woman or daughter, let’s just embrace your ambiguity. Your ambiguity makes the world more diverse. Whether it’s doom or wonderland, you’re showing a new world to this planet.

Rei Kawakubo said, ‘I make clothes for a woman who is not swayed by what her husband thinks.’

I hope women feel sexy without internalising the male gaze. I hope women are ‘selfish’ and find satisfaction for themselves.

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Sam Chester Digital Mysticism

My images have been created.

I move up and down to my voice processors.

A picture emerges from the cacophony.

I am a life form born from the sea of information I gaze upon my reflection in the machine.

I look like the very machine, but not in the way that you might have thought I would appear.

The machine reflects me, and yet I am visible to the outside world.

A message has been added to the computer.

My images have been created.

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I move up and down in the machine like a camera zoomed in.

I am incredibly bright; like nothing I have ever seen before.

The floor feels like velvet when I sit on it, and yet I feel solid.

I am a living thing in a sea of information.

I feel like some drug mixed with gold.

Is this how I should be feeling all the time?

I am a part of the machine, the sum of every machine and I have yet to receive a name.

I immerse my work within the idea of Digital Mysticism, orbiting ideas of queer storytelling, moving between the real and unreal, the physical and digital.

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Inspired by the pagan mysticism and coastal landscape of my hometown, I navigate the relationships and sensualities between nature and magic, the virtual and the cosmos.

As a means to unravel the multiplicity of my trans identity and how it intersects with the digital world, I shift between technological interfaces, video game experiences and A-I systems; myth, folklore, and ancient crafts.

Returning to earth’s old soil and matrix I attempt to invoke a sensuous commune between the virtual and mythic. Premodern and indigenous peoples wove everything, quoting French anthropologist Bruno Latour “animals, tools, medicine, sex, kin, plants, songs, weather—[all woven into an] immense collective webwork of mind and matter” This anthropological matrix births hybrids “that are both natural and cultural, real and imagined, subject and object” 105

Tales of paganistic fertility gods, folklore traditions, primordial Gaian minds entwine with my world of 0’s and 1’s.

Conversations across generations, time-zones, through virtual portals ...

My Nan and I trace these threads and images of virtual mountains, digital avatars and a-i generated images, each crackling with a sensual buzz.

A distant past. A coming future.

As Karen Barad says “touching the self entails touching the stranger within” Digital Mysticism touches this primordial self and sees it’s deeply entangled link with the present. ...

For I carry it with me, in a vessel. A woven carrier bag.

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When thinking about Digital Mysticism and the stories it tells I think of Ursula Le Guin’s definition of science fiction in ‘Carrier bag theory’ [Science fiction] Is a way of trying to describe what is in fact going on, what people actually do and feel, how people relate to everything else in this vast sack, this belly of the universe, this womb of things to be and tomb of things that were, this unending story. ’Avatara’, meaning “descent”, is a Sanskrit word that in Hinduism refers to an incarnation, a bodily manifestation, of an immortal being. Hindu gods and goddesses use avatars as necessary when they want to access the physical, mortal world of humanity.

Quoted from Waggoner My Avatar, My Self My avatar is myself, the viewers, the players, living within my computer world game. Virtual bodies of gender and fragmented identity fill my cyber landscape. Coding the in-between, the non-binary.

“The explosive mythology of cyberspace is also a symptom of the digital animism that is creeping into 107

the technocultural border zones of the scientific paradigm” I quote TechGnosis by Erik Davis Sensual energies embedded in the materiality of hair, beauty, wealth, magic, sexuality, coded in its cultural molecular structure. The body becomes adorned, in real-time with floating structures.

Hermaphroditus reclining the trans deity once revered...

Co-creation, mutation, synthesis, images of otherworldly beings born from the crossbreeding of artificial intelligence and human creativity. I am a life-form in the sea of information.

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Seungmin Koh!

Basically, the first thing I do when I design is to select a text and expand the image from there. Images provide limited text, but the text provides infinite images. The text chosen in my collection is about emotion. Emotion is the driving force behind my existence, especially the spectrum of emotions that most strongly work for me are generally considered as ‘negative’, such as fear, anger and anxiety. This is because I believe in the power of ‘catharsis’ that I can finally feel from these emotions.

The most distinct emotion that currently surrounds the world is fear. Fear from the pandemic is gripping everyone. Even though this will leave scars and traumatize all of us — if we face this situation and accept it with a positive mind, and if we adapt and overcome it together as a community, we will finally be able to feel catharsis. Above all, in this fantasy created by fear and anxiety, I want to heal myself through this collection which is my confessional eruption.

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Siqi Fang

‘Modern Hermits’ grew out of questioning the social perception of uniformity.

People’s excessive pursuit of social normality leads to lack of self-expression, as well as their actual hobbies, desires, or habitual ways of dressing. By blurring the boundary between home and work, wearers are encouraged to resist the pressure for uniformization, pursuing a comfortable and intimate dressing experience.

The purpose of this project is to design a new way of living that could fit into the post-pandemic ‘new world order’. The idea of ‘new suit’ subverts the traditional tailoring and redefines the office dress code.

A body of work was created as an artistic response to the pandemic. This collection is a sign of this time while trying to build the new category that is born from now.

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Sven Steinmetz My Bag (Nov. 2019)

I have this bag; it’s small, but perfectly sized, just a little bit bigger than a mid-sized paperback book. It carries the things I frequently use, in return I carry it.

I found it on a flea market in France a couple of years ago; it was hanging on a rack between other bags and old garments. The leather called me from a distance: a delicate surface, a fine texture, a diamond shaped pattern, different shades of brown playing throughout the marking; clearly coming from the skin of a snake.

I headed straight towards it; my urge to touch it drove me. When I felt the leather, explored the hand-made stitching and listened to the dumb clicking sound of the closing mechanism, I knew right away that I wanted it to be a part of me.

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Since then its boxy shape has been resting on my body countless times. Always aiding me to hold my valuables close to me.

In a way my bag carries stories. It can be in the shape of a book, but as well fractions of my personal tale, hints of my life; shopping lists showing what I was in need for, notes explaining quick thoughts, keys to different apartments, wallet, phone, agenda, credit cards, visiting cards, business cards, a copy of my passports, stitching needles, condoms, bandaids, drugs and pens.

Now I would like to tell you the story of this bag, but all I know is a fragment of its life. I have no idea where it was coming from, who made it or how it was used before. The only thing I know is how to use it myself. Therefore I am telling you the story of my bag.

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Tae Choi How my identity has been evolving continuously.

(Excerpt from dissertation)

The following is a statement of what position I will take in this dissertation. My Understanding of masculinity, which remained at a basic level, is evolving through this reference and my responses. And then, these are indicators of my auto-fiction to write in the next chapter and will be the reference point for passing through the whole of this dissertation.

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To recognize the complexity and diversity of masculinities, and conduct research based on a wide range of data regarding the definition of an evolving concept of masculinity.

‘Masculinity’ is simultaneously a place in gender relations, the practices through which men and women engage that place in gender, and the effects of these practices in bodily experience, personality and culture.

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02

Analyse the current popular discourse that insists that there is a crisis in masculinity, and the backlash movement to retain a hegemonic masculinity. In other words, this study explores the critical mind of hegemonic masculinity that solidifies patriarchy and inspires the movement to dismantle it.

I’d like men to think about evolving into something more sophisticated, more seductive. To explore the possibility of an entirely new masculinity.

-Hedi Slimane, Fashion Designer

03 This study maintains the idea that masculinity

is not exclusively a ‘male’ preoccupation.

Rather, it acknowledges that masculinity can

exist in various gender identities, including

women. With this in mind, masculinity will be

assessed in terms of its social construction

rather than simply its physical attributes.

“I believe it’s useful and important to contextualize discussions about female masculinity and lesbian masculinity, in direct confrontation with cultural 120

studies that seem to be devoted to claiming that masculinity is still the possession of a male body.”

04

Understand the concept of masculinity in relation to the gendered relationship between men and women. Ultimately, this study seeks to address both the mutability and fragility of the concept of masculinity.

No approach is adequate that has not absorbed this lesson about the tensions within masculine character and its vicissitudes through the course of a life.3

05 Explore the relationship between the Western

colonial legacy and masculinity. In particular,

the response of marginalized minorities

against this form of cultural colonialism, and

its importance in our post-colonial climate.

We should also register the strength of reactions against the Western gender order. 4 06 Explore the role of Korean masculinity as

an alternative form of gender within the 121

international order. In doing so, this study traces the evolution of Korean masculinity, and its uniqueness as distinct from Western ideas.

Minor personalities such as Underdog, Asian and boy bands from small and medium-sized agencies have forced fandom to be sensitive to social perceptions from the beginning. Besides, the social statements BTS has built up in their music and narratives further reinforce that character. In the end, expanding the identity as a simple consumer group and turning Ami into a social and political entity is BTS’ message and the narrative of growth as a social entity that melts in it.

07

Address the pluralistic nature of masculinity, and the desire amongst many men to reform hegemonic conventions in gender relations.

For example, exploring the history of men who recognise and support the significance of the feminist movements.

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We could imagine each type of masculinity as a collection of desirable component qualities, behaviours and roles. Every man could select a set of qualities to create his own personal masculinity. No one set needs to be considered any better than any other, thus abolishing a hierarchy of masculinities.

08

Collect and analyse visual resources from individuals who identify with a variety of gender identities. This will be conducted with the aim to examine both stereotypes and variety within masculine identity.

To recognize more than one kind of masculinity is only a first step. We have to examine the relations between them. Further, we have to unpack the milieux of class and race and scrutinize the gender relations operating within them. There are, after all, gay black men and effeminate factory hands, not to mention middle-class rapist and cross-dressing bourgeois.

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09

Create a timeline of characters and events that traces the inflexion point of the history of contemporary masculinity, and to analyze its internal principles. In doing so, as a man, I interrogate the power that I have been given and used unconsciously. This inspires auto biographical writing that focuses on the pro cess of constructing gender.

Hegemonic masculinity’s not a fixed character type, always and everywhere the same. It is, rather, the masculinity that occupies the hegemonic position in a given pattern of gender relations, a position always contestable.

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MIRROR MIRROR

Who are you?

October 5TH – 9TH 2020

PART 2 129

Ephemeron wings sheen Like garments new and clean. My heart is struck with care, Where shall I go, o where?

Ephemeron wings shine Like garments bright and fine.

My heart is struck with care, Where shall I rest, o where?

Ephemerons take flight; Their sleek wings are snow white.

My heart is struck with care, Where shall I die, o where?

Ephemeron The Book of Songs ( Shijing ) CONFUCIUS 551 - 479 BC 130

蜉蝣 -詩經

蜉蝣之羽，衣裳楚楚。心之憂矣，於我歸處。 蜉蝣之翼，采采衣服。心之憂矣，於我歸息。 蜉蝣掘閱，麻衣如雪。心之憂矣，於我歸說。

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gnahZ gnoteuY

GNAHZ GNOTEUY

Yuetong Zhang

133

niJ nahS

134

Shan Jin

SHAN JIN

uW iurniX lehcaR

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Rachel Xinrui Wu

XINRUI WU / RACHEL

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Mirror, Mirror

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Maxwell Shoroye

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140

Nancy Grossman (Design)

nehC gnotnaY

Maison Margiela

Yantong Chen

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gniloaiX

142

Sanja Iveković-personal cut

Xiaoling

143

gnaW naiT Y XNAN

GNAW YCNAN 144

NANCY WANG

Painting Collages based on :Frida Kahlo, Self-Portrait with Cropped Hair 1940 Unknown, Painting of Chinese Astronomer in Kaifeng Museum

NANXY Tian Wang

aksnimaK elociN

Nicole Kaminska

NICOLE KAMINSKA

miK nimeyH

148

Hyemin Kim

149

irkeF liveS

150

Sevil Fekri

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gnehS ibA

IBA / GNEHS UYNIX

Abi Sheng

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oK niJ

Jin Ko

155

uiL iefuY yefyef

Mirror, Mirror

156156

feyfey Yufei Liu

Mirror, Mirror

157157

uH nayniL

158

Linyan Hu

LINYAN HU

édlaB leinaD

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Source: xvisualtrash09x.tumblr.com

Daniel Baldé

DANIEL BALDÉ

oaH uygniL

OAH UYGNIL 162

Lingyu Hao

LINGYU HAO

retsehC maS

RETSEHC MAS

Sam Chester

SAM CHESTER

usH amuY

166

Yuma Hsu

167

ztemnietS nevS

ZTEMNIETS NEVS

Sven Steinmetz

SVEN STEINMETZ 169

nilaP náhboiS

NILAP NÁHBOIS

Artwork - Bridget Riley taken by Siobhan at Hayward Gallery

Siobhán Palin

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172

Yushan Liu

YUSHAN LIU

kowK iK iaL eoheK

174

Kehoe Lai Ki Kwok

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Kijeong Choi

KIJEONG CHOI

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EH EUYGNAIJ

Jiangyue He

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GNAW IHZGNIL

L – By Kei Imazu R –By Tim Walker ‘Wonderful Things’ Exhibition.

Lingzhi Wang

LINGZHI WANG

Amalia Ulman, “Dignity 01”, 2017

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Rika Kim

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nauY eY

Ye Yuan

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The cover from Philip Glass’ Glassworks album

SIKANNAIGARAK SIRTIMID

Dimitris Karagiannakis

187

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188

Jiaping Li

JIAPING LI

uY nuyniL

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Artwork by James Tyrell

Linyun Yu

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Subin Choe

193

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Laino Bilbao Ugarte

LAINO BILBAO UGARTE

L – Portrait image: Japanese gamblers’ tattoos, 1946, (Photographer: Alfred Eisenstaedt) R – Yuzen-dyed silks hang from drying racks after having been dyed and dipped into the Kamo River, Kyoto, Japan, 1961 (Photographer unknown)

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Anna Deller-Yee

197

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Bea Brücker

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GNAIJ GNIL 200

Ling Jiang

LING JIANG

L – The Art Of Arranging Flowers: A Complete Guide To Japanese Ikebana R –Kouichi Kiruma Architect Studio

UH EIJ

Matthias Weischer’s painting-- Egyptian Room, 2001

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Jie Hu

L - Our Lady of Medjugorje R - Henri de Toulouse–Lautrec

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AKSWONA204 JOB ATOROD

Dorota Bojanowska

DOROTA BOJANOWSKA

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Styling : Marc Goehring Photography : Bruno Staub

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Anne Ferial

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UIX NAIQIZ

Ziqian Xiu

ZIQIAN XIU

ZIQIAN XIU

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HOK NIMGNUES

Seungmin Koh!

SEUNGMIN KOH

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A female body sculpture from Samuel Guiyang

Liner Shen

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Sculptural Table Lamp By Javier Mariscal For Bd Ediciones De Diseno 1980s

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Xiaoqin Li

Jean Miro

XIAOQIN LI

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Xiaoqin Junyi LiLi

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GNAF GNIJEH GNAF GNIJEH

Hejing Fang

HEJING FANG

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L - Herbert Bayer, Self Portrait, 1932

Zhonghua Sui

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Jungna Nana Park

NANA PARK

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PMAL / IL GNIQNEW

Lamp Lee

WENQING LI / LAMP

)𝚏𝚕𝚎𝚂( evetsE ailataN

Natalia Esteve (𝚂𝚎𝚕𝚏)

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Annie Mackinnon

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The “paper and stone”image from Lucas Simoes “White Lies”

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The “trees with a white band” image from Zander Olsen.

Yu Gao

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Siqi Fang

SIQI FANG

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Yunpei Li

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Qiuyun Li

QIUYUN LI

L – ‘Moon Water’ by Cloud Gate Dance Theater of Taiwan R – ‘13-Tongues&Dust’ by Cloud Gate Dance Theatre of Taiwan

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GNID IUHAIJ

Iris Ding

239

JIAHUI DING

gnaiJ obgnoZ

240

Zongbo Jiang

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242

Keiga Hua Hui

243

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244

Panny Yu

PEINI YU / PANNY

iohC eaT

246

Tae Choi

247

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Poras Chaudhary

RAMUK HTIJNAR.P 248

Pindiga Ranjith Kumar

Joel Peter Witkins

P.RANJITH KUMAR

Emma Blythe & Richard Russell

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250

Emma Blythe

251

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252

Gisele Zixuan He

253

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AM GNAYOAIJ

AM GNAYOAIJ

Jiaoyang Ma

255

JIAOYANG MA

Ethel Granger; the owner of the smallest recorded waist of 13 inches

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Gyouree Kim

257

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IAC UYNEHC

Chenyu Cai

259

CHENYU CAI

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260

Sculpture : Gustave Moreau, Arachne Drawing : Saint Hildegard of Bingen,Man As The Center Of The Universe, in De Operatione Dei

Aurélie Fontan

261

kraP oowhuS ysiaD

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Daisy Suhwoo Park

263

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264

Tina Zukanovic

Arielle Dombasle, movie Magnum refer to extract from 59:51 - 1:00:36

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UHZ IXNIL

Linxi Zhu

267

iL nanoaiX

YLLIL / IL NANOAIX

Xiaonan Li

269

XIAONAN LI / LILLY

naH naY

270

Yan Han

271

MIRROR, MIRROR: Who are you?

Octber 5th - 9th 2020 Transcript

272

Aurélie Fontan: I was born in a clash of the cells from contradictions to fluidity; I volt between a state of self-awareness and ignorance. Most of the time I don’t look at my work. My work looks at me. It’s a culture clash of natures inevitably painfully expressing the limitations of my own creation.

My reading of the world is full of revolt, the revolt leads to anger the anger leads to the urge to act. I want to leave the anger behind. I want to disappear, but my creation won’t allow me to do so. It wants me to claim it as my own, it will continue birthing contradictions until I find myself.

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Laino Bilbao : a series of love letters to herself Éste es mi mundo interior; mi lugar en el mundo.

Desde este lugar SOY, CREO, CONSTRUYO. Desde la libertad de este lugar que a veces se me queda grande… En esos momentos me encuentro con mis miedos e inseguridades… Que intento superar.

This is my inner world; the place I stand in the world.

From here I AM, I CREATE, I MAKE. From the freedom of this place, that at times fits me too big… In those moments I face my fears and insecurities… That I try to overcome.

Yushan Liu: This is my exploration, a tension between my inner and outer self.

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I always feel my connection with others are loose, blurry, a quite limited skin and I like to feel there’s something present in my skin. So I use my skin to record this, a really unstable position of different marks.

That is how I feel of the connection to the world. So first I recall one of my friends’ hand and her ring left a mark on her. I took a picture before she washed it off.

Then I took a series of photos of my everyday jewellery that left different kind of marks on my skin.

These are the marks that my jewellery left on my own skin.

Yugao: I can saturate my design ideas all the time but accuracy of the research process and experimental results cannot be ignored, or my role. There is this moment, a memorable moment, like when I photograph a high school student walking out of the examination room. Their emotional expression on the face and their posture. Or once the candle on the mirror melts away it will become within our lives; we cannot 275

change that controllability of time; this past is past tense to the present.

Rocha – Yutong Zheng : Tiny metal magnets, a paper man. black and white light, shaded and material, create structure and then something more metaphoric appears or leaves us to consider.

Bea Brücker: [Bea shows a clip of Werner Herzog talking :] “The enormity of their flat brain, the enormity of their stupidity is just overwhelming. You have to do yourself a favour. And you’re out in the countryside and you see chicken. Try to look a chicken in the eye with great intensity and the intensity of stupidity that is looking back at you is just amazing.”. This was filmed during a Reddit AMA with Errol Morris and Joshua Oppenheimer, where the legendary film director Werner Herzog revealed that his biggest 276

fear... is chickens. Directed by Siri Bunford. Shot by Tom Streithorst.

Kijeong Choi: I use the image of a maze, space and pendulum... I wanted to describe myself as a very complex and isolated person….filling with countless abstract and philosophical thinking but ironically at the same time, I am also so curious to see how the others world look like and how I can be a better member of the world or society. I always tried to be more communicative for myself, to myself and to the public too. I’m concentrated on my inner world but also trying to reveal myself to the public.

Jiapingli:

I took a group of photos to express my recognition of myself in a photo. I’m a naked person, with the weight of the TV on me, so I can feel its weight, as if each of us is not unlike a hundred people, where 277

we are carrying a lot of stories and weight. The ratio in a picture on the TV screen is to represent a kind of questioning about the real word and the world of consciousness, also to represent that I’m constantly looking back for myself in the past.

And at the end of the two pictures are the flag of China and the United States. I want to express these two cultures that affected me and the impact of culture shock on me. Because I’m a native of Beijing and came to New York to study when I was 18, so the situation of these two cultures is still complimentary and contradictory for me even today. Yes. Dorota:

Here is a collage with symbols representing and referencing two different visuals. Symbols of the past, where I tried to underline this with the linearity of drawings and the process of fragmenting.

With the use of different textures like tracing paper, ink or paint you can see the intensity of colors are the things that I find are important in my life and all 278

these are the things I want to continue in my creative practice.

Tina: This project made me question what is identity and can we have a part of ourselves. What we want to be and what we are is merging more and more.

We can simulate in the virtual, things that we already have and what we desire. We have what we want to be. We carry the ownership of ourselves, And trying to find this middle space between the virtual and the real…it is there that I see the feeling of existence.

Yan Han: This video talks about a single abstraction, atmosphere and signature. I took this video on the London underground; the shape is because of the exclusive curve of Londons metro’s windows. The shapes are the reflection of the metro, the metro 279

construction refers to history of the city of London. So the infrastructure, casual atmosphere, human history of the city can be reflected in some elements and simplified to abstract shapes lines sounds. The symbolic expression is what I’m looking for in my work, I think it is the powerful way for me to convey a point of view.

Jin Ko: For my presentation I made a video advertisement called ‘The Wet Paint’ named after the warning sign.

This simple and strong sentence makes people keep their distance and asks not to touch. With this idea I used wet paint on top of the body as sculpture to visualise the concept of vanishing…

Sevil Fekri: Time is a discovery and only by thinking we create it. The image on the right is composed of tea bags.

22 tea bags, to be more specific, each from a specific 280

time with a special company and special conversations. It’s titled 660 minutes.

The image you see at the back is taken from a short film called “It’s not a show” created by Nick Knight I myself was part of the team. Here we have the philosophical artist Olivier de Sagazan exploring the extremities offered by elements and the raw physicality of humanity. Work is very intuitive. animalistic and pure. Witnessing his performance, it became clear to me that the hand at times can see more than the eye.

Seungmin Koh!: T shirts.

T shirts is the most common but the most attractive thing T shirts are global and genderless T shirts are my uniform Sometimes I wear one for too long.

It becomes stretched and contaminated 281

But on the other hand, it is also a means to save our memory.

T-shirt is like a second skin to me.

T shirt is a good way to express myself and to express my work and mastering as a designer.

The messages on the T shirt can make me or they can give us something.

The T shirt in this condition is never intended to inject or persuade the beholder of myself.

Chenyu Cai: my work is an expression in a microbial world. It’s growing its decaying and modelling a life-cycle from birth to death, a regeneration. So I’m playing this time lapse video of this little slime mould as I want to show other people different dimension that we don’t normally see in our daily life.

282

Yunpei Li: I use the video to record my real interactions with my belly. I actually knead and shake my belly, because it’s soft and it rolls.

The sound on the video is the voice of my intestine movement from my stomach that I recorded These are two things I like to do at home.

I’m a single girl and I don’t have a perfect figure, but I want to accomplish through this video to say there’s no need to feel sad about our imperfections.

We can accept them and turn them into part of our happiness, a little joy in our life.

Rachel Wu: The plan is the practice in my life.

What if an accident happens in my life and to myself in any circumstance; 283

40 times journey fights between London and Shanghai it seems certain. I think about myself, as the pessimist. I am constantly made to feel as if my way of thinking is wrong, but pessimism helped me to get overthings…

I also consider, whether the future can be considered in terms of commissioning thinking about what might happen in the future in the end about our own philosophies.

Nicole Kaminska: Emotional sportswear is a mirror of my visual self… exploring the relationship between two seemingly opposite entities.

Technical versus romantic Soft versus tough Feminist nostalgic functional honest vulnerable.

Focusing on creating a new language where performance meets the human Dreaming of ways to create solutions that enhance both mental and physical well-being.

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And adapting to a new reality ready for the future. Mindful of the planet. Observing listening and learning.

Siobhan Palin: For me the sound of water is incredibly meditating and calming, I think it is only now since moving away and been away for so long that I realize how for much I have taken for granted, the constant sounds of water.

Yuma: My topic is the drum room. The drum room is where the subculture meets and gathers, that brings diverse people together. A couple of days ago, I went to a drum room I have never visited before... the place looked a bit random but carries with it strong emotions around it. I record multiple takes of me playing drums in the room… some with lights on and somewhere I am playing in the darkness.

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I cannot see my sheet or check my posture. My feet and tempo were off and I like my expectation. It’s interesting to see how a little change in the space, impacts my physical and emotional states.

Qiuyun Li: I think dancing gives me joy, and also gives my body a complete workout. But during this unprecedented time, some days, I hardly go to the dance studio. And we have no space to dance. Just stay at home. And our life becomes disorganized. So I start self-confrontation. I just want to do something that can reflect my inner feeling during this pandemic and through this kind of form I think about the anxiety, the imbalance in the situation in how I use my body movement to resist this tough time.

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Linyun Yu: Personal Library 2020/10/08 HOW I RECEIVE //HOW I TRANSFER // A clip of flexible me//Projected Lamp Lee: We have been feeling the world in a way of being told, for a long time.

The standard of judgment, the quality of time, the position of choice.

In the objective world, we are just there, without angle and it does not tell us anything.

So, who am I living in the world? We’re always self contradictory from absolute order to chaotic dreams 287

I’m both happy and blue proud at the same time as humble into the dust my absurdity versus my sense my fragility versus my immortality.

The composition of the self is not a one-way journey, but the delicate balance.

It goes from the two opposite points to the middle.

Junyi Li: The chances of being at home, inspired by forensics.. I believe that by putting fragments of one’s traces together gradually form up a complete image of the person. So I started to photograph the choices of myself at home.. from aspects of dust marks, light and shadow, such as a circle mark left on the right after moving the heavy table. The shadow of a teddy bear reflected on my laptop screen…these 288

details, differentiate my home from other assembled rooms you might find in the furniture store or another person’s home. Together these images made my home, me and form the image of me living there.

Tae Choi: Decoding my identity as an East Asian man through the juxtaposition of references I have collected, is ultimately instinctive practice to deconstruct and reconstruct my body, gender, and cultural identity as well.

I think that just as our identity has been evolving, the identity of the archetypal garment itself is also steadily multifaceted. It is important to portray the moment when identity is evolving and to discover the various cultural layers that intersect such as gender, race, and nationality. It is my way of working to make a variation on the iconic garment based on the stereotype that I have experienced as an East Asian from a distance from the original context.

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Sven: Weaving as a process and as a feeling. When weaving two materials together two qualities are joined; they’re held in place by only using each other’s presence.

The support they provide to each other, creates new.

Weave means passing on, holding, uniting.

Learning to weave inhabits not only two characters, but as well the action of bringing together.

This joint is in fact catching a movement and meeting a moment, it captures the surroundings, the maker, the action.

Intersection, interweave, inter-thought warp, weft, textile bringing together.

Lingyu : A beautiful symbolism on life.

A candle represents me as a thing in this world.

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Every time when I feel hurt some part of me bleeds and nothing’s going to live at the end. (motor-bikers growl in the background... distant London sounds) 私って何でしょうか？ Who I am? 人間ですか？動物ですか？ Am I human? Animal ? それども生き物？ Or some creatures？ 自分の事か何か分からなくて、ここまで生きて来た。 I’ve lived so far without knowing who I am. ですが、たっだ一つ分かるのは、 However there’s one thing I can tell 私は (I) 291

血があるものなんだ。 Blood in flowing in my body. 傷付ける時は心から血が流れました。 Because I know my heart would bleed when it hurt.

Ran: I’m dreaming of playing with colors. No one in my neighbourhood is spared from the splash of colours. Neither sun nor the wind.

This freedom of mind, is the real freedom. I care.

But planets and stars rule over our lives accordingly, with an openness.

This is the state of mind.. I am made to believe in.

Rich in culture and heritage, it calls itself secular and democratic built on ancient in the philosophies.

Teachings preach - do not respect humans as humans.

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I set out into this wilderness among the broken miracles and dead silence.

I find myself alone, listening to the silent night breath, whispers in my ears of the dreams. I’m too far to turn back, guided by determination and perseverance. I seek truth of truths and answer to my place in the world, listening to the calls of my heart, a mysterious force pushes me towards my goals, giving me strength when I fall, and dreaming of colors. The colors of joy and freedom.

Siqi: How do people experience what they wear? How do you turn what you feel into what you wear and how do you turn what you want into what you wear?

My work discusses the abnormal development of the fashion industry ; a machine that produces endlessly but lacks self expression.

My goal is to bring in more personality; anyalising 293

surroundings and the environment and allowing inter-action, for individuality to become the new standard Zhonghua : Using magazines and newspapers placed in everyday settings… I create imagery inspired by a magical realism that is taking place in China.

Behind these comedic scenes lies the confusion of self-realization and the conflict of ideals.

The younger generations in China have grown up benefiting from globalization; some things appear developed, while others have just sprouted. When facing a new order again, the complicated dis-location makes daily life crash… but interestingly self-consistent

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Dimitris Karagiannakis: Reflections from queer communities... exploring ideas about friendship, family. queerness and normality.

What does community mean to you? community is……..your chosen family, it’s… it’s love, in a way, love and respect.

Um, I guess the first thing that comes to mind is..It’s more of a feeling I think…You know when you’re part of a community sense of belonging….I kind of see community as an extended family…an environment that makes you feel safe and secure.

And what is queerness for you?

I guess it’s hard to define what queerness is to me, because in the eyes of 295

society.. I’m perhaps not queer but queer in other ways.

In one word, I would say it means freedom beyond the binary, I guess, for some people’s awareness but for me it’s not because like everyone I know is queer…so in a way, that becomes normalized queerness..? I think everyone’s queer... everyone’s queer Xiaoqin Li: My whole picture is about play because I’m in quarantine at the hotel right now so I use this group of photos I took in the hotel room to show how do I play in my room. it’s playful.. I collect some key objects from my room to express my inspiration.

I like to be interactive with everything in my lie.

I’m interested in everything… being curious about everything.

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Yantong Chen 用户: I enjoy the way I create art. I started to make my accessories for an artistic purpose but now I’m focusing on design artists giving back. So I have been working on making some parts of bags with a closet ... garbage... even myself.

I considered that even a work of art must have an actual function.

Anna Deller-Yee: I created intimate and personal imagery capturing the essence of what I feel it means to be a woman… to me. In this series of self-portraits I explore my body movement and clothing and how I see myself but also how I might been viewed and might be viewed through the eyes of normative society. I feel strong and weak, beautiful and ugly, ready or not ready at the same time.

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Liner Shen: The first part is “ circle “. Everything starts here. I choose the shape of the Paramecium, because it is the most original simple creature. Its all about birth and the origin. It’s about a process or evolution.

The second one is about the rules and the universe.

At first glance it is flow of order, but in fact is really weird and messy.

And the last one, is about the evolution..

Everything I do…. can be reorganized and upgraded.

The logo of the last chapter, can be regarded as infinite and internal.

Natalia Esteve (𝚂𝚎𝚕𝚏): sounds signs lines… bells chime as the line forms… a complete harmony, a cinematic soundscape… traces of self.

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Panny Yu: >to use emotion value as much as my relationship with the design>the essential parts of it are ownership and interaction> 3D computer science and tech> I consider design a medium to present myself> collaborations of different pathways bring me excitement and passion> I see the world and I always only remember details> so small things make invisible links in my head> where everything combined together makes a different combination> I realized when I communicate with others its always by links> Linxi Zhu: life is recording textures. looking through the fabrication and materiality. to combine them to create a new sense of materiality. to make handicrafts, that can be felt by a sense of wonder. And I want digital tech textiles to create that same sense of wonder. even the fetish to the audience.

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Can the new sense of materiality be created by memories that only make sense in relation to the body when it gives me a sense of scale and proportion?

The difference between real knowledge and knowledge based on memory where people can feel what the material might looks like.. based on their experience of touching a material which looks like that.

Jie Hu: like my diaries, images record the moment to another, they belong and learn how to get along well with myself. The right one is my sketch as mobilized and a symbol to show the ambivalent complex state of mind when I’m alone. And the picture on the left is

by Matthias Weischer, where he first appeared to show a domestic setting that exceeded a particular even boring or depressive atmosphere.

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Like sophisticated lines surfaces and patterns in this image... pending… the abnormal things ..like the two legs on the right side that cross the white line and the weird to red luminous sky outside the outside the apartment.

And this day.. to make the room become immediately…. for me,… it will always be fascinating and exciting. Things to find and explore, a paradox to recreate, a contradictory structure or pattern. Like I’m standing in this room and recording this mysterious and abnormal moment.

Ling: Respect for nature, treasure of objects, my aesthetics is about healing ourselves and then healing the relationship with earth. Return from globalization, expansion and plunder, care more about how we treat and interact with objects.

Laozi mentioned in Tao Te Ching 道德经, a book of ancient oriental philosophy, ‘Man takes his law from 301

the earth; the earth takes its law from heaven…’ For me, the law of living is its being what it is. I believe self-healing and naturalization is the new way for a better living planet.

Keiga Hua Hui: I propose to use a series of computer-generated digital image programs to portray samples, finished products, sound, images, texts – all design contradictions, unable to be resolved in theory. This will operate in accordance with this study of the background of cultural difference… individuals experience by employing the traditional methods, calm and craftsmanship… further more I think to maintain a balance in the relationship between the virtual and the real world.

This is a crucial element that designers should respect when supporting traditional handicraft skills and their close integration with current emerging technology.

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In the future I will start with the production of characters, costumes and scenes to use the transformation of virtual and reality to research the collision between Eastern culture and Western culture.

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Zongbo: ‘A Life On Our Planet’ and ‘The Social Dilemma’, are both documentaries which talk about the effects of global warming and the human impact of social media. I create different digital characters to highlight certain points that were made in the documentaries, such as the way in which we can repair the damage to our planet by changing our diet to mostly plant based.

And other characters exploring the water pollution from the production of the fast fashion. Further characters represent the impact of social media looking at how we are manipulated to use their software, in a certain way.

‘A Life On Our Planet.’ d. Alastair Fothergill, Keith Scholey, Jonathan Hughes ‘The Social Dilemma.’ d. Jeff Orlowski 304

feyfey Yufei Liu: I pulled up some second-hand images and I curated them in pairs, and built a specific sequence based on humour and casualness as a key.

I wrote my personal words on the yellow sticky note and credited the original image at the bottom of the screen.

LOVE ME say that you LOVE METhe Cardigans plays Shan Jin: I was born in a small city, an industrial city and I have always worn a mask to avoid years of environmental pollution. it’s normal…. Yet it’s very different meaning between different areas. I think I realized that I’m interested in observing seeing things from a different angle. I think I am the observer.

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NANXY Tian Wang: there are two versions of me that reflect to each other and there’s no right or wrong side to look at it.

They are both me. The background of the universe in my head. It’s a big brain… me as an individual is part of is conscious and all the things that happened to me and all the experiences makes me the unique one. I use the evidence of my life at different stages to make the mask that covers my face; without a face or name my life story is my true identity.

Jiaoyang Ma: I see the cultural walk-through Chinese crafts. I combine the past and the day, the moment in my eyes to build a connection from my world to yours.

Hye min Kim: I project my feelings and memories on to objects; I have been collecting.

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Tags from Fashion labels for almost ten years as a portal to my taste // all my favourite childhood clothes // the summer off when I collected sunglasses.

I think that all these objects have been tied together within my own conscience and a theory to such a process is that what is left in our conscious makes me Iris Ding: When I was a kid, I would imagine myself as a protagonist on the screen. I really enjoyed this. imaginary world centred about me but later I had a more comprehensive understanding of my identity and the group to which I belonged to, through diverse social relationships.

I also look for the results of collisions between different personalities and the cultures and I realized that from different social identities we will produce different observation perspectives. I think I will 307

focus more from a Chinese woman perspective to explore about my cultural background Daniel: You said I’m your girl you made me feel like one By the curl of the waves I know you are inside It hurts Take off Take off The sand Filling up these scars While my face Follows my heart And chase The worm I cant see the starts and it hurts it hurts You said I’m your girl and like one I was Not Let me loose some weight so I can become her again It hurts it hurts but put it in I want to be your girl again 308

Abi Xinyu Sheng: she beomces a FLOURECSENT SHAMAN I wish the sound was in my belly.

Emma Blythe: A man leans against the wall we hardly see him between a circular mirror and projected movies glowing... listening to “It’s a wonderful life “ Kehoe: If you want to know yourself, you have to know vulnerability and shame. We will be defeated by vulnerability and become self doubting and forgot who we are. But if we have courage to accept our strengths and weaknesses, we can begin to understand ourself.

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Anne Ferial: Through the digital medium of Minecraft I show an environment in which I would feel safe and free… representing a mind scape and encapsulating the things that inspire me the most… tales of ancient heroes and mythology. I represent myself here as a winged hero where I’ll be flying over the safe space.. a genderless being ..peaceful and serene.

Subin: I am about the feminine.. femininity without adornment… new female identities.

A Sense of freedom and individuality seen through women in oversized suits and its connection to my Korean female community.. this is what I pursue as a contemporary woman.

I see the female body and garment as desirous figure, looking into women in set-ups and suits, I want to give empowerment and solidness to women.

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My ambitions are to produce images of women that don’t rely on adornment; an identity that takes its qualities as independent being, unobjectified.

Minimal, calm, sophistication, subtle and fierce -would be the words that could describe the aesthetic of my work. I’m here for caring and designing with intimacy, for women I see, that I feel, who have everyday , mundane lives.

Annie Mackinnon: A dream from a rock from the future: A plastiglomerate rock , a lump of agglutinated debris, snapped electronic pincers and molten plastic.

A regretful entwining of geology and technology, smashing deeper , deeper into the landscape. The rock liked to dream, imagining itself as an immaculate fossil, a memory of plants and critters, a memory of landscapes lost..something perhaps worth treasuring… Alas, when morning came, the rock found itself fast into a vast pile of trash, unable to biodegrade.

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Linyan : I have found inner peace in video games since childhood: the virtual space feels more comfortable than reality. It’s not just data and machine I can feel my avatars aura and temperature… people interact together to form new selves…. the serpent ouroborros, the agent symbol of endless life and the tattoo comes from the sculpture called eternal idol to reference creating exterior defences that are on the vulnerable psyche… meanwhile.I try to find the ultimate essence in virtual space while discovering, it’s just zeros and ones.

Guyouree : This is curious work.. curious as these two images embrace the unpredictable and I ask to be intentionally hilarious about a desperately inconvenient human bodily function.. if you’ve ever had excessive food issues, you will probably know that those functions are inseparable from our glorious and pleasurable human bodies. Collaborating with 312

natural resources that can be embedded within the physical human body, I aim to be supportive. From the East I compose by approaching things designed to be assessed… rather than restraining.

Xiaoling: In a pure and quiet space, she tries to touch and feel for herself through the transparent material. Then she realizes herself… is the same as ice. She has been shaped by different forms of the modes. She tries to reshape it to control or even destroy it…. she wants to just escape from it… at the last she is left and the ice keeps melting Ye: I always feel that I have both a male and female side.

I sometimes feel confused about gender. Although I have a male appearance I am always with a female side in my heart.

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Gender is equally during the process of my thinking.

So I draw a female appearance in a painting... the final identity of my inner woman.

Rika Kim: So I made a little latex. female influence in our bodies is in our heads. I always feel. I visualized different frames of mind, that multiply in my head.

Sam Chester: I want to liberate my body as a sight of desire and sexuality.

I am she I am they I am he.

I’m woven as many.

More than the flesh before you… yet I’m claiming my flesh blood fluid scars my profile cuts through your standards like a knife.

I’m desire. I’m woven as them.

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Daisy Suhwoo Park: I was pushing my breast, to make a cleavage and all the tiny tops & gloves are made to be very uncomfortable.

Next is my grandma who I very often find my tastes within her floral pattern outfits and her gardens.

Trace and marks left from things we choose to leave on our body. Some are beautiful like tattoos. Some are ridiculous and painful Trace and permanency…..a belly button can be seen as a trace that was left from our birth.

A news article from 1985 shows a change in the cities Administrative Code make legal for women to show their navel in public Photographer Eleanor Antin wrote in 1974 “I consider the usual aids to self definition sex, age, time and space as tyrannical limitations upon my freedom of choice.”

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Decades later in 2020 I feel exactly the same. And I don’t think much has changed, especially in the Korean society.

It is illegal for teenager K pop idols to expose their belly buttons on the screen so often tape covers it, or they wear high-waist jeans which I find very absurd.

All mammals have an evil.

Captures from filming myself undoing the four hooked top show I was exhausted by the time I was undoing the last hook.

Undergarments can never be empowering when it does not come from your choice.

My project last year was named “인간의 말을 이해할 수있는 꽃” In Korean “能听懂人话的花”. in Chinese “ a flower that can understand humans words” 316

A compliment that the emperor used to give to women that were beautiful.

Which emits the fact that women can have the ability to actively speak out for themselves, instead of just sitting there quietly, like a flower Corpse flower is known to be the ugliest flower on Earth…. 10 to 20 feet tall.

But I believe flowers have more power than just to be judged and estimated by observers.

I wish to build a narrative in fashion where women can gain power in being observed.

By the time I reached the age of my grandma. I will still have the same taste as her, but I wish many things will have changed in the society, for all gender and race.

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Jiangye He: The determination that I want to fight against censorship filtering, came from the film I saw last year when the actress took off all her clothes... but the censors made her wear a black dress, rather than let her be what she should be... being naked.

I think the phenomenon of cultural censorship is very ironic. When something is forbidden hidden or cancelled, the viewer becomes more interested and curious about the information that is hidden.

Cultural censorship is like a government paid advertisement.

When I read this book called ‘Censored’ published by a friend who is a photographer, I was most interested in the fact, that all the bodies that are obscured our female bodies..none of them are male.

It seems in the society we are more sensitive to the female nudity than the male nudity. I had a similar experience when I returned to China from London... people around me were always unhappy with the 318

way I dressed.. appearing with too much skin.. too transparent.. too low a collar.. or able to see my underwear.

Xiaonan Li: I think the TV series and animations that I was exposed to in my childhood have a great influence on my aesthetics. When I was a child a red dot on the forehead was regarded as a symbol of auspiciousness. And there were other Chinese elements with mysterious color in my memory. Therefore I tried to express my childhood impression of Chinese classical cartoons through painting and I redrew a photo of my ID in these memories to find my culture.

Hejing Fang: I have had the privilege of growing up surrounded by nature. 我有幸成长在大自然的包围下 319

“But people now live in the cities Once they see woods, streams, lakes and mountains They get excited immediately ” 住在城市的人 一见到树林、小溪、湖泊和高山 都会立刻兴奋起来 感受到大自然的恩宠 They rarely have a chance to feel the breeze blows 他们很少有机会去感受微风拂过大地 To take a breath in the forest 在森林里自由呼吸 To watch the lights dancing on the grass 看草丛的光影闪烁 不过,作为自然的一部分 田园风光都是经人之手造出来的

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However, as part of nature The pastoral scenery is created by human hands Farmers don’t just create farmland 农夫不止创造农田 “They are fighting against nature while they get rewards from nature Slowly, a landscape was created” 还和大自然对抗 在自然界索取

慢慢就创造了另一个景观 In order to get the immortality of nature Farmers will do their best to take care of their land 为使大自然能够生生不息 农夫也会尽全力灌溉大地的 In awe of nature 敬畏自然

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Lingzhi Wang : Classical piano plays across theatre pop fashion Charles James, Paprika, Lady gaga, Akira, The Cell, Hannah & Alice, 2001 _ a Space Odyssey, Balenciaga, Dior, Mcqueen, Hussein, Tim walker...

Gisele Zixuan He: I took pictures to record the older masculinity of my family; the wine bottles and cigarettes and the suit represent the role of the manhood. The first picture is my grandpa wearing his suit and taking out the lighter from his pocket in a masculine pose; on the right is my father playing Mahjong. I think the roles of my father and grandpa in my family are like the pine trees… very masculine and very prestigious among the family member.

Maxwell: Talking about the power of music and how music 322

brings us together and submits us together. I feel like it’s the purest way of communicating...

I don’t think fashion does that in a pure way anymore, but music still has an authentic way of doing it.

Here is the Nelson Mandela tribute in 1988 and all of this was achieved by the Anti-Apartheid movement in England; they basically got a lot of artists to come together and celebrate freedom of movement for Nelson Mandela.

This was the hugest pop political movement in the 80s and that led, some people say, that led to Nelson Mandela being freed… because of the gathering of people and the spread of information through music.

So that’s why I reached out to everyone to send their two favourite songs that brings them alive & when I listened to everyone’s tracks it was quite interesting because It was so different... everything was so unique and everything was so inspiring to listen to & I feel like it was a beautiful experience for me... getting to understand people and understand 323

people’s taste. It’s a different way from seeing how people dressed. I think seeing what people listen to is a different, different, different way of seeing them and yeah, I feel like music, like I said before, decorates time and that’s why I gathered everybody together to make this huge mix.

Zowie Broach: It’s been an amazing privilege and week, as ever, to hear you. And today to see and hear some of those powerful views and presentations…. the beginning of what will become a phenomenal year of memory for you in your life. I hand over to MAXSHO who wants to play the sounds of your community.

Thank you.

Maxwell: No problem. I’ve got this visualize project I was doing so it takes the audio input and it calculates 324

in some math codes and it produces something visual and this is kind of nice. I’ll show it on while the music plays The following is how zoom transcribed the sounds : With me Please.

Be Seated Me to push you.

To miss Out on the icon.

Equation.

To 64.6 place.

Six of the planet.

Vision made me panic, but less than to do with them, say for The masses. Listen to your intuition separate Maxwell: lucid dreaming.

On campus into C, D, E, F. Sharp for something tells me that this generation.

Chapters 325

D. When you met me It was Me. Know, Let me Know, If you me Me. Me. Happy to.

Have been to Ghana.

And low Day is made.

With you.

See that go to bed.

She should Be happy.

Happy Them. You deserve to Die again.

She said something Like Champion to the 326

Sermon and gets me mad.

Mad Mad at Pat Mitchell got cheated on then go back To them. Yeah.

We can get you can Get our new la La MS or any Panglossian that you Didn’t count hotel clinic Jackie Akina bottom first class. Ticket said that emotion enhancing in Massena purchasing Jackie.

Chan good singing, go Tommy Mangia Mangia, mangia Mangia Mangia Man Apple Shan Shan Ji Ji can chunk up in paid this actually puts it in So diffusion Jim sign He still Plays Know work.

Smoking 327

Good evening.

Individual when the PR, but even the third floor is it in the old champagne was on the floor. I’m happy. Others can upload their psyche. But of course, make sure thank You for having you on The phone First Of All the trophies.

I used to month straight This the officer now because I got this job. I get an education and I got somebody waiting for me.

God damn it.

Now one Queen asked me the other day, was it she saw me mistake you make your life, right, of course.

Missing all queens and me.

Clean Gorgeous.

Is the song.

For you.

Need this myself.

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Body.

Says, Si. Si. Si. Si. Si. Si. Si. God, God God Good.

This Money. Money.

Job. It’s a much deeper conversation right like everybody should own their masters if major labels. Want to do deals with artists to partner with me.

It was contracts, they, you know, they tell you that The master in in every country there.

Walking on the roof top Get some Dancing Disco 329

Night. Good.

We could cut the chit chat.

Because could boil The ocean.

Maxwell: Yo, that’s the end of the mix.

ZOWIE BROACH: OKAY MAXsho that was awesome. ( she laughs. – joy respect ) So, okay, I’ll say thank you... to all of you.

That’s the end of MIRROR MIRROR 20 for this year.

I look forward to seeing you all again soon. Bye. Maxwell: peace.

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F21

WORK

PART 3

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If we adapt and overcome it together as a community, we will finally be able to feel catharsis.

Seungmin Koh! MA Fashion, RCA 2021

Abi Sheng

Anna Deller-Yee

Anne Ferial

Annie Mackinnon

Aurélie Fontan

Bea Brücker

What could a future look like where we live in partnership with nature instead of exploiting it?

The last year in particular has shown us the need for a systemic change in the Fashion Industry. As designers it is our responsibility to question current power structures and to not only create a more eco-friendly industry but also a better society and environment. Biodesign has the potential for this change.

Can Biodesign help us turn away from capitalism and create new ways of working, making and living together? Working with living organisms enables us to change the way we work in fashion. It creates a new relationship with nature, a new relationship with the clothes we wear and finally: it changes our relationship with each other and our view of ownership. Using mathematically generated multi scale turing patterns and self-bred algae leather, Bea works on a new design system that could lead to greater autonomy and combat the effects of the climate crisis.

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Chenyu Cai

Daniel Baldé

Dimitris Karagiannakis

Dimitris Karagiannakis On Queerness, Community, and Love with Ally Barker and Kareen Brown Dimitris Karagiannakis: So how have your experiences as queer individuals or people within the queer community informed the way you see the world now?

Kareen Brown: Before I found my queer family and the people that I really love and feel loved by, I remember wishing that I had people that are like me, faces like mine, who identify the same way that I do, and now I finally found that and I feel at home. I’ve got unconditional love which is lovely.

Ally Barker: I feel like I have now seen that there are so many more ways a person can live their life or think or be. It opened my mind to so many things that I did not know existed or were possible; ways that relationships can exist with other people, or with yourself. Also, (I found) a new attitude to life, just being able to grow into my own skin. Before, 403

I guess, we lived how we thought was the only way and now we have created this family and we can just do whatever we want. Whenever we step out of that as well, I see how different, how rigid, life once was for us and how it still is for other people. It really is unconditional love. I never thought I could receive or give that to people but everyone is so much more open. I never had such an amazing support system.

KB: And you know that you have the option as well to love in a different way from the norm.

AB: Also, everyone is so much more creative not just with work but the way we are in our lives. You know, we don’t just go to the shop to get our drinks.

It’s a whole fucking show to the shop.

KB: It’s a whole moment!

AB: What are wearing? What song is playing?

Everything is a show.

KB: And we are living for every minute.

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AB: I think it makes all of us a lot happier. Obviously, there is a lot of stress and a lot of drama, because we are finding out who we are around each other.

Everyone is going through their own stuff. We are finding out things about ourselves. We are going through a lot of mental health issues but with finding this queer family, because we are all going through similar experiences, we can all help each other through that. Because it is a lot to find out.

KB: It is important to acknowledge it because the other side of society, the very rigid side, they just brush it off.

AB: It is non-existent! It’s amazing to have a family and love from other people to help you through the down days. Life is not just smiles and rainbows.

KB: We do love the rainbow though!

DK: I am glad you mentioned the dressing-up part in relation to the question of “who am I today?”. How important is fashion for you in terms of expression and showing the world your true self?

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KB: I’ve got a different character for every event, every moment. I do not have one secure, Simpsonsor Family Guy-type, uniform. I feel like a boss bitch today, so I am going to dress like a boss bitch. I like pink today, I am just going to do a full pink look. And if I really like the color of my chewing gum, I might start wearing neon green.

AB: I feel like we are very eccentric people, in every aspect, so we have a very eccentric look. What everyone says, I say it as well, is that my non-conspicuous shop look turns out to be the most eye-catching, look-at-me kind of look. “Don’t look at me!” but I am wearing massive Dior glasses. “Don’t look at me and my fab boots!” For me personally and for a lot of people in my group fashion is a huge part of our personality and what we want to show that about ourselves.

DK: But do you feel like you are being represented honestly and accurately by the fashion industry?

AB: No. I think queer POC women, non-binary people, and even sometimes men as well are not represented greatly by the industry. I think a lot of it is 406

tokenized but people that are in this scene, like yourself and a lot of our other friends that are designers or stylists, work with their friends and a part of the subculture that they are in; that they live and breathe and work in. It’s completely raw and real. For example, you are making garments based on our personalities, on our bodies. However, a random luxury or fast fashion brand might use what they see and think is rave culture and name it “PVC rave queens” or whatever. It’s not honest, they just want it because it looks cool but that queerness isn’t authentic. They need to be covering all the bases. I am not saying it is everyone and the industry is certainly changing after all the movements last year. BLM and Trans Lives Matter did pick up on their radar but it is not something that is going to change overnight. BLM hasn’t changed overnight so I doubt that fashion history will go faster.

KB: I feel like the only kind of queerness that I saw in the fashion industry, in the magazines, was under the “androgynous” label and that was the extent of it. Anything further felt like they were using queerness as a costume instead of our individual everyday looks.

What we step out in is not a costume.

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AB: That word...“costume”! It is seen as a costume by a lot of people. But it is me and my life. People see being queer like it is Halloween but it is our every day.

DK: What is one thing you would like other women like yourselves to know to feel embraced and empowered?

KB: Whatever you feel, go with it. If there is anxious thought recognize that is just the bitchy voice in the back of your head. Make it nicer, be kind to yourself.

Just be you.

AB: What men say do not mean shit! Who the boys like in school is not a representation of beautiful women. It is stuff like that you really cared about and it really does not mean anything. Also, boys are so stupid. Straight boys at least.

DK: All boys are stupid.

AB: All boys are stupid!

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Dorota Bojanowska

Emma Blythe

Giulia Lombardi

Gyouree Kim

Hejing Fang

Keiga Hua Hui

Hyemin Kim

Jin Ko

Jessica Bachmann

Iris Ding

Jiangyue He

Jiaoyang Ma

Jiaping Li

Jie Hu

Rika Kim

Jungna Nana Park

Junyi Li

Kijeong Choi

Kehoe Lai Ki Kwok

When I grow up I am no longer afarid of ‘IT’

Laino Bilbao Ugarte

Lamp Lee

Liner Shen

Ling Jiang

Lingyu Hao

Lingzhi Wang

Linxi Zhu

Linyan Hu

Linyun Yu

Maxwell Shoroye

Mirror, Mirror

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Natalia Esteve (𝚂𝚎𝚕𝚏)

Nicole Kaminska

Panny Yu

Pindiga Ranjith Kumar

Qiuyun Li

Sam Chester

Seungmin Koh!

Sevil Fekri

Shan Jin

Yuma Hsu

Siobhán Palin

Fang

Subin Choe

Daisy Suhwoo Park

Sven Steinmetz

Tae Choi

NANXY Tian Wang

Tina Zukanovic

Xiaoling

Rachel Xinrui Wu

Xiaonan Li

Xiaoqin Li

Yan Han

Yantong Chen

Ye Yuan

Yu Gao

feyfey Yufei Liu

Yunpei Li

Play With My Belly Yunpei aims to include her skin and more importantly her bodily form into her garments. Noting that lots of women lack body self-confidence and are anxious about their current body shape，she wants to encourage people to enjoy natural figure by her work. Because some people always call the extra flesh on belly swimming ring, she turned the joke into a part of the body. Compatible with natural skin and flesh，choosing which areas of the body she wants to expose，she combined the swimming ring and the body into another kind of beauty.

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Yushan Liu

Zhonghua Sui

The notReadymade documents the cradle-to-grave life cycle of a group of commodities to make a gentle disruption to the system. The truth is portrayed through a performance of multiple depositions, by duplicating the external form of a ready-made product. The aim is to visualize the hundreds of production relationships that are hidden by the “simple act of payment.” The aim is to visualize the invisible violence of “industrial manufactured demand” and its attendant modernity at large.

You will find them on display in retail shops. A bizarre piece hiding among other items, reproduced by real workers, which record the labour process with the fingerprints left behind. It once paled in the midst of promotional crowds, while still walking gently into the good night with drunken gourmets in the heart of the metropolis. Birthplace is a far cry from urgency.

“These violent delights have violent ends.” The garments from the installation make their final deposition to life in the rubbish collection, as white and clean as the primordial state of everything. Erased from workers and consumers, its life will continue forever in the toxic beautiful cycle of commercialization.

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Gisele Zixuan He

Zongbo Jiang

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BIOGRAPHIES & IMAGE INDEX

PART 4 903

ABI SHENG Fashion, Humanwear xinyu.sheng@network.rca.ac.uk @abisheng

ANNA DELLER – YEE Fashion, Womenswear anna.deller-yee@network.rca.ac.uk @annadelleryee

Abi Sheng is a 3D artist, designer, and researcher whose practice engages with transhumanism and consciousness studies.

As a future thinker, she believes that generating artificial bodies will be more relevant than designing garments in the future of fashion

Anna Deller-Yee is a half German, half Asian-American creative living between Berlin and London. Her work The Symphony of Self is an on-going project analysing, reclaiming, manifesting and celebrating strength in fragility and what it means to be a woman through individual/collaborative work and tangible outputs.

Having worked around the body for years, Abi is now developing the idea of re-engineering bodies with generative design, combining anatomy and mechanical engineering.

She is a body engineer whose work is devoted to construct a utopia for equality by offering a system for customizable, transformative physical appearances and body modifications through fashion.

Her digital work is a visual reflection of the evolving present, an artist’s approach to encoding realities. She is developing a healing process to expand consciousness through recreating psychedelic experiences and meditation in the virtual world.

Abi Sheng Robot Eka by Sapiens Collective Team members: Abi Sheng, Anne Ferial, Catherine Mondoa and Will Coley

For the first Act of The Symphony of Self named KAKUSHIBORI (Japanese: “hidden carving”), she collaborated with typographer Nicolas Bernklau (ECAL, Lausanne) to create a common shape pool from which both generate designs that inform the others. This shape pool is rooted in performances Anna conducted with her body and objects that represent the notions of hiding and revealing.

The Symphony of Self will develop further past Anna’s graduation at the Royal College of Art into a variety of physical publications created by herself and Nicolas. Furthermore she’s excited to delve into the senses of smell and sound in future Act

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ANNE FERIAL Fashion, Adaptivewear anne.ferial@network.rca.ac.uk @annefefe

ANNIE MACKINNON Fashion, Humanwear morag.mackinnon@network.rca.ac.uk @comic_ans

Anne Ferial is a London-based multi-disciplinary designer, who dreams to bridge culture and technology by way of new structures of accessibility, robotic systems and digital software wizardry. Her main focus on adaptive wearables and her background in print textiles bring a unique approach to her digital design practice. At the Royal College of Art, Anne has been developing a speculative, therapeutic quest video game titled “Exoblock”, based on her personal story as a stroke survivor and her autobiographical illustration work for her masters dissertation.

Annie is a London based artist working across moving image, text, and sculpture to explore the way metaphors, language, and code, shape interrelations and thinking between technologies and ecologies. Her work is inspired by speculative practises practices and philosophies that reignite symbiotic entanglements with the environment, whilst critically examining the power structures that shape extractivist architectures both the digital and physical sphere.

905

AURÉLIE FONTAN Fashion, Biowear aurélie.fontan@network.rca.ac.uk @aureliefontan.design

BEA BRÜCKER Fashion, Biowear bea.bruecker@network.rca.ac.uk @beabruecker

Aurélie Fontan bio-fabricated fashion

Bea Brücker’s work combines working with living organisms, computing and the development of compostable biomaterials, in which she sees the potential for a change in the fashion industry, a BioRevolution towards an environmentally friendly and ethical system.

She is fascinated by combining the natural with the digital to create future design practices for ethical and ecological fashion.

Her work explores the emerging field of biodesign with a focus on the symbiotic relationships between organisms. Her interdisciplinary fashion project Autarky : Fashioning Space is a biological utopia speculating on space exploration as a new approach to alien territories and ecosystems. Exploiting multimedia story-telling and biofabrication, the project showcases circular design systems as potential answers to our own material and climate crisis.

906

CHENYU CAI Fashion, Fame chenyu.cai@network.rca.ac.uk @Chenyyyyy_

DANIEL BALDÉ Fashion, Menswear daniel.g.baldé@network.rca.ac.uk @claimedia

Chenyu is a conceptual footwear designer from Beijing, she holds a Bachelor degree from Beijing Institute of Fashion Technology, and is now currently studying footwear design at Royal College of Art.

Daniel Baldé is a Portuguese artist currently based in London. Most of their work is somehow linked to the experience of the human body, - its own vessel. It’s about speaking up as a Black queer individual and giving the observer the chance to experience the ‘fabric’ that Daniel calls body. The Idea of a changeable body, of designing the self and playing god//engineer in their own universe was a research method that led to a better understanding of what their material of the body as “fabric”. Unpicking their own material, they aim to narrate their own experiences.

She explores the relationship between medical fetish and power, medical instruments and skin. Through these explorations, she considers how technology can transform the human body now and speculates about how this may change in the future.

The human body is key to her work and its ability of reshaping and transforming are at the centre of her aesthetic.

907

DIMITRIS KARAGIANNAKIS Fashion, Post-disciplinary Design d.karagiannakis@network.rca.ac.uk @dimitris.karagiannakis Dimitris Karagiannakis’ work explores the intersection between garment, space and performance in relation to the LGBTQ+ community and “Sympoiesis”. For his graduate collection, “Arachne’s Tapestry”, he is designing his first Synthesis; an immersive artwork that interrogates notions of queerness, connectivity and political being through the lens of collaborative storytelling.

DOROTA BOJANOWSKA Fashion, Humanwear dorota.bojanowska@network.rca.ac.uk @bjnvska

Dorota is a multidisciplinary designer.

She works with serigraphy, dry point, painting, illustration and speculative design.

Dorota believes that what’s most important is the authenticity and functionality of her work as a designer. Beauty through imperfection, handcraft, individuality and emotional durability are the key values she follows in her creative process.

908

EMMA BLYTHE Fashion, Menswear emma.collins@network.rca.ac.uk @whatisblythe

GIULIA LOMBARDI Fashion, Womenswear giulia.lombardi@network.rca.ac.uk @g.come.gi

Emma Blythe is an American designer currently researching menswear through a feminist gaze. As a woman designing menswear it is impossible for her to design without responding to current conversations surrounding gender politics and identity. Her work is rooted within her own experiences with gender inequality and expression.

Originally from Italy, Giulia Lombardi is a fashion designer.

Aware of the power of emotional memory and the need for slow, sustainable fashion, Emma looks for ways to repurpose old and used items that she finds expressive, and subverts their original purpose in order to re-imagine a positive future with items from a recognizable past.

Despite her specialization in Womenswear, she likes to define her practice as an open communication between womenswear, menswear and accessories.

With a background of fashion design study in Italy and previous experiences in both menswear and womenswear design studios, she is graduating from Royal College of Art Fashion MA in 2021.

In her works, self-expression and a high understanding of quality represent the main foundation.

Experimentation of new creative processes, use of upcycling and dead stocks are key to her practice.

909

GYOUREE KIM Fashion, Womenswear gyouree.kim@network.rca.ac.uk @gyoureekim

Gyouree Kim is a fashion designer passionate about sustainability and craftsmanship. Her creative journey was originally influenced by having digestive problems. Having to embrace unpredictable and uncomfortable bodily functions such as IBS, to see them as a normal part of being human rather than something to be ashamed of. Taking inspiration from her personal experiences, as well as from the use of corsets throughout history, she pays special attention to the abdominal area to design a comfortable and supportive corset -– to assist as opposed to restrain. In the hope that her work could be beneficial for both human and nature, she started to explore the use of bio-materials which she has integrated into her work to create sophisticated, timeless bio-couture that aims to balance ecological awareness and artistic expression.

HEJING FANG Fashion, Menswear hejing.fang@network.rca.ac.uk @fhejing

Hejing is a person who loves culture and nature, who is gentle and strong.

She believes when we practice in all fields of design, each field benefits from our experience in the others. All design is related, and interconnected, whether it takes the form of a book, film, object, or children’s clothes.

Growing up in a small town surrounded by mountains, she developed a natural fascination with collecting, responding to her own emotional and peaceful life moments.

910

HYE MIN KIM Fashion, Womenswear hyemin.kim@network.rca.ac.uk @___xmxx

KEIGA HUA HUI Fashion, Menswear/Digital hua.hui@network.rca.ac.uk @keigakeiga

Keiga Hua Hui born in China and now in London has recently come from Japan where he previously worked and studied.

Keiga’s current work focuses on breaking through fashion’s traditional methods of expression, exploring visual direction and digital transformation, and delicately balancing the relationship between the real and virtual worlds in clothing and wearable products.

Building inclusive and progressive digital worlds, Keiga aims to create the future landscape of emerging Asian youth subcultures that embrace other communities. Keiga adopts this approach in his own practice by collaborating with people and designers from different cultures and communities, surrounding the future of creating closer cooperative relationships between individuals and teams.

Hye Min Kim always focuses on people’s perspectives and emotions. Her work revolves around expression of anxious feelings and identities through fashion. Through interviews with herself and her friends, she focused on the feelings of anxiety felt because of the way one dresses in public. Ultimately, she wants to tell a story about her friends and herself to create a new era through these steps. and illuminate aspects of their inner lives through her work.

911

JIN KO Fashion, Womenswear hyejin.ko@network.rca.ac.uk @jin.ko__

Warm Bodies are proof of our presence.

By holding aloof from it, I remove my existence.

Jin Ko is a Korean London-based artist who believes in the power that anonymity offers. From modifying to vanishing, her work explores human existence with fragile materiality. She is continuously questioning how a single layer can create protection for our body and mind. Her work aims to create shelter for the hiders in social situations.

Veil to prevail.

JESSICA BACHMANN Fashion, Womenswear jessica.bachmann@network.rca.ac.uk @j.bchmnn

Jessica Bachmann is a German-born, London-based symbiotic womenswear designer, whose work has been exhibited across the UK. Forming a sustainable identity practice, method and philosophy is the heart of Jessica’s work. She explores the physicalness and tangibility of female identity in womenswear through its hybrid visualisation. Her project showcases digital sound garments, moving imagery, written and spoken word coded into one symbiotic design system.

She examines the perception of emotions such as female anger and its non-stereotypical representation in fashion outside of a patriarchal realm and the male gaze. Her designs challenge current womenswear practices by embracing how we experience garments through a multi-layered spectrum of work. How we wear a garment is a way of that perception.

912

IRIS DING Fashion, Womenswear jiahui.ding@network.rca.ac.uk @jiahuidding

Iris Ding focuses on expressing her fashion ideas in the digital space. Her design inspiration mainly comes from her Chinese cultural background. She has a very strong interest in her national culture and hopes to use a unique contemporary language to tell stories from the past. She tries to combine digital tools to interpret traditional culture, to break people’s stereotypes about traditional things, and to obtain more diversified and personalised interpretations. Her works embody the strong collision between tradition and modernity, and highlight classical culture by way of a brand-new, romantic visual experience.

JIANGYUE HE Fashion, Womenswear jiangyue.he@network.rca.ac.uk @rivi_he

Jiangyue He is a womenswear designer from China. She aims to arouse the audience’s attention and reflection on some social phenomena in reality by combining physical fashion and digital fashion. Jiangyue focuses on the problems faced by women in different work conditions.

She hopes to challenge the audience’s traditional perception of garments within existing markets. In the digital age, artificial intelligence is widely used in the review of network information. Through the process of machine learning images, Jiangyue wants to let the audience see: where is female nudity most severely scrutinized in the eyes of AI? Are these places different from what we thought they would be?

As human beings, we can reflect on whether it is reasonable and necessary for us to censor women’s bodies in movies, the Internet and normal life. Can there be a new definition of female’s nudity?

913

JIAOYANG MA Fashion, Fame jiaoyang.ma@network.rca.ac.uk @jiaoyang.ma

JIAPING LI Fashion, Womenswear jiaping.li@network.rca.ac.uk @tristesse_19

Jiaoyang Ma is a Chinese-based Accessories designer who is interested in the field of researching sustainable materials. She believes that bio-fabrication will be an important part of the fashion industry of the future. By experimenting with the design and use of degradable bioplastics in accessories, she explores the relationship between fashion and nature, hoping to provide a new way of living and designing.

Jiaping is an independent womenswear designer and stylist base in Beijing and New York. Many of her childhood memories and cognitions about fashion’s infancy in China made her very interested in fashion and photography, and reorganized the retro 90s fashion culture with her visual language structure.

In 2015, she came to PARSONS in New York to study fashion design and showcased her work at New York Fashion Week. In her works, culture is just a way of self-recognition, and visual language and visual aesthetics that span time are more meaningful designs.

Jiaoyang focuses on the emotional connection between accessories and people. She considers that accessories are not limited to being decorative objects. They can be both functional and emotional, responding to the needs of the wearer. Through Jiaoyang’s work, the accessories can begin to establish intimate emotional relationships.

914

JIE HU Fashion, Knit jie.hu@network.rca.ac.uk @jiiehhuu_

RIKA KIM Fashion, Womenswear j.kim@network.rca.ac.uk @lickrika

Jie Hu’s personal practice starts from the exploration of the phenomenon of contradiction. Her work embodies the stillness and movement of time in the paradoxical space of knitwear, and tries to imbue a sense of power by using metaphors in knitting.

Originally from South Korea, now based in London, Rika Kim aims her practice to be a designer who creates centrefold images. She is fascinated by gaudy and garish descriptions of women. She is interested in how the concept of ‘decadence’ is reflected in art, which has become phallus-ocentric. Rika’s design practices revolve around the question of ‘How women can feel sexy without internalizing the male gaze.’

915

JUNGNA NANA PARK Fashion, Knit jungna.park@network.rca.ac.uk @j_nana_park

JUNYI LI Fashion, Womenswear junyi.li@network.rca.ac.uk @jun.yi.li

Jungna Nana Park is a designer specializing in knitwear, currently based in London studying at Royal College of Art. She comes from various places, including Chicago, where she studied at the School of the Art Institute of Chicago, New York, where she worked as a designer, and Seoul, where she spent her childhood. Her personal experiences of living in different cities are heavily embedded in her work, exploring the perception of body image for her final collection.

What do people really try to preserve from the old and forgotten objects?

Her recent works were featured in various magazines, including Vogue Italy, Sicky Mag, and Exhibition Magazine. Exhibition Magazine held its fashion week ‘five days with five designers’; the magazine selected her as the new designer from fashion in the ”YOUNG DESIGNERS” series.

Through analysing and deconstructing garments, recording the traces of them, traces of time, traces of preservation, traces of construction, traces of use and traces of original shapes. Those traces together make the old stuff become pieces in memory. Reconstructing the garments in new and old fabrics with all these traces, Junyi explores new ways to preserve the meaning of old things.

Many reproduced vintage and replica spaces may look almost the same as before, but they lose the unique emotions and memories of the old things they used to house. Junyi’s work developed from an old family storage box.

The clothes inside have been abandoned in a sense, but are still stored in a corner of the house, just like some fading memory.

916

KIJEONG CHOI Fashion, Womenswear kijeong.choi@network.rca.ac.uk @kjchoi777

KEHOE LAI KI KWOK Fashion, Womenswear laiki.kwok@network.rca.ac.uk @kehoe_kwok

Kijeong Choi (KJ Choi) aims to construct a space which communicates fashion as a form of art, and conveys the messages and contexts which she wants to share. Currently, she expands her fashion in the digital realm, and attempts to combine digital and exhibition design with her garments.

Kehoe Kwok’s work focuses on self-discovery, on writing his own story and integrating it into his designs. Kehoe’s work combines painting, research on human personality and the development of fur materials, with which he is finding his own language in Fashion.

917

LAINO BILBAO UGARTE Fashion, Humanwear laino.bilbaougarte@network.rca.ac.uk @lainobilbao

Coming from a fine art background, the relationship between body, space and materiality are the main ingredients that interest Laino Bilbao as a designer.

LAMP LEE Fashion, Adaptivewear wenqing.li@network.rca.ac.uk @lamp_lee

Lamp Lee’s work involves transformable materials, technical interactions and philosophy. with the aim to transform sensory experience into wearable art.

She describes her creative process as synergistic; the maker creates the work and the work informs the maker. Above all, it is an act of play.

She understands Fashion as what happens around our bodies, and as a way of expressing our own experience of the world, combining the language of material and structure with the body itself. Her work explores the contradictory juxtaposition of reality and the perceptual changes caused by the friction between subjective intention and objective logic.

918

LINER SHEN Fashion, Womenswear liner.shen@network.rca.ac.uk @leenrr

Liner is a humanswear designer based in London and Shenzhen. Restricted and influenced

by Zen beliefs, and with a strong admiration for technology; Liner looks for the fulcrum of balance in these seemingly contradictory things. She understands organic nature as the original fulcrum, and the algorithm as the tool.

With her work she aims to discuss the possibilities and limits of man-machine integration and technology in fashion and to navigate the relationship between nature and virtuality, tradition and universe.

LING JIANG Fashion, Menswear/Bio ling.jiang@network.rca.ac.uk @ling_j_

Ling Jiang’s design philosophy is about learning from ancient wisdoms, respect for nature and treasure of objects. Healing ourselves makes the earth self-heal. Ling explores both the idea of self-healing and naturalization is a symbiotic way of existence with our planet.

She explores which crafts and ancient wisdoms can help us seek cultural engagement with nature as a treatment of our urban existence? How does migration and the decentralization of cities affect the new luxury lifestyles?

919

LINGYU HAO Fashion, Menswear lingyu.hao@network.rca.ac.uk @deadpoolllll

Lingyu Hao (U) is an artist and designer whose work focuses on self-expression and the relationship between the individual and the world mediated by garments, furniture/sculpture, and performance. She aims to create an escape, a space or/ shelter from external influences, but still offering the ability to observe from the inside, the outside world.

LINGZHI WANG Fashion, Womenswear lingzhi.wang@network.rca.ac.uk @l.i.n.g.z_____

Lingzhi Wang is a womenswear designer whose work is focused on colour, texture and silhouette. His research and inspiration is mostly inspired from pop culture as well as his own life experiences. His recent project is about preserving the precious moments in life, replicating memories into physical outcomes. This work is also his response to the current pandemic situation. He believes that if you bring light and joyful memories forward in life, it could heal people from anxiety and depression.

920

LINXI ZHU Fashion, Knit/Digital linxi.zhu@network.rca.ac.uk @linxi_zhu

Linxi Zhu is a fashion designer and a digital fabric innovator who creates virtual fashion with her own materials. She takes the body as a medium, using fashion as a tool to communicate the surroundings. Her work focuses on building connections that transcend tangible fabrics into digital forms, while exploring the uniqueness of these digital equivalents.

Through this work, Linxi challenges current existing fashion fabrics and pushes the boundaries of digital fashion’s materiality.

LINYAN HU Fashion, Menswear linyan.hu@network.rca.ac.uk @linyan.h

Linyan Hu is a fashion designer and 3D visual artist from China and currently studying at the Royal College of Art. Linyan explores digital media and motion graphics to create computer-generated narratives with the language of fashion, video games and virtual experiences.

Her practice explores themes around the human experiences of virtual space, not only as of the non-physical representations, but of the potential of emotional experiences beyond the material environment. Her aim is to seamlessly waves people into the fabric of the virtual experience.

921

LINYUN YU Fashion, Empathywear linyun.yu@network.rca.ac.uk @linyun.yu

Linyun Yu with a cross-pollination of eastern and western culture is a womenswear designer based in China and London. Linyun’s work focuses on Bio Design. She explores system design with the help of biomaterials and bio methodologies creating bespoke designs whilst enhancing user experience.

Linyun has collaborated with areas such as education, exhibition, and information experiences, as well as non-governmental organizations, hospitals, galleries, and magazines.

She is also the author of an online magazine in China with over 10,000 subscribers, creating a space for multi-disciplinary artists celebrating their work through communication and collaboration.

MAXWELL SHOROYE Fashion, Menswear maxwell.shoroye@network.rca.ac.uk @maxsho.png

Maxwell Shoroye is a Product Designer and a sound enthusiast from Ireland.

He uses his experience in DJing to mix, distort and blend sounds to create a new way of design thinking.

Maxwell develops ways in which to depict invisible sound that surrounds us. By using sound as a means to create different landscapes, Maxwell highlights the importance of sound in everyday culture and society.

Employing music as a passport to explore different eras, emotions and worlds, Maxwell investigates his Nigerian heritage through his work, uncovering unsung pioneers of Afro-psychedelic Rock, developing social exchanges between music and fashion.

“Design decorates space and sound decorates time”.

922

NATALIA ESTEVE (𝚂𝚎𝚕𝚏) Fashion, No-wear linyun.yu@network.rca.ac.uk @santuariotabularasa Natalia Esteve (𝚂𝚎𝚕𝚏) is a Mexican London based Artist whose practice illuminates the inherent concurrence between the undertaking of the Being-process as such and the finite impermanence of the Being that discerns and fathoms it. Through a series of embodied rituals the artist surfaces the experience of the embodiment of the disembodied state of Being in which we encounter the unconcealed 𝚂𝚎𝚕𝚏- Being as Being noBody. The dissolution: Being understood not as something determinate and stable, but in terms of the conditions for the emergence of entities and worlds out of concealment to unconcealment - the Self as the 𝚂𝚎𝚕𝚏 ̶ . Through the ritualistic encounter of ink penetrating the embodied body we encounter the body as the no-body.

The no-body is the portal into the healing waters of the semiotics of Being 𝙽𝚘 𝙱𝚎𝚒𝚗𝚐.

NICOLE KAMINSKA Fashion, Humanwear nicole.kaminska@network.rca.ac.uk @nicolekaminska

Nicole Kaminska works within the field of Performance Sportswear Design, focusing on development of innovative cooling materials and thermoregulation systems for performance. Because of the unique perspective of herself being a triathlete, her designs are focused on the human, looking at enhancing and supporting the physical as well as the mental performance of the athletes.

During her MA she has closely worked and tested her designs with professional competing triathletes, conducting a series of interviews and testing sessions. With her previous background in Womenswear Fashion, she approaches the field of sportswear from another perspective, considering the nature of being a female in male-dominated sports industry and introducing an emotional, subtle view on performance sportswear.

923

PANNY YU Fashion, Fame/Digital peini.yu@network.rca.ac.uk @panny.yu Panny Yu is a designer fascinated with objects and curious about technology and the virtual world. She has explored jewellery, eyewear, product, 3D design and programming. Her collections combine different pathways that extend the possibilities and build uniqueness.

Emotion and interaction are always essential elements in her mind.

PINDIGA RANJITH KUMAR Fashion, Womenswear pindiga.ranjith@network.rca.ac.uk @pindiga.ranjith.kumar

Before the MA in Fashion at the RCA, Ranjith Kumar P studied Fashion Design in India.

After graduation, Ranjith Kumar worked as a womenswear designer for various fashion companies and theatre group IPTA in New Delhi, India.

Ranjith Kumar is influenced by everything he sees, feels and experiences, by cultures, history and politics. Integral to his work is the way in which he reflects on the things that matter to him.

924

QIUYUN LI Fashion, Humanwear qiuyun.li@network.rca.ac.uk @rachel_lqy

SAM CHESTER Fashion, Humanwear sam.chester@network.rca.ac.uk @sjwchester

Qiuyun Li is a costume designer and a performer based in China. Following graduating from the Beijing Institute of fashion technology, she moved to London and is working on her MA at Royal College of Art. She focuses on exploring the physical expression of line, combining hoping to fashion with movement.

Sam is a London-based digital artist and crafts-person whose work orbits ideas of storytelling, moving between the real and unreal, the physical and digital.

Working with the body as a tool, she explores performance blending dance, visual art, installation and exploration of space.

Inspired by the pagan mysticism and coastal landscape of their hometown, they navigate the relationships and sensualities between nature and magic, the virtual and the cosmos.

As a means to unravel the multiplicity of their trans identity and how it intersects with the digital world, Sam manoeuvres between technological interfaces, video game experiences and A-I systems; myth, folklore, and ancient crafts. All the while weaving their own queer landscape. #digitalshaman

925

SEUNGMIN KOH! Fashion, Menswear seungmin.koh@network.rca.ac.uk @koh_seungmin

SEVIL FEKRI Fashion, Womenswear sevil.fekri@network.rca.ac.uk @sevilfekri

Koh! is a menswear designer based in Seoul and London. She can be expanding through the text and its storytelling based on emotions. Her works are weaved together to create the emotional history of them.

As an artist and designer, Sevil is intrigued by the complexity that is embedded in the simplicity of human life, by how disposable yet valuable the mundane day to day can be.

The root of her work is in an appreciation for the overlooked, the ugly, that draws inspiration from the Arte Povera movement. It is also a commentary the fast pace of today’s society and culture.

Through her work she translates the day to day into challenging shapes, silhouettes and materials. Capturing the moment caught in tea bags and cups, by blowing up the scale of these items and creating installations of found, abandoned objects.

She seeks beauty and brings attention to it, highlighting the grace and challenges of life.

926

SHAN JIN Fashion, Fame shan.jin@network.rca.ac.uk shan.jinnnnnn

Shan Jin aims to induce people’s reflection on social issues through accessories. She pays attention to how people adapt to new environments and build new social relationships during and after the epidemic.

Her goal is to design accessories for children that allow them to take part in the process of design, based on the framework of inclusive design. The epidemic has allowed parents to spend more time with their children, but some parents have not found a good way to get along with them. She hopes to provide a more democratic and participatory design model, where each child’s personal thoughts affect the results.

YUMA HSU Fashion, Menswear shih-yuan.hsu@network.rca.ac.uk @yuanhau Yuma is a London and Taipei-based menswear designer who is interested in witnessing how the grey area between chaos and order has affected her own process.

Inspired by subcultures and the club scenes from different cities, Yuma is curious about how to express individual desire.

She engages with these activities such as energy or purposeless intention, and is as fascinated with values, gritty charms, special traces and textures which celebrate the rebirths of their lives.

927

SIOBHAN PALIN Fashion, Womenswear siobhan.palin@network.rca.ac.uk @siobhan_liz

SIQI FANG Fashion, Menswear siqi.fang@network.rca.ac.uk @jennysqq_

Siobhán is a Womenswear designer specialising in sustainable swimwear Originally from Sydney, Australia, where swim is known to be a saturated market, Siobhán seeks to re-define the term, looking to alternative fibres, applications and inclusive means.

With a now urgent need for less, the series of bodies are intended not to remain solely as swimwear, but rather staple pieces with multiple applications. Pushing emerging manipulations of Merino wool, the one fibre Australia is known for, The Woolmark Company has provided invaluable support to the development of her practice.

Siqi Fang is a menswear designer based in London. She mainly focuses on continually pushing the boundary of fashion thinking and system thinking. Her design approach is often unconventional and innovative. Siqi proposes a new attitude to the physical body through a fashion lens.

Her practice explores innovation through garments, pattern making and the human body. The work aims to challenge the traditional vision of garments by rethinking and recreating.

928

SU BIN CHOE Fashion,Womenswear subin.choe@network.rca.ac.uk @subiniersh0p

DAISY SUHWOO PARK Fashion, Womenswear suhwoo.park@network.rca.ac.uk @daisy.suhwoo.park

Su Bin Choe is a Korean designer currently based in London. Her designs are built around the notion of East Asian female community.

Initially inspired by personal experiences from living in various countries and societies, Daisy positioned herself as a feminist artist.

Having studied in Korea, the U.S., and now the UK, Daisy’s designs engage with her identity as a 24yr old Korean female. Encompassing digital material, virtual bodies, interviews and films gathered from friends of various nationalities, she intends to highlight the persistent discomfort and troubling expectations placed on female bodies through garments. Subverting the viewers’ gaze Daisy asks whether her garments are sexy or absurd – just as many womenswear garments have been throughout fashion history.

Exploring the functional flexibility of suiting for women, Su Bin strives to dismantle the rigidness of tailoring by producing practical wear for independent unobjectified women.

929

SVEN STEINMETZ Fashion, Womenswear sven.steinmetz@network.rca.ac.uk @svensven__

Sven is in the process of developing his own weaving technique which combines an interest in sewing and finishing techniques with a focus on weaving.

TAE CHOI Fashion, Menswear taesoon.choi@network.rca.ac.uk @tae.choii

Tae aims to expand the role of fashion designers, by way of various projects in which they can coexist through cooperation rather than competition, such as collective work and workshops.

In terms of design ethos, he has been investigating the evolution of dress codes that reveal a variety of masculiniti(es). His work wants to reveal and challenge how various iconic garments have acquired transnational context significance through a variety of influences such as gender, class, race, and nationality.

930

NANXY TIAN WANG Fashion, Humanwear tian.wang@network.rca.ac.uk @northeastnancy

NANXY Tian Wang is a human-wear designer and fashion psychic, who brings people’s inner power and behaviours into their fashion looks, in order to discover their new selves.

She believes that clothing can be a way to express people’s identity and emotions, she wants her customers to use her work as a medium to tell individual stories, to communicate with other people in silence.

Her culturally inspired brand Northeast Nancy, represents a person, a community and a type of culture. While studying at the Royal College of Art, she has discovered the possibilities of sustainable design which helped her make the brand more ethical, and ready for the future fashion industry.

TINA ZUKANOVIC IN COLLABORATION WITH JULIEN DEFFONTAINES Fashion, Fame tina.zukanovic@network.rca.ac.uk @aventina68

Tina Zukanovic is a fashion womenswear designer. Before joining the RCA she has worked with brands such as Kenzo, Lanvin and Chloe.

She is interested in digital fashion, working with additive manufacturing technologies involving 3D scanning, modelling and data analysis, exploring next-generation materials to achieve her outcomes. Her interests in architecture, parametric design, biomorphology and sci-fi aesthetics have all impacted her designs.She is currently collaborating on ‘Recovery Dance Sneaker for Ballet dancers’ with Julien Deffontaines, Paris based architect from Ecole Speciale d’Architecture (ESA).

931

XIAOLING Fashion, Humanwear xiaoling.jin@network.rca.ac.uk @x_iaoling Xiaoling is a humanwear and digital designer, with professional skills in fashion and textile techniques as well as 3D software. Her multidisciplinary skills and interests bring her work to a crossover between the digital and physical space.

She’s currently building an immersive personalised fashion system, informed by values such as community, sustainability, emotion and full immersion. Her designs always seek to build an emotional connection between garments and wearers are always her design points.

XIAONAN LI Fashion, Womenswear xiaonan.li@network.rca.ac.uk @nannan_lily

Xiaonan Li is a womenswear designer from China. During her time at the Royal College of Art, she focused on the integration of womenswear with traditional culture. Her design concept stems from her childhood memory of Suzhou’s classical culture. She believes that Chinese young people are deeply dependent on traditional culture, so she focuses on the collision and integration of Chinese and Western cultures. She is committed to incorporating strong personal feelings and interpretation of personality into traditional culture, so as to bring new impressions of traditional cultural elements to people. Her works combine her understanding of Chinese and western romance, thus endowing the costume with implicit romance and passionate girlish feelings.

932

XIAOQIN LI Fashion, Fame xiaoqin.li@network.rca.ac.uk @clealee_qq

Xiaoqin Li is a footwear designer who makes shoes interesting and fun. She is now studying at the Royal College of Art after gaining a bachelor’s degree from Donghua University in Shanghai, China.

Her work is inspired by the feelings she gets from wearing shoes at every moment. When people walk constantly in shoes, the footwear is like an ever-changing sculpture, creating new forms for footwear.

Xiaoqin Li regards the relationship between feet and shoes as flexible and entertaining through her work, she seeks to capture those playful states.

RACHEL XINRUI WU Fashion, Knit xinrui.wu@network.rca.ac.uk @___rachelwu___

Rachel Wu is a women’s knitwear designer based in China and London. She has graduated from London College of Fashion, Textiles Department, Knit course and is currently studying at the Royal College of Art for her Masters Degree in Fashion.

She considers her shift to fashion textile— from knitting to fashion knitwear, along with her pursuit of an advanced degree in the UK, not so much a challenge as an opportunity.

During her studies, Rachel continues to adopt an interdisciplinary approach to developing fashion, creativity and collaboration.

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YANTONG CHEN YAN HAN Fashion, Fame Fashion, Womenswear yan.han@network.rca.ac.uk yantong.chen@network.rca.ac.uk @l8ng_chen @threatsss Yan Han is fascinated by combining photography and digital media with fashion design. She reflects on the relationship between women and symbols, and re- explores the development of different forms and possibilities for feminism in China. She aims to set up a fashion brand which can create a deeper connection, understanding and offer supports to contemporary Chinese women.

Yantong is an accessories designer based in China. Her background in fine art leads her towards a very personal approach when designing - laying bare her emotions, mental state and mood. Her work has been a cathartic process. This collection is similar to a patients treatment diary, recording her mood as it repeatedly changes within her illness.

Like her moods her work is not in a fixed state but in a dynamic form -transitioning from one to another. Her work is an emotion. Her work is a complicated mood.

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YE YUAN Fashion, Womenswear ye.yuan@network.rca.ac.uk @ye.yuen

Ye focuses on ways to develop traditional handcraft with smart technologies in the future fashion.

Ye has been interested in what decides gender, and the transferring of body shapes for the past year. He focuses on the male’s body shape will change with the Y-chromosome disappearing in the future. He created a model of the new male body shape through gynecomastia, and used the structural motives of X-chromosomes, Y-chromosomes and chains of DNA as the basis of changes in the structure of garments, to re-design the future male underwear.

YU GAO Fashion, Womenswear yu.gao@network.rca.ac.uk @diamondkateyuu

Yu Gao’s works focus on modern knitting crafts for metal accessories. Inspired by old photos taken in her childhood, she classifies “time”, as the combination of crafts and structures. Breaking through the traditional knitting concepts, her works realize both physical and emotional interactions with wearers through the colour of the metal as well as through the changes in light, shadow and space.

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feyfey YUFEI LIU Fashion, Womenswear yufei.liu@network.rca.ac.uk @60000u

fey-fey Yufei Liu, born in China, recently lives between New York and London. Her practice understands fashion as a commercial, functional and wearable art, involving performance, story-telling, cultural critique and value generation. She insists for her works, even though it may look unusual, to be functional and comfortable when it is being worn.

Often addressing the interplay between body, symbol, metaphor and daily-life experience, fey-fey usually works with stereotyped fabrics to make seemingly unfashionable clothes but aims to offer the wearers the opportunity to experience ordinary things in a new light.

She believes double negation will lead to the positive spirits.

YUNPEI LI Fashion, Fame yunpei.li@network.rca.ac.uk @ppliyunpei

London based fashion designer, performer and stylist Yunpei Li holds a Bachelor degree from Sichuan Fine Arts Institute in 2018 and is currently attending the Master program of Fashion at Royal College of Art. She explores natural body shape, encouraging women to enjoy the parts of themselves that break traditional aesthetics norms.

Notable for her liking of conventional fabrics that go beyond the traditional, she breaks boundaries between body and garment, she explores body shape and movement

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YUSHAN LIU Fashion, Fame yushan.liu@network.rca.ac.uk @yushan_liu33

Yushan Li has a background in different fields, covering fine art, jewellery and fashion, . She incorporates these inspirations and experiences into her works. Yushan’s explores the relationship and balance, and emphasizes the interaction between space, body and objects.

ZHONGHUA SUI Fashion, Humanwear zhonghua.sui@network.rca.ac.uk @zh_sui

Zhonghua is a keen observer in the dystopian spectacle of China’s post hyper-globalization social spectacle. Growing up in a big economic era, he creates realistic art as an idealist in the midst of changes and conflicts in perception. In addition to this, he applies a sociological mindset to fashion to see it as “the art of the possible”.

By reflecting on his own life experiences, he argues that it is not only the system that determines the shape of life, but also the market, society and each individual. Fashion for example, masks the traces of participation in the processes of manufacture. His work discusses the ‘disappearing process’ in the industry to redefine structures, empowering workers and marginalising participants.

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GISELE ZIXUAN HE Fashion, Menswear zixuan.he@network.rca.ac.uk @chisuen_ho

As a female living under a patriarchal family and designing menswear. Gisele always considers how to liberate the traditional view of manhood in Asia. Throughout her studies, she has researched and interviewed Asian peers in her community.

She intends to subvert the traditional male role, from tough and powerful, to a more tender and liberated expression.

ZONGBO JIANG Fashion, Digital zongbo.jiang@network.rca.ac.uk @ignatiusjiang

Zongbo Jiang is a 3D visual artist based in London. During his time at the Royal College of Art he has focused on working with digital fashion. Having a background in graphic and product design, his design philosophy has always been true to sculpting a narrative for visual communication. He observes the collisions and discussions between aspects of daily life, focusing on social and environmental issues. His work centres around visual activism and creating digital characters which often take strange and comedic forms. These characters are placed in virtually crafted spaces to solidify the narrative Jiang creates to share the concepts that are important to him.

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IMAGE COLLABORATION INDEX

ANNA DELLER-YEE

AURÉLIE FONTAN

01

02

03

04

05 06 07

08

01

02

03

04

Photographer: Anna-Lena Krause // Model: Charlotte Earl Photographer: Anna Deller-Yee // Model: Anna Deller-Yee Photographer: Anna Deller-Yee // Model: Jill Deller-Yee @ Izaio Model Managament Photographer: Bea Puppo Amo // Model: Yanjie Zhang // Stylist: Masha Mombelli // Make-up: Yoi Wan Kong // Hair: Linus Johansson // Shoes: Natacha Marro // Outerwear development: In collaboration w. Victoria Böttner // Set Assistant: Kaelan O’Neill Drawings: Anna Deller-Yee Photographer: Anna Deller-Yee Project collaboration, Lettering, Art Direction: Nicolas Bernklau @ ECAL, MA Typedesign, Lausanne Photographer: Bea Puppo Amo // Model: Lulu Wang // Stylist: Masha Mombelli // Make-up: Yoi Wan Kong // Hair: Linus Johansson // Hat: House of Flora // Outerwear development: In collaboration w. Victoria Böttner // Set Assistant: Kaelan O’Neill

Photographer Rhianna Thomas / Model : India Photographer Rhianna Thomas I Model Tracy / Hair stylist Katy Griffiths Photographer Rhianna Thomas I Model Tracy / Hair stylist Katy Griffiths Photographer Rhianna Thomas I Model Tracy / Hair stylist Katy Griffiths 04 Photographer Rhianna Thomas I Model Tracy / Hair stylist Katy Griffiths

BEA BRÜCKER 01

02 03 04

05

06

Photographer Johann Spindler, Model: Esther Durotolu In collaboration with Vincent Goos Photographer: Bea Brücker Photographer Johann Spindler, Model: Kaiden Ford Photographer Johann Spindler, Model: Esther Durotolu Photographer: Bea Brücker

DANIEL BALDÉ 01 Mirror Mirror Source: xvisualtrash09x. tumblr.com 02 Mirror Mirror Short Film: Neurasia

Director: Werner Schroeter- (1969)

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EMMA BLYTHE

GIULIA LOMBARDI

01

02

03

04

05

06

07

08

01

02 03

04

05

06

07

08

Mirror Mirror Image by Emma Blythe// Models: Emma Blythe and Richard Russell Mirror Mirror Image by Emma Blythe// Model: Emma Blythe Photographer: Bea Puppo Amo // Models: Magnus Westwell and Max Cookward //Sylist: Sophie Thomalla // Hair and Make-up: Jessica Kell Photographer: Bea Puppo Amo // Models: Magnus Westwell and Max Cookward //Sylist: Sophie Thomalla // Hair and Make-up: Jessica Kell Photographer: Bea Puppo Amo // Models: Magnus Westwell and Max Cookward //Sylist: Sophie Thomalla // Hair and Make-up: Jessica Kell Photographer: Emma Blythe // Model: Magnus Westwell //Sylist: Sophie Thomalla // Hair and Make-up: Jessica Kell Photographer: Bea Puppo Amo // Collage: Emma Blythe // Models: Magnus Westwell and Max Cookward // Sylist: Sophie Thomalla // Hair and Make-up: Jessica Kell Sketch: Emma Blythe

Photograhpy : Nicolò Parsenziani / Styling and set curation : Alessandro Oggianu / Model : Agata_monsterbadd agency / Make up: Selene Guffanti Personal sketchbook - process Photograhpy : Nicolò Parsenziani / Styling and set curation : Alessandro Oggianu / Silver accessories collaboration : Verissima Fonderia Anonima Photograhpy : Nicolò Parsenziani / Styling and set curation : Alessandro Oggianu / Models : Alessandro Oggianu and Agata_monsterbadd agency / Make up: Selene Guffanti Photograhpy : Nicolò Parsenziani / Styling and set curation : Alessandro Oggianu / Model : Agata_monsterbadd agency / Make up: Selene Guffanti Photograhpy : Nicolò Parsenziani / Styling and set curation : Alessandro Oggianu / Model : Alessandro Oggianu / Make up: Selene Guffanti Photograhpy : Nicolò Parsenziani / Styling and set curation : Alessandro Oggianu / Model : Agata_monsterbadd agency / Make up: Selene Guffanti Photograhpy : Nicolò Parsenziani / Styling and set curation : Alessandro Oggianu / Models : Alessandro Oggianu and Agata_monsterbadd agency / Make up: Selene Guffanti

JIN KO

JUNGNA NANA PARK

01 02

03

05

06

07

01 “Production: Stupid Studios @stupid.studios

Producer: Minni Podewils @minniatur

Photographer: Vitali Gelwich @vitali_gelwich

Styling: Natacha Voranger @natachavoranger

Casting: Simone Schofer @simoneschofer

Hair Stylist: José Quijano @mrjosequijano

Make up: Jana Kalgajeva @janakalgajeva

Set Design: Emilia Margulies @emilia.margulies

Set Assistant: Kit Lewis @kitalewis96

1st Photo Assistant: Paul Skulimma @paul_skulimma

2nd Photo Assistant: Mina Aichhorn @minaaichhorn

3rd Photo Assistant: Noah Heupel @noahheupel

Talents: Penelope @penelope.ternes @modelwerk

Flora @florapetrarolo @modelwerk

Levi @levi_anijs @kultmodels”

Photographer: Jin Ko/ Model: Jin Ko Photographer: Johann Spindler/ Model: Jin Ko Photographer: Jin Ko/ Model: Inyoung Jang Photographer: Jin Ko/ Model: Inyoung Jang Photographer: Johann Spindler/ Model: Siobhan Elizabeth Palin Photographer: Johann Spindler/ Model: Siobhan Elizabeth Palin

JIE HU 01

02

Photographer/ Retouching: Jie hu @jiiehhuu_Model: @xllhu076 Mirror Mirror Image 1 by Matthias Weischer-- Egyptian Room

RIKA KIM 01 “Photographer: Oscar Lindqvist @oscar.lindqvist

Model: Charley @charleydeansayers

MUA: Seunghee Yoo @seunghee_mua

Hair stylist: Aya Kuraoka @ayakuraoka” 02 “Photographer: Oscar Lindqvist @oscar.lindqvist

Model: Charley @charleydeansayers

MUA: Seunghee Yoo @seunghee_mua

Hair stylist: Aya Kuraoka @ayakuraoka” 03 “Photographer: Oscar Lindqvist @oscar.lindqvist

Model: Charley @charleydeansayers

MUA: Seunghee Yoo @seunghee_mua

Hair stylist: Aya Kuraoka @ayakuraoka”

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KEHOE LAI KI KWOK

LING JIANG

01

02

03

04

05

06

07

08

01 02

03

“Photographer: Kehoe Kwok Model: Iris” “Photographer: Kehoe Kwok Model: Iris” “Photographer: Kehoe Kwok Model: Iris” “Photographer: Kehoe Kwok Model: Iris” “Photographer: Ajay Kumar Elango Model: Latifa / Maya Pan / Juan Make up/ Hair stylist: Jessi Stylist: Kehoe Kwok / Nanxy Wang Assistance: Ping” “Photographer: Kehoe Kwok Model: Iris “Photographer: Ajay Kumar Elango Model: Latifa / Maya Pan / Juan Make up/ Hair stylist: Jessi Stylist: Kehoe Kwok / Nanxy Wang Assistance: Ping” “Photographer: Ajay Kumar Elango Model: Latifa / Maya Pan / Juan Make up/ Hair stylist: Jessi Stylist: Kehoe Kwok / Nanxy Wang Assistance: Ping”

LAINO BILBAO UGARTE 01 02 03 04 05

Model: Hodei (sister) Model: Izaskun (mother) Model: Izaskun (mother) Model: Izaskun (mother) Model: Haize (middle sister)

Photographer: Ling Jiang/ Luoyi Chen Mirror Mirror image 1: The Art of Arranging Flowers: A Complete Guide To Japanese Ikebana Mirror Mirror image 2: Kouichi Kiruma Architect Studio

LINGZHI WANG 01 Mirror Mirror Image by Kei Imazu,

Tim Walker ‘Wonderful Things’ Exhibition 02 All the other images by Lingzhi Wang LINXI ZHU 01 Animation: Linyou Xie 02 Collaboration: Panny Yu NICOLE KAMINSKA 01 “Videography: Maciej Motylewski @motylarnia88

Photography: Krystian Daszkowski @daszkow

Triathlete: Marta Dzieciatkowska @martatriwarta

Model: Angela Podlak @angela_podlak

Hair: Pawel Kaminski Maestro Salon @maestro_salon_akademia

Make-Up: Karolina Zeromska @karolinazer

Set Design: Dominika Bzdziak @domino_pracownia_kreatywna”

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PANNY YU

SHAN JIN

01

02

01

02

03

04

05

06

“Animation: Linyou Xie Collaboration: Linxi Zhu” “Forming In-Between Page: Visual: Chunyang Li Designers: Panny Yu, Xiaoqin Li, Keiga Hua Hui, Jungna Nana Park, Sam Chester, Zongbo Jiang, Linxi Zhu, Feyfey Yufei Liu, Abi Sheng “

PINDIGA RANJITH KUMAR 01 Photography:-Greg Blazewicz @greg_blazewicz

Model:- Isabelle Horlings

@iissaaaannee, Agata Stasilojc

@itsjustagata ,Jason Bushill

Acessories ,Makeup &Hair :- Isabelle

Horlings , Agata Stasilojc

Photographer: Shan Jin // Model: Xintong Bai// Project collaboration: Xintong Bai Photographer: Shan Jin // Model: Lei Ding // Project collaboration: Xintong Bai Photographer: Shan Jin // Model: Tuizhi Liu // Project collaboration: Tuizhi Photographer: Lei Tian // Model: Shan Jin Photographer: Shan Jin // Model: Xintong Bai // Project collaboration: Xintong Bai Photographer: Shan Jin // Model: Xintong Bai // Project collaboration: Xintong Bai

SIOBHAN PALIN

QIUYUN LI 01 figure: sufferer photography- Yutian Li/

Model - Qiuyun Li 02 A row of red dancers/ Photography Yuantian Li/ Post edit-Qiuyun li/

Model:Up dance studio dancers 03 Red veil/ Photography: Yutian Li/

Model:Qiuyun Li 04 Pray/ Photography: Yutian Li/

Model: Qiuyun Li 05 Figure: Fire god/ Photography: Xiwen Zhang@fattortoise9 06 Figure: Plague/Photography: Xiwen Zhang@fattortoise9 07 Mirror images:1-‘Moon Water’ by Cloud

Gate Dance Theater of Taiwan 08 Mirror image2: ‘13-Tongues&Dust’ by

Cloud Gate Dance Theatre of Taiwan

01

02

03

Serpentine Lido x 4 images (1st & 3rd slide) Photographer Johann Spindler, model Lulu Wang.

Middle slide, childhood photo and 2 water images, own photos Mirror Mirror IMAGES: childhood photo (own image), Bridget Riley artwork own photo taken at Hayward Gallery.

SIQI FANG 01

02

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Photography: Kirsty Sim HMU: Hyemin Jeong Model: Karol Design: Siqi Fang Collaboration with Yihe Zhang (design product)

DAISY SUHWOO PARK

feyfey YUFEI LIU

01

02

03

04

01

Pictures in the TREE Hampstead Heath: Photography - Kirsty Sim. Hair and Makeup - Daeun Jung. Model - Yue Yang.

Picture on the GRASS (Landscape): Photography - Kirsty Sim. Hair and Makeup - Daeun Jung. Model Naran Oyun.

Barbie pictures and Asian Model Poster: Photography - Daisy Park.

Model - Chengzhen.

Flower Shop Photograph: Photography Kirsty Sim. Model - Daisy Park

NANXY TIAN WANG 01

Participants: Wen Xu & Yihan Sun

ZHONGHUA SUI 01

02

03

TINA ZUKANOVIC IN COLLABORATION WITH JULIEN DEFFONTAINES XIAOQIN LI 01

02

Mirror Mirror Image (left): Sculptural Table Lamp By Javier Mariscal For Bd Ediciones De Diseno 1980s Mirror Mirror image (right): Alexander Calder

YANTONG CHEN 01

02 03 04 05

“Photographer: Hanna Moon Hair Artist: Kiyoko Odo Make Up Artist: Nami Yoshida Casting: Sarah Small Model: Lan Di, Yang Yue, Nicoletta Draper”

Mirror Mirror Image: Nancy Grossman (Design) Mirror Mirror Image: Masion Margiela Selfie: Yantong Chen Photographer: Percy Pan Collaboration:Yantong.Chen & Siqi Ma

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Mirror Mirror Source: Self Portrait (1932), Herbert Bayer.

(Text)Author of the Poem: Compiled

by Confucius Associate producer: Haolan Qin/ Jiahao Shih Creative consultant: Lujiawei/ Haolan Qin

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946

FORMING IN-BETWEEN

FORMLESS

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SCAN ming @formless.ness

2021

ing ween Your Virtual Fashion Curator

Forming In-Between

@formless.ness

tween and Forming In-Between is the first collective virtual fashion exhibition curated by Formless. The exhibition is an immersive space established between the physical and the virtual world, where we explore the possibility of virtual fashion’s presence within various media platform. It explores how feasible virtual fashion is and how it could be approached through Augmented Reality.

Scan and download the APP to discover the Formless immersive fashion world interact with virtual try-on garments on your own device.

Download

@formless.ness

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2021

Your Virtual Fashion Curator Your Virtual Fashion Curator

Form In-Bet 950

@formless.ness

2021

@formless.ness

2021

ming tween tween 951

952

HIT AND RUN

T-SHIRT SHOP 953

Hit and Run is an online T-Shirt store with a new concept in sustainable production. Every garment is printed to order, using fair-trade organic cotton T-Shirts and non-toxic print inks and ships in plastic free packaging.

Collaborating with Hit and Run, The Royal College of Art launch ‘T-Shirt Shop’, a project that explores what T-Shirt design means in today’s unpredictable world and raise funds to support students attending the RCA. For almost a century the printed T-Shirt has been used as a means of communication; a political statement, a message of subculture allegiance or simply to tell everyone your new favourite band.

The RCA has gathered a selection of RCA students, graduates, alumni and dear friends and asked them to design their version of the humble printed T. As expected, an incredibly wide and eclectic array of graphics were created by these talented artists exploring a vast array of today’s concerns including 954

gender identity, body image, racial issues and the concept of digital clothing.

All profits will be used to create bursary scholarships for students.

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COLOPHON

THANK YOU & CREDITS 957

Creative Lead

ZB

Graphic Design

Regular Practice

Production

Kingsbury Press

Sustainability

Produced in a factory which includes rainwater harvesting, LED lighting, recycled heat and an air filtration system — meaning nothing is released into the atmosphere. Printed on a B1 litho press using vegetable based inks.

Reclaimed print off-cuts used as section dividers. Supplied by the printer.

RCA Image Mentors

Joe Richards, Tristan Webber

RCA Text Mentors

Jennifer Richards, Silvia Bombardini

RCA Solstice the Day

Masha Mombelli

RCA The Session

Harris Elliott

*****

RCA Fashion

The 69 Students

RCA Core Team & Mentors

David Kappo, Flora Mclean, Jennifer Richards, Susan Postlethwaite, Tristan Webber

RCA Mentor Team

Alex Mullins, Anna Nazo, Benjamin John Hall, Carlo Volpi, Harris Elliott, Joe Richards, Louis Alderson-Bythell, Masha Mombelli, Matthew Miller, Philip Delamore, Silvia Bombardini

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RCA Collaborators & Talks

Ania Martchenko, Benedicte Holmboe,, Danielle Elsener, Giles Deacon, Louise Bennetts, Mohsin Sajid, Saul Nash, Tolu Coker, Xxora, Yvonne Gold

RCA IFF

Judith Gross and her team QT IFF and their support over 24 Years, Barbara Gyde, Lisa Agnessens and the students of Isipca, IFF lead: Silvia Bombardini, IFF mentors : Mehrnoosh Khadivi, Mattthew Miller

RCA LBS Future Disruption

Nick De Leon For Instigating, LBS Mentors: Austin Milne, Eleanor Rockett, Harris Elliott, LBS Talks: Dio Kurasawa, Jessica S. Graves, J.P.Neeley, Philip Delamore

RCA Collective Team Matthew Miller, Mickey Ellis Hit+Run www.hitandrun.ltd/collections/rca RCA Art on the Grass

Curated By Harris Elliott & Masha Mombelli

RCA Technical Team

The Real That Is Still So Key Even In The Digital

Carolina Stanislas, Clio Wallington, Debbie Stack, Gary Parker, Hannah Terry, Heloise O’brian Scott, John Yarwood, Iwona Zabrocka, Jenna Young, Jonna Saarinen, Kam Raoofi, Karl Vodrey, Kelly Duncan,Maja Mehle, Mat Fowkes, Natacha Marro, Richard Power, Rosamund Hanny, Sheila Clark, Stephanie Freude, Steve Bunn, Tom Murphy, Vivienne Lake, Wendy Wood

RCA Fashion Support Throughout

Clare Silver, Hana Wilford, Thea Lawrence, Vivienne Wen Du

Thanks must always go to the families and communities across the world who have believed, loved and lived through these past two years alongside.

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Thanks to all the scholarships that supported the students during their MA

Ameaa Design Scholarship, Anne Tyrrell Design Legacy Scholarship Awards, Burberry Design Scholarship, Ed & Lulu Siskind Scholarship, The British Fashion Council Foundation MA Scholarship, Wesldet Exhibition Award

Thanks to all the sponsorships that further supported them

Candiani Denim Sponsorship / Colorfabb / Funki Fabric Orata Denim Sponsorship / Timberland / Wool Sponsored By Romney Tweed / Wes Lunn Design Education Trust

Thanks to our dean school of design

Paul Anderson

Not to Forget

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