• *Generative
• *[Algorithmic]
*Procedural (Art)

*Parametric or Computer-Aided Design

*Computational Art/Architecture/Design

Polyester film (Mylar) 7.5 MIL 0.19mm thickness - 191 Microns

Rigid-PVC transparent, colourless 0.5 x 1000 x 1400

 GRAVITY

The precise strength of Earth's gravity varies depending on location. The nominal "average" value at Earth's surface, known as standard gravity is, by definition, 9.80665 m/s².

 

 

"The impact that non Western

designers can have on the globalized market was demonstrated by

the huge success of Japanese designers who showed in Paris from

the late 1970s and early 1980s. At this time, it was still necessary for

designers to show within an established fashion week to gain

sufficient publicity and exposure to international store buyers."

"Japanese designers such as Yohji Yamamoto, Rei Kawakubo of

Comme des Garcons, Kenzo, and Issey Miyake’s work shocked the

Western fashion world into the realization that high fashion could

emanate from beyond its confines. Importantly, Japanese fashion

also provided an alternative vision of body and fabric and the

dynamic between them."

"Issey Miyake, for example, produced clothes that overturned

Western ideals of beauty and form and presented tightly pleated

textiles sculpted into points that pulled out from the figure. He

recreated femininity in line with architectural notions of space,

rather than cutting fabric in towards the natural form. His clothes

often swept upwards, and jutted out to emphasize the contrast

between body and garment."

 

A few sleeveless jackets and a pair of trousers that survive at Shadows on the Têche in Louisiana were handed down in the family as examples of clothing made entirely by slaves, who spun the yarn, wove the fabric, and stitched the garments. The garments, sized for a boy perhaps 10-15 years of age, are unusual—perhaps unique—survivals (Fig. 5).[13]

from

 

"In subsequent decades, youth culture presented a continued

disruption to social codes of behaviour and display. In Britain,

class played a significant part in shaping subculture’s nature. In the

1960s, Mods aped middle class respectability in neat, sharp

suits, while Skinheads toughened up this style to assert a strong

working class identity, based on workwear. In each case, youth

style was driven by a combination of its members’ search for

excitement and devotion to particular music styles. In the early

21st century, a more diffuse group within working, and

unemployed, youth emerged. ‘Chavs’ were condemned as tasteless,

for their unselfconscious flaunting of obvious branding and

disregard for middle class ideals of style. Media coverage exposed

embedded class prejudice, as the term quickly became associated

with criminality amongst teenagers on council estates. Chavs’

aggressive sportswear styles were connected to negative

stereotypes of the working class, as an easily grasped visible

incarnation of inner city lawlessness"

 

"Westwood’s design and retailing style were part of the fluidity of

subculture. Styles emerged and shifted as the music, street, and art

scene they were connected with moved on. This flexibility created

an exciting sense of community and currency around her store,

promoted by the DIY ethos of subcultures. As with Quant in the

1960s, it demonstrated how like minded shops could group

together to generate business and consolidate the fashion

reputation of an area. In the early 21st century, Alphabet City in

New York saw a similar constellation of designer makers opening

up in close proximity."