More Fashion Drawing

Editorial GIF by Reed + Rader | Source: V Magazine

LONDON, United Kingdom — Instagram, Barbour, vinyl records, arti­sanal butchers, mous­taches, and the biog­raphy of your potatoes lovingly detailed on chalk­board signs at Whole Foods. What is wrong with this picture? As London-​based writer and entre­preneur Russell M Davies puts it, “most of Shoreditch would be wandering around in a leather apron if it could. With pipe and beard and rickets. Every new coffee shop and organic foodery seems to be the same. Wood, brushed metal, bits of knackered toys on shelves. And black­boards. Every­where there’s blackboards.”

For the last few years, the styl­istic purview of much of the creative class in places like Shoreditch in London, the borough of Brooklyn in New York, and Berlin’s Mitte district has been curi­ously backward-​looking. Perhaps this retreat into retro nostalgia is a reaction to economic uncer­tainty and tech­no­logical change. Maybe it’s a craving for what we imagine were simpler times or a search for authen­ticity in a world that is increas­ingly arti­ficial. Whatever the reason, the backward-​looking trend extends to fashion, as well. In fact, perhaps more than any other design disci­pline, fashion is engaged in an intense dialogue with the past. “There’s so little inno­vation in fashion in its current state,” Susanna Lau, widely known as Susie Bubble, told BoF. And indeed, from Belstaff to Moynat to Schi­a­parelli, reviving dusty heritage brands is undoubtedly the business model du jour.

But over the past year, a loose group of creatives in London’s East End have given birth to a counter-​narrative to the growing tide of heritage and nostalgia, exam­ining the reality of our increas­ingly arti­ficial and technology-​mediated world head-​on. Known as “The New Aesthetic,” the movement was born last May with a blog post by London-​based writer and tech­nol­ogist James Bridle, who began collecting found images at new​-aesthetic​.tumblr​.com that dealt with the “eruption of the digital into the physical world” and the idea of “seeing like a machine” in an attempt to capture and commu­nicate the possi­bil­ities for a more contem­porary visual culture. Subjects included every­thing from glitches in Google Maps to photographs from military drones in Afghanistan and the techno-​organic forms of contem­porary archi­tecture that betray traces of the computer-​aided design (CAD) programmes used to create them.

The movement really struck a chord and came to wider attention at this year’s SXSW Inter­active conference where Mr Bridle led a panel called “The New Aesthetic: Seeing Like Digital Devices” and futurist Bruce Sterling asked what the New Aesthetic meant for fashion in his highly-​anticipated closing address. “Although SXSW people do look chic, it’s a rather retro look,” he chal­lenged the tech-​savvy audience in atten­dance. “They don’t actually look very futur­istic. I would suggest, when you come back next year…come back in robot­vision glitchcore!”

In fashion, a growing number of designers have embraced the digital prints revo­lution. But which designers, image­makers and fashion editorial outlets are actually producing “New Aesthetic” work that actively engages and deals with our digitally-​mediated world?

Low-​resolution pixi­lation is a major New Aesthetic theme and was perhaps most elegantly used in Preen’s Spring-​Summer 2012 collection, which features romantic floral prints processed by a computer.

Preen Spring/​Summer 2012 | Source: Style​.com

Both Gareth Pugh and United Nude have borrowed from videogames, producing blocky geome­tries that reference “voxels,” volu­metric pixels once used in constructing videogame envi­ron­ments. And Arnhem-​based Dutch designer Iris van Herpen has made what is surely fashion’s most beau­tiful and radical use of digital imaging tech­nology with her Photoshop-​designed, 3D-​printed polymer dresses, which play with the tension between digital and organic forms.

The moment when tech­nology reveals itself through digital glitches and errors is another major theme in New Aesthetic imagery and some­thing that has appeared in the work of Australian fashion designer Josh Goot who has made partic­u­larly striking use of digital prints that tend towards noise and distortion. While Goot’s process is care­fully controlled by the designer, Philip Stearns’ Glitch Textiles project uses short-​circuited cameras to auto-​generate colour patterns that are then woven into blankets, with hypnotic and beau­tiful results.

Amongst fashion image­makers, Brooklyn-​based Pamela Reed and Matthew Rader, working under the name Reed + Rader, have worked exten­sively with animated GIFs, producing fashion stories for maga­zines including V and are currently working on a project called Pyramid Hill, a 3D world for which the duo leveraged a videogame level-​builder called the Unreal Engine to create an immersive, inter­active environment.

How to Hide from Machines | Source: CV Dazzle

Perhaps fashion’s most overtly “New Aesthetic” magazine is DIS, edited by Lauren Boyle, Solomon Chase, Marco Roso, Nick Scholl and David Toro. In a landmark example of New Aesthetic work in fashion, the magazine recently collab­o­rated with Adam Harvey to create a radical beauty story based on CV Dazzle — styling tech­niques that use asym­metric make-​up, hair and acces­sories to disrupt facial recog­nition algo­rithms — entitled “How to Hide from Machines: The perilous glamour of life under surveillance.”

“We need to see the tech­nologies we actually have with a new wonder,” wrote James Bridle in his first essay on the New Aesthetic. Digital methods of image research, image editing and production have quickly become embedded in the fashion industry, but the possi­bil­ities for digital creativity have yet to be fully explored. “It’s still not some­thing people are consciously thinking about,” said Ms Lau.

As a term, “The New Aesthetic” may be short-​lived. Surprising many, James Bridle shut down the New Aesthetic Tumblr ten days ago, exactly one year after it was launched. But if the “New Aesthetic” movement is already dead, this is surely only the beginning of digital tech­nologies impacting the way fashion creatives think, see and design. Indeed, the gener­ation of students just starting to arrive in fashion schools have only ever known a world that’s mediated by digital tech­nology and learnt to process visual culture through a ceaseless digital stream of appro­priated and juxta­posed images.

Long live the New Aesthetic.

Jay Owens is a social media and tech­nology researcher based in London.