#proposal abstract

 Within a western contemporary society we experience the world around us through virtualities. It is hard to ignore the rapid developments of the 21st century due to the introduction of information and communication technology

 We experience the world through art, Film, photography, television, we shop online now, and at the touch of a button we can communicate with friends or complete strangers through social media. Our entire identities can be diluted down to IRD and customer numbers.

 Because of the introduction of these new technologies, and the way in which we experience the world today what we consider ‘real’ and how we might experience said ‘real’ world is changing, and perhaps its changing without a lot of us even realising.

 The real is often prioritized over that of the virtual or fake. Prehaps in a true post structurlist fashion the arguments throughout my essay  will suggest that to meet the virtual face to face is an opportunity to rid of binary oppositions of what is considered ‘real’ or ‘virtual’ and to suggest they are two working together rather than simply opposing concepts. Our relationship and also fashions relationship between what is real and virtual or fake is where my project is rooted.

 Deleuze describes the relationship that the virtual and actual have to each other is a coexisting one (151). The virtual and the actual are both real, one perhaps in a less tangible way, but real nonetheless. To describe their undistinguishable coexistence yields a question of their conceptually opposing definitions and understanding. Or rather as Deleuze explains “…it is not so much that one cannot assign the terms ‘actual’ and ‘virtual’ to distinct objects, but rather that the two are “indistinguishable”(151).

 Jean Baudrillard analysis includes the production of image and appearance through media, as well as the formulations of ideas of simulation within a modern technological context and ‘hyper reality’. Throughout his writings he explains that it is harder to distinguish between the real and its copy or representations he quotes..

 “the world does not exist as objective truth, but as image and likeness” (Ng, 173).

 The blending of what can be considered real or virtual is considered the condition of hyperreality. Some individuals might be drawn to aspects of the virtual world over the physicality of the real one.  Negative connotations are usually attracted to these individuals. As if their involvement with the virtual and their way of experiencing the world is unauthentic one. But as Deleuze explains the actual and virtual co exist, and are intertwined with each other, something can not be virtual without the element of the real, or the real without a cloud of virtual images.  

 The ‘real’ as opposed to ‘fake’ is also linked to the idea of authenticity. Within practices of art and design the ideas of authenticity or originality are often held with high regard, fashion design is no different in this respect. The Instagram account Diet Prada is known for their unfiltered critique of industry professionals that seem to be overtly “knocking each other off.” Using equal parts demeaning and entertaining banter, Diet Prada never hold back on criticism regardless of the subjects industry stature.

 Vetements F/W 2018 show Elephant in the Room, was met with much controversy. Diet Prada explained on an Instagram post that Vetements use of Masion Martin Margelias, ‘Tabi boot’ was not just a homage to the Demna’s love for margelia, a brand that he has worked with in the past, but a direct copy that lacks integrity.

 Demna, the creative director for the brand Vetements responded to the controversy stating that “Everything is appropriation. We live in a world that is full of references, and references exsit to feed us in order to create something new from them” (Lanigan).

 Vetements refinement of popular culture, and turning it into humours and high end garments is what the brand is known for. But once a piece of fashion history is referenced, Vetements is meet with a backlash from industry critics. Perhaps the irony of this debate is the fact that the tabi toe boot was already a reference of a traditional sock dating back to the 15th century, originating in Japan (Manning). Which begs the question when do references simply begin and end?

Generally the way I design, is that I let the theory or topic I’m interested in influence the aesthetics and silhouettes of the garments. The idea is that ill use digital prints and 2d-3d processes to emulate these ideas. Im going to create a 4 look, high end, conceptual fashion collection. Because its rooted in a concept doesn’t mean its not commercial or sellable. There’s something quite important I think about making clothing that’s wearable. The garments relationship to the body is always integral to me.  

 With these types of processes in mind I produced a number of fabrication samples.

 With the help of an artist collaborator we came together to create these design samples. So the idea here is to take the virtual image of a piece of clothing to then create more clothing out of this image.

 Which questions the idea of the original designer, and also the collaboration between myself and the artist I’m working with  begs the same question.

Collaboration being another aspect of my process throughout this project and I’m looking for more people to collaborate with shoes, bags, jewellery. Mostly accessories.

 James bridle is a guy that coined the term “New Aesthetic”, which is kind of an investigation of the blurring of the digital or technology with our lives. So you can probably see why his work is relevant to this project. Instead of going into all of the reasons why I think this project is important and why we should be investigating what it means to live in hyper reality, Bridel says it even better, so I’m just going to share a few words from him..

 Bridle is concerned with the lack of commentary on technological analysis within the arts, or otherwise weak commentary on the new aesthetic (25). Which is ultimately a representation of the wider communities failure to fully engage with technology and understanding its affect. The lack of wanting to understand technology and the way it operates can bring implications to its users.

 Bridle claims,

 “Technology is political. Everything is political. If you cannot perceive the politics, the politics will be done to you” 26

Initial abstract

As expressed through previous posts, I wanted to add an element of creative nonfiction throughout my proposal.  The concepts I am using have interesting visual elements to them that can be used to present text in an experimental but informative way. Especially because I’m writing on a computer, so using virtual elements from using programs on the computer for example word or the Internet would be useful and could give depth and understanding to the concepts talked about. 

These are examples of creative prose I have experimented with. So far I don’t like them very much. I need to find a more cohesive theme/metaphor I can carry through the text. But I do like the screen shot image of the text being copied on word, and I’m thinking I will use a variation of this throughout the proposal.