Tomorrow’s Protagonists
face sculpture by Gregory Kara, ribcage piece by Common Wealth.
“In the future, advanced photogrammetry, computation, and robotic engineering will allow us to achieve newer ways to design, cover, and extend the human anatomy.”
“Through innovation and technology, the body becomes a hybridised being with human and machine interactions through our smart devices in our day-to-day lives.”
“Will innovations in bio-integrated materials enhance and protect the body in harsher environments?”
“As this project progresses it aims to speculate how a future vision through technology, material innovation and fashion could look like.”
Tomorrow’s Protagonists
Bodying the Shape of Things to Come
PHOTOGRAPHY AND WRITING BY RAM SHERGILL
STYLING BY SETA NILAND
CREATIVE DIRECTION BY DAEN PALMA HUSE
MAKE UP LAN NGUYEN
HAIR ISSEY HIDE
NAILS CHIARA
MODEL SHAN KHAN AT FIRST MODELS
PHOTOGRAPHY ASSISTANT ESMÉ MOORE
FASHION ASSISTANTS ELIZA, JEAN R-T, JUNE K
This photographic essay is part one of a series exploring working with new technologies, material innovation and design in terms of fashioning the anatomy. In the 21st century fashion and material production is evolving. Innovations through aesthetics, materials, and technology are furthering the possibilities of what we wear. There are advanced tools and methods that are being used for designing coverings to the body. Robots are being used as facilitators of elucidating new concepts in material production and are being used for enhancing design possibilities. Today, 3D printing has become the new norm when designing prosthetic extensions to the body. Advances in technology which incorporate material manipulation and extrusion of novel materials allows us to design with a much higher resolution and precision than ever before.
In the future, advanced photogrammetry, computation, and robotic engineering will allow us to achieve newer ways to design, cover, and extend the human anatomy. Furthermore, quantum computing may enable humans and non-humans to adopt newer types of ‘posthuman bodying possibilities.’ Bodying here can be defined as ways of extending and furthering the body, one might consider bodying as a new type of ‘body-building’ through technologies in achieving protective prosthetic ‘smart’ extensions to the body. Rather than building the flesh and muscle mass as bodybuilders do, I suggest posthuman bodying as a concept which incorporates the extending the body. This notion builds upon the imagined spacesuit technologies and fashion designs that were predicted in the 1960’s by designers such as Pierre Cardin, André Courègges, Reed Crawford and Emmanuel Ungaro. It could be argued that the futurist fashion designs of the 1960’s were a premonition of conceptualising a future modus operandi of the human anatomy. The designers of the 1960’s visualised iridescent utopian futures through silver vinyl, PVC bubbles, chain mail, metallics, technology and armouring for intergalactic futures.
sculpture skirt by Cavan McPherson, yellow metal band made by stylist, pants by Wolford, face sculpture and neck piece by Dorry Yun Chin Ysu
face sculpture by Gregory Kara, accessories by Dorry Yun Chin Hsu pants by Wolford, chain body piece from Pebble
Even though the images and designs of utopian futures in the 1960’s can seem quite far-fetched, futurist visions seen then are now becoming a reality, a reality which is furthermore ecologically aligned. Designers are focussing on how to adopt advanced types of bio-integrated materials in their collections, and how state of the art engineered materials can benefit the environment. Science and technology could potentially enable an organic posthuman body, where bio-integration of materials furthers organic ways of supporting and encasing the body. Already, designers are working with pineapple fibres to create a leather-like material (Piñatex), Mycellium from mushroom (MycoWorks, MycoTEX), and wood pulp (Lyocell). Stella McCartney is using mushroom vegan leather – amongst other designers who are now capitalising and progressing with nature-based materials. Natural materials we see today in various collections seem to be used primarily for the luxury sector in terms of handbags, luxury items for style conscious consumers. ‘Gucci Off the Grid’ innovate a ‘circular’ sustainable line of fashion. Gucci state that this collection is a selection of products that are “designed for those who are mindful of their environmental impact.” Even though this is a good start for nature-conscious consumers, we must consider how to develop these innovative concepts for a wider demographic.
face sculpture and accessories by Dorry Yun Chin Hsu
white recycled straw body sculpture by Camilla Tonder Rasmussen, rings and accessories by Laura Elvira
black dress by Matic Veler, accessories by Dorry Yun Chin Hsu, headpiece by Claire Strickland
Through innovation and technology, the body becomes a hybridised being with human and machine interactions through our smart devices in our day-to-day lives. If we added an organic aspect to this in terms of non-human living organisms — the potential is limitless. It is feasible that organically aligned design and engineering can advance the human anatomy through material innovation, as novel materials encasing the body may allow us to adapt to harsher environments and possibly adapt to interplanetary surfaces, depending on the design and technology involved. Advancements in material innovation and design have the potential for protecting the body and could further the possibility of the human becoming a multi-planetary species.
Aesthetics in fashion and design manipulated with advanced science and material innovation may be the ideal way our bodies can adapt to “alien” environments. These alien environments are becoming commonplace on Earth. As the planet warms up and moves towards ecological collapse in various parts of the world, protecting the environment from this collapse is fundamental. However, we must consider protecting the human and non-human body when adapting to these harsher environments. This is where critical design can help, fashioning the anatomy for these extreme environments with intelligent materials, incorporating materials which are ‘specialist’ in terms of protection. Creating materials which are fire retardant, heat resistant and functional for each environment will be fundamental. Innovating protective resilient, flexible, and comfortable materials will be pertinent in the future. Materials that are bioregenerative, materials that are multi-functional, incorporating design and aesthetic could pave the way for greater sustainable futures.
face piece by Velvet Eccentric, fringe bodypiece made by stylist, scrap metal arm pieces by stylist
metal knit corset and mini skirt by Lou Brennan, accessories by Dorry Yun Chin Ysu
There are still many questions that need to be asked; Will advanced types of 3D printing and robotic extrusion allow us to print materials in harsher environments on Earth or in space utilising resources that are present in the environment? Will innovations in bio-integrated materials enhance and protect the body in harsher environments? Could developments in material science help save the planet?
As these questions are unpicked, research is fundamental to see how technology, design, engineering, fashion combined with biomaterial innovation can benefit survival in harsher environments. As this project progresses it aims to speculate how a future vision through technology, material innovation and fashion could look like.
metal discs from Pebble, scrap metal additions made by stylist, crystal chain by Vicki Sarge, red concept shoes by Eelko Moore
metal skirt by Kelly Toode, bust strip by Alexander McQueen Nihilism Collection, scrap Metal choker made by stylist, accessories by Dorry Yun Chin Ysu, shoes by Gina
Ram Shergill will be presenting his research at the International Astronautical Congress (IAC) 2022 in Paris. For more information please click here.
Thank You to Bethany at the RCA, Fenton, Jethro, and all designers.