Clothes as publishing Edition #5 Fashion is...

-PIA-QUINN_FASHION_Part 3:Layout 1 9/25/07 9:05 PM Page 272 interface 273 pia myrvold Edition #5, entitled Fashion is..., featured 12 men s suits. It was the first time that Myrvold had produced menswear, and she charged the suits with bold detailing that gave them an edgy, almost raw energy. Fashion is was presented in September 1998 at SEHM, the annual menswear fashion fair in Paris. The suits were hung on a circular device that was powered by a mechanical belt. A month later, she presented the suits again at a fashion performance she held at Les Bains Douche nightclub with 12 Paris-based Rap Music artists. The performers updated the rarefied tradition of bespoke men s tailoring for the urban club scene by rapping lines such as Fashion is in the garbage and Fashion is the way you drive your car. Edition # 5, med tittelen Fashion is, viste 12 herredresser. Det var første gang Myrvold hadde laget herreklær, og dressene hadde dristige detaljer som ga dem en uforferdet, rå energi. Fashion is ble vist i september 1998 på SEHM, den årlige herremotemessen i Paris. Dressene ble hengt på et sirkelrundt stativ som ble drevet av et mekanisk belte. En måned senere viste hun dem igjen på en motevisning i nattklubben Les Bains Douche med 12 rappere fra Paris. De opptredende oppdaterte den eksklusive herreskreddertradisjonen til den urbane klubbscenen ved å rappe tekster som Fashion is in the garbage og Fashion is the way you drive your car. Clothes as publishing Edition #5 Fashion is... "Fashion is in the Garbage", transfer print on cotton toile. Fashion is in your Closet, transfer print on cotton toile. Fashion is how you drive your Car, transfer print on cotton toile. Fashion is a Metro ticket, transfer print on cotton toile. Fashion is a Plastic Bag, transfer print on cotton toile. Fashion is the way you Dance, transfer print on cotton toile. Fashion is what you Drink, transfer print on cotton toile. Fashion is in the Junkyard, transfer print on cotton toile. Fashion is putting on Lipstick, transfer print on cotton toile. Fashion is on the Beach, transfer print on cotton toile. Fashion is what you Read, transfer print on cotton toile interface 272 pia myrvold

-PIA-QUINN_FASHION_Part 3:Layout 1 9/25/07 9:05 PM Page 274 interface 275 pia myrvold Clothes as publishing Edition #6 Post Machine Edition #6, entitled Post Machine, was launched in October 1998 in an alternative art venue located in Paris s tenth arrondissement. The collection was accompanied by a sevenscreen video production that amplified many of the messages imbued in the garments. The collection explored the boundaries and perceptions surrounding human nature and technological progression. Many of the garments referenced early analogue communication devices by featuring images of typewriter keys, circuit boards, radios and record players. Although the garments relayed a fairly low-tech approach to communication, the synergy between the collection and the video projection emphasised their interactive potential. Edition # 6, hadde tittelen Post Machine og ble lansert i oktober 1998 på et galleri for alternativ kunst i Paris. Kolleksjonen ble akkompagnert av en videoproduksjon som ble vist på sju monitorer, og som forsterket mange av budskapene som lå innbygd i plaggene. Kolleksjonen utforsket grensene og oppfatningene rundt menneskenaturen og det teknologiske fremskrittet. Mange av plaggene henviste til tidlige, analoge kommunikasjonsverktøy ved å vise bilder av skrivemaskintaster, kretskort, radioer og platespillere. Selv om plaggene hadde en relativt lavteknologisk innfallsvinkel til kommunikasjon, ble det interaktive potensialet understreket av synergien mellom kolleksjonen og videoprojeksjonen. Wrap around top and miniskirt with jacket. Tulle transfer on stretch cotton. Colombia print, made from a typewriter dating from the 1880s. interface 274 pia myrvold

-PIA-QUINN_FASHION_Part 3:Layout 1 9/25/07 9:05 PM Page 276 interface 277 pia myrvold Front, back and silhouette of two-piece dress in reversed satin LYCRA, edged with bias cut ribbons, with post machine print. Top right: Linen bias cut top and skirt with bias cut ribbon edgings. Bottom right: Black denim jacket and skirt with cotton LYCRA T-shirt, all with silver print images of old interfaces, such as typewriters, telephones, radios and phonograms. Two piece dress, wrap top and skirt, with bias cut details. Tulle shirt with Columbia transfer print image, edged with bias cut ribbon with post machine print interface 276 pia myrvold

-PIA-QUINN_FASHION_Part 3:Layout 1 9/25/07 9:05 PM Page 278 interface 279 pia myrvold The next collection, Fast Forward, was presented in March 1999. Like Post Machine, the collection was produced with a video component, but it was not actually a part of the Clothes as Publishing project. Fast Forward signalled Myrvold s departure from the rigid catwalk format imposed by the Chambre Syndicale, breaking away from the many of the fashion system norms that she regarded to be limitations. The video engaged with a political theme and reflected Myrvold s distrust of the mechanism of big business and global politics. I designed the collection at a time when I felt really dissatisfied with the fashion system and the politics within it, Myrvold explained. In a subtle way, the fragmentation I felt translated into the mosaic patterns and the broken pixel motifs I designed for the collections. I wasn t bitter I knew that I had reached a turning point in my fashion career and felt excited about pursuing a new direction. Neste kolleksjon, Fast Forward, ble vist i mars 1999. Kolleksjonen ble, som Post Machine, vist med en videokomponent, men den var imidlertid ikke en del av Clothes as Publishing-prosjektet. Fast Forward markerte Myrvolds avskjed med det rigide catwalk-formatet til Chambre Syndicale, og hun brøt ut av mange av motesystemets normer som hun nå så som begrensende. Videoen hadde et politisk tema og avspeilet Myrvolds mistro til mekanismene i storkapitalen og verdenspolitikken. Jeg designet kolleksjonen i en periode da jeg følte meg virkelig utilfreds med motesystemet og politikken bak, forteller hun. Jeg gjorde mosaikkmønstrene og de ødelagte pixelmotivene jeg tegnet til kolleksjonen, til et bilde på fragmenteringen jeg opplevde. Jeg var ikke bitter men jeg visste at jeg hadde kommet til et vendepunkt i min motekarriere, og jeg gledet meg til å stake ut ny kurs. Clothes as publishing Edition #7 Fast Forward Top two: Stills from video premiered at Les Bains nightclub in Paris. Above: Entrance to Les Bains, with reflective Fast Forward banner, during Paris Fashion Week. Top left: Double tulle top with beaded edge and reflective PVC print. Double tulle skirt with reflective PVC print and beaded bottom fringe. Bottom left: Knit collar and sleeve, silk yarn and transparent fishing line. Double tulle skirt with PVC molecule print. Right: Silk and transparent fishing line knit dress, glove with feathers, featured in Evans and Wong Catalogue. interface 278 pia myrvold

-PIA-QUINN_FASHION_Part 3:Layout 1 9/25/07 9:05 PM Page 280 interface 281 pia myrvold Details from Fast Forward collection, knitwear with silk thread and transparent fishing line, reflective and fluorescent PVC print on double tulle. interface 280 pia myrvold

-PIA-QUINN_FASHION_Part 3:Layout 1 9/25/07 9:06 PM Page 282 interface 283 pia myrvold Clothes as publishing Edition #8 Dream Sequences CYBERCOUTURE As Myrvold resolved to move beyond the traditional fashion system, the possibilities afforded by cyberspace began to appeal to her more and more. Myrvold s fascination with multimedia and information technologies led her to the interactive potential of the Internet. Web interactivity, though still dependent on photo-based media, made a new information-based approach to fashion possible. The Internet had enabled Myrvold to establish a forum in which to merge fashion with ideas reflecting art, architecture, philosophy and music, and it also allowed her to operate outside the traditional fashion system. The joint launch of the Cybercouture collection and the www.cybercouture.com website was held at The Web Bar in Paris. Presented as Edition #7 in the Clothes as Publishing series, it was entitled Dream Sequences. Cybercouture s genesis resulted from Myrvold s mission to circulate the ideas behind her collections - essential to grasping what each garment represents - simultaneously with the clothes. It also gave her a means of confronting unethical workshop conditions and beauty ideals, rather than work within the system that reinforces them. My challenge was to have the freedom to design the type of clothes I wanted and compete within the system without promoting its ideals, she said. Because she set up the interactive design studio at short notice, Myrvold ran out of time to manufacture ready-made garments to print on. She quickly solved the problem by buying standard-sized hospital scrubs and workwear, which she took apart and prepared for printing. Dream Sequences featured a selection of prints accompanied by a corresponding short film and a soundtrack. These were based on 16 statements selected from visionaries such as Lao Tzu, Jesus Christ, Hildegard Von Bingen, Francis Bacon, Le Corbusier, Emmeline Pankhurst, Mahatma Gandhi and Martin Luther King. The success of Dream Sequences made Myrvold realise that a truly interdisciplinary audience could be reached by linking web technology to her collections. The web had none of the limitations of other media, she said. Sound, image, Readymade jacket with deconstructed details, like PVC edges and selected Dream Sequences prints. Idet Myrvold bestemte seg for å bevege seg utenfor det tradisjonelle motemiljøet, ble hun stadig mer tiltrukket av mulighetene ved bruk av cyberspace. Fascinasjonen for multimedia og informasjonsteknologi styrket ønsket om å utnytte det interaktive potensialet ved Internett. Internett la til rette for en ny interaktiv og informasjonsbasert tilnærming til mote, selv om fotomediet fortsatt var grunnlaget. For Myrvold ble Internett et rom der hun kunne kombinere mote med tanker som gjenspeilet kunst, arkitektur, filosofi og musikk. I tillegg fikk hun en mulighet til å operere uavhengig av det tradisjonelle motemiljøet. Den felles lanseringen av Cybercouture-kolleksjonen og nettsiden www.cybercouture.com foregikk på The Web Bar i Paris. Kolleksjonen ble presentert som Edition # 7 i Clothes as Publishing-serien, med tittelen Dream Sequences. Cybercoutures tilblivelse var et resultat av Myrvolds ønske om å spre idéene bak kolleksjonen noe som var en forutsetning for å forstå hva hvert enkelt plagg representerte samtidig med klærne. Det ga henne også mulighet til å konfrontere etisk uakseptable arbeidsforhold og skjønnhetsidealer, istedenfor å være henvist til å arbeide innenfor et system som støtter slike ting. Min utfordring var å ha frihet til å designe den type klær jeg ville og konkurrere innenfor systemet, uten å fremme systemets idealer, sier hun. Fordi det interaktive designstudioet ble satt opp på så kort varsel, fikk ikke Myrvold tid til å produsere konfeksjonsplagg til å trykke på. Det løste hun raskt ved kjøpe rengjørings- og arbeidsklær til sykehus i standardstørrelser, dekonstruere dem og gjøre dem klar til trykking. Dream Sequences hadde et utvalg trykkmønstre fulgt av tilhørende kortfilmer og lydspor. De var basert på 16 uttalelser fra visjonære historiske skikkelser som Laozi, Jesus, Hildegard von Bingen, Francis Bacon, Le Corbusier, Emmeline Pankhurst, Mahatma Gandhi og Martin Luther King. Dream Sequences gjorde suksess, og Myrvold skjønte at det gikk an å nå et virkelig tverrfaglig publikum ved å knytte nettteknologi til kolleksjonene. Nettet hadde ingen av de andre medienes begrensninger, sier hun. Lyd, bilde, film, tekst eller stemme kunne fritt overlappe hverandre og skape nye sammenhenger. Internett utgjorde en stabil plattform som kunne oppdateres for hver ny kolleksjon, bare ved at Myrvold lastet opp Pia Myrvold created these print images based on texts by historic visionaries, creative geniuses and civil disobedient. Top: Situationist International 1964, Confucius 500 B.C., Hildegard von Bingen 1141, Le Corbusier 1962. Other texts were sampled from Lao Tzu 479 B.C., Emmeline Pankhurst 1905, Arthur Rimbaud 1875, Mahatma Gandhi 1927, Francis Bacon 1566, Mother Theresa 1989, Henry David Thoreau 1849, Christine de Pizan 1405 and Martin Luther King 1963. interface 282 pia myrvold

-PIA-QUINN_FASHION_Part 3:Layout 1 9/25/07 9:06 PM Page 284 interface 284 pia myrvold film, text or voice could overlap freely and create new contexts. The Internet provided a stable platform that could be updated for each collection, requiring only that Myrvold uploaded new garment designs and new prints each season. Visitors could scan through each new collection quickly, and with a click and a drag of the mouse, decide how to they d like their choices put together. Each garment was initially displayed in white; once selected, the image rotated threedimensionally to display the garment s construction and detail. Visitors browsed among the current range of prints and dragged them onto the garment to get a scaled view of how the pattern looked. Some garments even featured several different prints; for example, the sleeves were made in one print, and the body made in another. It was also possible to order the garments online. Each order included the precise measurements of the client, as each piece would be made to measure. The orders would be emailed to the centralised workshop, where the garments would be cut according to specification, then printed with the selected patterns. Skilled craftspeople would then sew the garments together and ship them to the clients more or less immediately. Because the clothing would only be printed on demand, Myrvold wouldn t run the risk of overproducing, which would, in turn, save resources and reduce environmental waste. The most radical part of Myrvold s interactive ethos was actually her decision to allow the web visitor to complete the design. Myrvold conceived her garments as a blank canvas that would draw the wearer into her design process by enabling them to create their own garment within the range of materials she provided. Giving the wearer direct involvement in the construction process and access to the concepts underpinning it makes the interactive platform a hands-on creative process that dislocates the immediacy that characterises fashion. It also invokes questions of authorship, where the designer no longer assumes responsibility for the finished product. As a new fashion culture emerges, the idea that fashion can be a communicative device as well as an interactive platform in itself is driving both its physical and virtual components forward. nye plagg og nye trykk hver sesong. Besøkende kunne raskt skaffe seg oversikt over hver ny kolleksjon, og ved hjelp av trekk og slipp kunne de bestemme hvordan valgene deres skulle settes sammen til et plagg. Hvert plagg ble først vist i hvitt; når plagget var valgt, roterte bildet tredimensjonalt og viste detaljer og konstruksjon. De besøkende kunne da bla gjennom det aktuelle utvalget av trykkmønstre og trekke det de ville ha, over på plagget for å se hvordan det så ut i riktig målestokk. Enkelte plagg hadde til og med valgmuligheter for flere trykk for eksempel kunne ermene være i ett mønster og resten i et annet. Det var også mulig å bestille plaggene på nettet. Hver bestilling inneholdt kundens nøyaktige mål, ettersom hvert plagg skulle målsys. Bestillingen ble deretter sendt via e-post til en sentral systue, der plagget ble klippet til etter spesifikasjonene og påtrykt de valgte mønstrene. Dyktige syersker sydde så plaggene sammen og sendte dem til kunden mer eller mindre umiddelbart. Fordi plaggene bare ble produsert på bestilling, risikerte ikke Myrvold overproduksjon, noe som igjen sparte ressurser og miljø. Den mest radikale delen av Myrvolds interaktive tenkemåte var faktisk beslutningen om å la den besøkende på Internett designe plagget ferdig. Myrvold oppfattet plaggene som blanke ark som ville trekke plaggenes bærere inn i hennes egen designprosess vedkommende ville få anledning til å skape sitt eget antrekk innenfor det utvalget av stoffer hun hadde å tilby. Når brukeren på denne måten involveres direkte i produksjonsprosessen og får kunnskap om hvilke konsepter plaggene er basert på, blir den interaktive plattformen til en kreativ prosess som forskyver det øyeblikkspreget som karakteriserer motens verden. Det reiser også spørsmål om hvem som har opphavsrett til produktet, når designeren ikke lenger har ansvar for det ferdige resultat. Når det oppstår en ny kultur innenfor klesdesign og mote, vil tanken om at moten kan være et kommunikasjonsverktøy i tillegg til en interaktiv plattform i seg selv, drive både de fysiske og virtuelle komponentene fremover. Stills from Dream Sequences video clips. Pia Myrvold made 16 soundtracks to each text, then a video with dancers from The Norwegian National Opera. Center photo; dancer Teet Kask.

-PIA-QUINN_FASHION_Part 3:Layout 1 9/25/07 9:06 PM Page 286 Deconstructed worker s overalls, pants made into skirt, with red rubber edge on sleeve. Top Right: Mixed media painting. Dream Sequences. Bottom right: Silkscreen Dream Sequences image on deconstructed T-shirt and chef s pants made into skirt. In the cybercouture interface, there were 12 shapes, based on readymade garments. Each shape was reconstructed and the customer could select the text image of their choice. Top left: Reconstructed men s shirt, with elastic shoulder ribbon and PVC square in buttonhole. Bottom left: Doctors coat, reconstructed with red PVC edge on collar, and bottom draped into folds in back. Right: T-shirt with Ghandi print on back. Deconstructed chef s pants, made into skirt.

-PIA-QUINN_FASHION_Part 3:Layout 1 9/25/07 9:06 PM Page 288 interface 288 pia myrvold Clothes as publishing Edition #9 Bergen Identity CYBERCOUTURE Version 2.0 The second Cybercouture collection was included within the Clothes as Publishing project as Edition #8, entitled Bergen Identity, in February 2000.The collection had been commissioned to celebrate Bergen s role that year as a European Capital of Culture, and the garments featured motifs taken from the city s urban landscape. The collection also included updated versions of earlier graphics, enabling visitors to select motifs from Paris Identity, Post Machine, Fast Forward, Dada Memory and Interference. Myrvold returned to the theme of urban identity the following year when she launched the City Identity collection at New York Fashion Week (City Identity was Edition #9 in the Clothes as Publishing series). Although the collections were presented on a catwalk, they were paralleled online with texts and information aimed at giving viewers a richer understanding of identity within the urban realm. The City Identity fashion show was accompanied by projected images. With a click of the navigation button, images of the cybercouture.com website appeared alongside the catwalk, where Myrvold's video, Interference was also shown. The fashion show commenced with dancers from the Norwegian National Ballet moving dramatically down the catwalk en pointe. The collection was graphic and strikingly modern. Zippered jackets, wrap skirts and tailored coats were simple and linear, sporting printed images of urban landscapes and architectural close-ups from Paris and Bergen together with those from New York. One repeating pattern was based on images of the Institut du Monde Arabe in Paris designed by Jean Nouvel, another depicted metal manholes photographed on Bergen s streets. Dancers from Carte Blanche performing during press conference. Den andre Cybercouture-kolleksjonen var en del av Clothes as Publishing-prosjektet i februar 2000, som Edition # 8, med tittelen Bergen Identity. Kolleksjonen var bestilt for å feire Bergens rolle som europeisk kulturhovedstad det året, og motivene på plaggene var hentet fra det lokale bylandskapet. Kolleksjonen omfattet også oppdaterte versjoner av tidligere brukt grafikk, slik at besøkende kunne velge motiver fra de tidligere editions Paris Identity, Post Machine, Fast Forward, Dada Memory og Interference. Myrvold vendte tilbake til temaet urban identitet året etter, da hun lanserte City Identity-kolleksjonen under New York Fashion Week (City Identity var Edition # 9 i Clothes as Publishing- serien). Selv om kolleksjonen ble presentert på en catwalk, ble den også vist parallelt på nettet, med tekster og informasjon som skulle gi seeren en dypere forståelse av identiteten innenfor den urbane verden. City Identity-visningen ble akkompagnert av projiserte bilder. Etter et klikk på navigasjonsknappen dukket bilder fra cybercouture.com opp ved siden av catwalken, der Myrvolds video Interference også ble vist. Motevisningen begynte med at dansere fra den norske Nasjonalballetten beveget seg dramatisk bortover podiet på tåspissene. Kolleksjonen hadde et grafisk preg og var slående moderne. Her var jakker med glidelås, omslagsskjørt og skreddersydde frakker, enkle og rene i linjene, med påtrykte bylandskaper og nærbilder av arkitektoniske detaljer fra Paris og Bergen, sammen med bilder fra New York. Ett gjennomgående mønster var basert på bilder fra Institut du Monde Arabe i Paris, designet av Jean Nouvel, et annet på kumlokk fotografert i Bergens gater. Bergen Identity print. Pia Myrvold took 1200 photos and several videos in Bergen, and used them to construct palettes and paintings for Bergen Identity. The model wearing the first prototype in cybercouture Version 2, is photographed in front of the painting that became the model for the cybercouture navigational infrastructure.

-PIA-QUINN_FASHION_Part 3:Layout 1 9/25/07 9:06 PM Page 290 The main exhibition room in the West Norway Museum of Decorative Arts. Myrvold painted walls, floors and ceiling elements with the navigational infrastructure theme of cybercouture Version 2, simulating the virtual environment. Mixed media paintings, cybercouture clothes with different print versions. The exhibitons featured two interactive workstations with wall size projections, where visitors could create their own designs and navigate on the website.

-PIA-QUINN_FASHION_Part 3:Layout 1 9/25/07 9:07 PM Page 292 interface 292 pia myrvold interface 293 pia myrvold Left: Print image from Bergen Identity, Swimmers. Swimmers photographed from the diving board in the Bergen City swimming pool. Middle: Print image from Bergen Identity, Green Tunnel. Underground tunnel connecting the railway station to the city park. Right: Model in New York presentation, 7th on 6, Bryant Park, wearing jacket and wrap skirt with Green Tunnel print. From left to right: Model wearing jacket and wrap skirt with Post Machine Radio print. Model wearing suit with Paris identity - Jean Nouvel Institut du Monde Arabe. Model wearing coat with Bergen Identity Haakons Hall print. Top right: Model wearing complementary knit collection, wool and transparent fishing line. Bottom right: Model wearing suit with Fashion is what you Read print. interface 292 pia myrvold

-PIA-QUINN_FASHION_Part 3:Layout 1 9/25/07 9:07 PM Page 294 interface 295 pia myrvold Clothes as publishing Edition #10 The Bridge CYBERCOUTURE Version 3.0 The collection attracted the interest of Karim Rashid, who asked Myrvold if he could collaborate with her. Myrvold had just established her interactive design studio, which streamlined her production method as it shifted from analogue to digital, enabling her to import any type of graphic and print it onto almost any textile shape. Working with Karim meant that I needed to change my process, Myrvold explained. Using e-mail and graphics technology meant we could create one-off pieces in a collaborative way without being in the same studio together to do it. Once I finished designing the garment, I could import Karim s - or anyone s - motifs before printing them on an ink-jet printer, cutting the pieces out and sewing them together. Myrvold decided to include a selection of Rashid s graphics in her prêt-a-porter collection, entitled The Bridge (Edition #10), which included three capsule collections titled Hypermix, Slow Tech and Cyberware. The collection was launched in New York during the September 2002 Fashion Week, and included one-off pieces featuring some of Rashid s graphics. The Bridge was uploaded onto her website and launched as the third version of Cybercouture, and subsequently distributed online. The showcase Hypermix dress. Pia Myrvold used six of Karim Rashid s print images, and created this collage, sculpting the icons and print images around the body. Kolleksjonen fanget interessen til Karim Rashid, som spurte Myrvold om å få samarbeide med henne. Myrvold hadde akkurat etablert sitt interaktive designstudio, noe som effektiviserte produksjonsmetoden hennes i overgangen fra analog til digital og muliggjorde import av enhver type grafikk og trykk på bortimot enhver tekstil form. Samarbeidet med Karim medførte at jeg måtte forandre prosessen, forklarer hun. Ved hjelp av e-post og grafikkprogrammer kunne vi samarbeide om enkeltstående plagg uten å være tilstede i atelieret samtidig. Så snart jeg var ferdig med designet på et plagg, kunne jeg importere Karims eller enhver annens motiver, før jeg kjørte delene ut på en blekkskriver, klippet dem ut og sydde dem sammen. Hun bestemte seg for å ta med et utvalg av Rashids mønstre i den konfeksjonskolleksjonen som het The Bridge (Edition # 10), som omfattet tre basiskolleksjoner med navnene Hypermix, Slow Tech og Cyberware. Kolleksjonen ble lansert i New York under moteuken i september 2002, og hadde også med enkeltstående plagg med Rashids mønstre. The Bridge ble lastet opp på nettsiden hennes og lansert som den tredje versjonen av Cybercouture, og deretter ble den distribuert via nettet. The digital file for the Hypermix dress. To obtain the clear colors, Myrvold chose a polyester stretch, which allowed a form fitting shape, with just a front and back piece. All of the collection was based on the principle of importing images into the panels of the garment, thus allowing a revolutionary and highly flexible production method involving altering and changing prints. The research Myrvold undertook also provided the foundation for cybercouture Version 3, where an interface allows visitors to the site to drop and drag images from an image group into the dress shape. Prototype collection sponsored by Scanachrome, Paris. interface 294 pia myrvold interface 295 pia myrvold

-PIA-QUINN_FASHION_Part 3:Layout 1 9/25/07 9:07 PM Page 296 interface 297 pia myrvold Top left: Rotating the dress, the Hypermix dress shows how print images can be draped around the body, to create illusions of folds and pleats. Bottom left, one and two: Jacket and coat with reflective PVC laser cutout and reflective piping, from the Slow Tech segment of the collection. The title refers to the way the clothes are produced, with normal ready to wear production techniques. Middle photo: Model wearing top and miniskirt from the Hypermix segment of the collection. Pia Myrvold used intricate cuts, in order to create shape and design qualities to each garment, while limiting the number of seams. All digitally printed clothes are edged with reflective piping, a signature feature of cybercouture. From left: Model wearing jumpsuit. Second left: Cropped cybercouture T-shirt with low cut asymmetrical pants with inner leg wave splits. Third left: New York presentation, at Felissimo Design House, sponsored by wallpaper producer Wolf Gordon, who provided catwalk paper and back stage wallpaper photo booth images, with Karim Rashid designs. Right top and bottom: Suit, coat and pants with reflective piping, from the Slow Tech segment of the collection. interface 296 pia myrvold

-PIA-QUINN_FASHION_Part 3:Layout 1 9/25/07 9:07 PM Page 298 interface 298 pia myrvold Clothes as publishing Edition #11 Freeze Dubbeldam CYBERCOUTURE Version 3.1 Edition #11 Myrvold presented the next installation of the Clothes as Publishing project in January 2005, when she developed Edition #11 in collaboration with the New York-based Dutch architect Winka Dubbeldam. Dubbeldam is a visionary designer who has folded and pleated whole facades, draped interior structures, and made graphics a central consideration in her practice. Intrigued by the architectonic graphics Dubbeldam published in her From Hardware to Softform series, Myrvold made them the basis for a random collage of overlapping graphics that she streamed interactively on the Internet. Myrvold embellished the outer shells of the garments with Dubbeldam s imagery and sewed them into streamlined shapes that mimicked portable shelters. Visitors to Myrvold s site could interact with Dubbeldam s graphics as they moved across the surfaces of the clothing. By clicking to freeze the graphic motifs, web users could create a unique virtual garment. The collaboration was presented at The Center for Architecture as part of The Fashion of Architecture exhibition. The collaboration showed the extent to which graphic elements feature in both architecture and fashion as practitioners develop patterns and motifs to decorate the surfaces they work with. The collaboration revealed the extent to which colour and ornamentation can create distinct visual identities in both clothing and architecture that can integrate them into the local environment, or radically differentiate them from surrounding forms. The advent of Rapid Manufacturing has revealed the potential of producing certain types of clothing on demand. Just like Myrvold s model for Cybercouture, Rapid Manufacturing can eliminate the risk of over-producing garments or manufacturing too few. Garments can be produced only as consumers order them, and even customised to suit the need of individual customers. As Myrvold explores the possibilities that this new production method affords, she is considering the potential to integrate it within her vision for a web-based fashion system. Navigation infrastructure cybercouture, Version 3.1 Myrvold presenterte den neste delen av Clothes as Publishingprosjektet i januar 2005, da hun utviklet Edition # 11 i samarbeid med den New York-baserte, nederlandske arkitekten Winka Dubbeldam. Dubbeldam er en visjonær designer som har brettet og foldet hele husfasader og innvendige konstruksjoner og gjort grafikk til en sentral faktor i arbeidet sitt. Myrvold ble fascinert av arkitekturgrafikken Dubbeldam offentliggjorde i sin From HardWare to SoftForm-serie, og brukte den som utgangspunkt for en slumpmessig collage av overlappende grafikk som hun streamet interaktivt på nettet. Hun dekorerte plaggene utvendig med Dubbeldams bilder og sydde strømlinjeformede plagg som etterlignet leskur. Besøkende på Myrvolds nettside kunne påvirke Dubbeldams grafikk når de beveget musen over plaggene. Med et museklikk kunne nettbrukerne stoppe billedstrømmen og bruke det fryste bildet til å skape sitt eget, helt spesielle virtuelle plagg. Samarbeidet ble presentert på Center for Architecture som en del av The Fashion of Architecture-utstillingen, og viste i hvilken grad grafiske elementer er til stede i både arkitektur og mote når fagpersonene utvikler mønstre og motiver til å dekorere materialene de jobber med. Samarbeidet viste hvor effektivt farger og dekor kan skape tydelige visuelle identiteter i både klesdesign og arkitektur. Dermed kan disse elementene lett integreres i nærmiljøet eller man kan tvert imot la dem skille seg radikalt ut fra omgivelsene. Tilkomsten av Rapid Manufacturing har vist potensialet i å produsere enkelte typer plagg på bestilling. På samme måte som Myrvolds modell for Cybercouture, kan Rapid Manufacturing eliminere risikoen for å produsere for mange eller for få plagg. Plaggene produseres bare på bestilling. Når Myrvold undersøker mulighetene som ligger i denne nye produksjonsmetoden, vurderer hun å inkludere den i sin visjon om et nettbasert motesystem. Top left and the 3 images below: The structures that Winka Dubbeldam made at MIT Media lab, titled from HardWare to Soft Form are here put into a white or black environment, in a randomized system, driven by the internet and the visitors local server. By clicking the right icon, a mask gives the outline of a dress, where the visitor can wait until the perfect moment, click and freeze the image, to create a completely unique design. Top right and bottom: Examples of designs using the Freeze Dubbeldam interface: skirt, blouse and hooded evening coat.

-PIA-QUINN_FASHION_Part 3:Layout 1 9/25/07 9:07 PM Page 300 interface 301 pia myrvold CYBERCOUTURE The Future Clothes as publishing Limited Edition Reflexology Myrvold s long-term vision for Cybercouture promotes a seamless congruence between an information platform and an interactive design process that produces couture garments. It s incredible to think how much the perception of cyberspace has evolved since I registered the Cybercouture domain name in 1996, Myrvold said. I thought it would take much longer for the public to realise the potentials that web platforms have. Because computers are so much more advanced these days, the older generation has adapted to using them, and the younger generation is so skilled with Photoshop and Indesign software that interactive platforms are second nature to us now. My next step will be to bring interactivity into the garments themselves, so that each fibre, layer and tailoring appliqué will conduct digital signals and transmit information. That way, clothing won t merely be an end-product of an interactive process, it will be a central part of the completely interactive lifestyle to come. I Myrvolds langsiktige visjon for Cybercouture ser hun et sømløst samsvar mellom en informasjonsplattform og en interaktiv designprosess som resulterer i produksjon av couture-plagg. Det er utrolig å tenke på hvor mye oppfatningen av cyberspace har utviklet seg siden jeg registrerte Cybercouture som domenenavn i 1996, sier Myrvold. Jeg trodde det ville ta mye lenger tid før publikum oppdaget hvilke muligheter nettplattformer kan innebære. Datamaskinene er mye mer avanserte i våre dager, den eldre generasjonen har lært seg å bruke dem, og den yngre er så dyktig med programmene Photoshop og InDesign at interaktive plattformer faller helt naturlig. Mitt neste fremstøt blir å føre interaktiviteten inn i selve plagget, slik at hver fiber, hvert lag og hver skreddersydd applikasjon leder digitale signaler og formidler informasjon. Slik vil klærne ikke bare bli et sluttprodukt i en interaktiv prosess, de vil være en sentral del av fremtidens helt interaktive livsstil. Far left: Wild Rose print using reflective and matt PVC on tulle. Left: Reflective multicolored PVC, printed on red tulle. Middle: Acid green reflective PVC, printed on mauve tulle skirt and blouse. Right: Infrastructure design, white and silver reflective PVC, printed on white tulle. interface 300 pia myrvold