Abel Enklaar and Amy Johnson

MetaSensorium은 멀리 있는 사람들 사이에 새로운 수준의 연결을 생성하는 웨어러블 기술의 능력에 대해 추측함으로써 전염병에 만연한 사회적 고립에 대응합니다. 분리, 단절, 타인과 물리적으로 존재하고 싶은 욕망에 대한 디자이너들의 자전적 경험에서 출발한 MetaSensorium은 가상 수단을 통해 물리적, 감각적 연결을 구성할 수 있는 방법에 대한 질문에서 출발했습니다. 그 결과 웨어러블은 두 명의 착용자가 멀리서 서로를 마주할 때 활성화되어 그들의 장치가 스펙트럼 포용으로 상대방의 존재감을 전달하도록 트리거합니다.
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MetaSensorium started with the question of how to build physical and sensory connections through virtual media. As a result, wearable is activated when two users face each other from a distance, triggering their devices to convey each other’s presence with spectral inclusion.

ERIC SIU

萧子文
エリック·シウ
Touchy
file festival
Touchy is a human camera – a wearable device that literally transforms a human being into a functioning camera. The individual who is wearing the device is constantly “blinded” unless someone touches his/her skin. The touch causes the shutters in front of the eyepieces to open and restores the wearer’s vision. When physical contact is maintained for 10 seconds, the camera takes a “Touch-Snap” (i.e., a photo that is taken by Touchy), which is displayed on the device’s LCD.

jamall osterholm

PINK
I explored the concept of a wearable that is either on or around the body and revisited a look that I had designed in a previous collection based on the concept of a 1920’s underwater invention.

Zac Williams

Wearable Architecture
穿戴式建筑

Shuo Feng

Wearable Architecture
SCI-Arc Fall 2020 Vertical Studio Wearable Architecture Final Presentation

DI MAINSTONE AND TIM MURRAY-BROWNE

Serendiptichord

The result of a cross-disciplinary investigation spanning fashion, technology, music and dance, the Serendiptichord is a wearable musical instrument that invites the user (or movician) to explore a soundscape through touch and movement. This curious device is housed in a bespoke box and viewed as part of a performance. Unpacked and explored on and around the body, the Serendiptichord only reveals its full potential through the intrepid curiosity of its wearer. Adhering to the body like an extended limb, this instrument is best described as choreophonic prosthetic. Referencing the architectural silhouette of a musical instrument and the soft fabrication of fashion and upholstery, it is designed to entice the movician to explore its surface through touch, physical manipulation and expressive movement. Although this acoustic device can be mastered alone, it also holds subtle openings for group interaction.

Lesia Trubat

Electronic Traces
E-TRACES, memories of dance
The shoes are based on the clone of Lilypad Arduino technology, which is designed for sewing into wearables. It appears that 3 force sensitive resistors are used as analog pressure sensors, measuring the force applied on the ground by the dancer’s feet.

LAUREN BOWKER

The Unseen Collection
Experimental fashion studio The Unseen has produced a range of accessories that alter in response to environmental changes using inks developed from its colour-shifting wearable sculptures. Bowker has previously embedded her specially developed ink into feathered, leather and gemstone-encrusted headdresses. The Unseen also presented a sculptural jacket that changes colour depending on the wearer’s mood.

Yutao Fang

Wearable and Architecture

Kino

MIT Media Lab, Stanford University
This work explores a dynamic future where the accessories we wear are no longer static, but are instead mobile, living objects on the body. Engineered with the functionality of miniaturized robotics, this “living” jewelry roams on unmodified clothing, changing location and reconfiguring appearance according to social context and enabling multitude presentations of self. With the addition of sensor devices, they transition into active devices which can react to environmental conditions. They can also be paired with existing mobile devices to become personalized on-body assistants to help complete tasks. Attached to garments, they generate shape-changing clothing and kinetic pattern designs–creating a new, dynamic fashion.
It is our vision that in the future, these robots will be miniaturized to the extent that they can be seamlessly integrated into existing practices of body ornamentation. With the addition of kinetic capabilities, traditionally static jewelry and accessories will start displaying life-like qualities, learning, shifting, and reconfiguring to the needs and preferences of the wearer, also assisting in fluid presentation of self. We envision a new class of future wearables that possess hybrid qualities of the living and the crafted, creating a new on-body ecology for human-wearable symbiosis.

Antoni Rayzhekov and Katharina Köller

Somaphony

<somaphony> is composed of autogenous electronic objects that respond to stimuli and biofeedback wearable controllers. As it is connected with heart pulse, muscle tense, and movement of performers, real-time audiovisual visual composition is possible. The artist explores interdependence between digital equipment and performers that express behavior and cybernetic(artificial brain) relationship through this project.

CLIVE VAN HEERDEN AND JACK MAMA

Skin Sucka

A project conceived with Clive van Heerden, Jack Mama (Philips Design Probes) and Bart Hess, Skinsucka explores a vision of our nano technology future whereby bio technology and robotics come together to question our attitudes of a synthetic future. Skinsucka reveals a future where microbal robots live in our shared spaces and autonomously they will undertake menial tasks such as cleaning our homes by eating the dirt. ‘Skinsuckas’ clean the skin, removing the vestiges of make up and providing the remedies to combat the excesses of the night before They swarm over the body extruding metabolized household dirt, dressing the body in a daily ritual of real time, customized manufacture – yesterday’s discarded clothing ready for recycling.” Clive and Jack’s work has consistently brought very diverse skills together in new innovation processes. In the late 1990’s they took designers and other creative skills into Philips Research labs in the Redhill, London and New York and created a specialist studio in London to develop the skills, materials and technologies for a host of Wearable Electronic business propositions in the areas of electronic apparel, conductive textiles, physical gaming, medical monitoring and entertainment.

ANOUK WIPPRECHT AND ADUEN DARRIBA

Smoke Dress
Fellow designer, Valerie Lamontagne, writes: “SMOKE DRESS is a collaboration between fashiontech designer Anouk Wipprecht [NL] and technologist Aduen Darriba [NL]. The dress is a wireless and wearable tangible couture “smoke screen” imbued with the ability to suddenly visually obliterate itself through the excretion of a cloud of smoke. Ambient clouds of smoke are created when the dress detects a visitor approaching, thus camouflaging itself within it’s own materiality. The SMOKE DRESS, with its loose net of metallic threads and electrical wire, works at the scale of the magical illusionists trick, permitting a hypothetical magician’s assistant to perform her own disappearing act.

Neri Oxman

Wearable Structures for Interplanetary Voyages
Muchos del proyectos de Oxman usan impresión 3D y técnicas de fabricación. Incluyen el Silk Pavilion, hilado por gusanos de seda en un marco de nylon,3​ Ocean Pavilion, una plataforma de fabricación a base de agua que construyó estructuras de quitosano,4​ G3DP, la primera impresora 3D para vidrio ópticamente transparente y un conjunto de vidrio producido por ella,5​ y colecciones de ropa impresa en 3D y utilizables en espectáculos de alta costura.
Viajar a destinos más allá del planeta Tierra implica viajes a paisajes hostiles y entornos mortales. La gravedad aplastante, el aire amonioso, la oscuridad prolongada y las temperaturas que hervirían el vidrio o congelarían el dióxido de carbono, casi eliminan la probabilidad de visitas humanas.

vivian xu

ELECTRIC SKIN

The Electric Skin explores the possibility of creating a wearable that extends the functionality of the skin to sense electromagnetic fields (mostly within the radio spectrum) and translate that information into touch sensation. The wearable consists of two main functional parts: 1) A matrix of omnidirectional antennas that act as sensors and probes and 2) corresponding electrodes that stimulate the skin of the wearer. Through this artificial “skin” or “exoskeleton”, the wearable changes our experience, perception, and understanding of space and movement, and in doing so, our interactions. The project speculates on the possible co-evolution of man and technology and draws attention to the role of environmental influence on our own bodily development and behavior.

MOUTH CTRLER

The project developed in collaboration with experts from different scientific and creative fields: Dr.Trevor Coward,Dr.Shama Rahman,Nuala Clooney,Matteo Rossetti
A collaboration with designer: Luca Alessandrini and Dr. Michelle Korda
Mouth CTRLer is a transdisciplinary project combining scientific findings about the sensing and sensory capabilities of the oral cavity with prosthetics and interactive technologies. It investigates tangible technological possibilities for human enhancement inside the mouth in the form of wearable prototypes.

Ying Yu

airmorphologies

Humans, as social beings, use language to communicate. The human voice, as a biometric authentication mechanism, is constantly used throughout daily life applications, such as speech recognition, speaker verification, and so on. Currently, language-based communications mainly fall into two categories: voice over air, and voice over internet protocol. Can we add a new dimension for voice communication such as a wearable material? If so, how could we shape matter in order to physicalize vocal information?

airMorphologiesis an interactive installation that uses soft materials, such as silicon, fabric, and air, to realize these physicalizations. The human voice controls the actuation of a soft wearable structure, changing the appearance of the human body.

Shinseungback Kimyonghun

Aposematic Jacket
‘Aposematic Jacket’ is a wearable computer for self-defense. The lenses on the jacket give off the warning signal, “I can record you”, to prevent possible attack. When the wearer pushes a button under threat, the jacket records the scene in 360 degrees and sends the images to the Web.

Anouk Wipprecht

Faraday dress

While the odds of you getting hit by lightning is approximately one to one octillion, Dutch designer Anouk Wipprecht and music performance group Arcattack have created a wearable a metal dress that discharges one million volts of electricity. Part futuristic, part anime-meets-high fashion, the dress comprises metal plates, 600 rings of chain mail, 3D ‘plasma ball’ mounts on the shoulders and a spiked helmet with a grille on the front.

M. Eifler

The Masking Machine
Using a custom wearable computer I can walk around any space wearing the still images now animated by my facial expressions. When seen through the screen hovering in front of my face I wear the images like an avatar, but unlike with the stills on a wall or images online I can reach out from behind the screen to shake hands and talk with viewers.

SUNG YEONJU

As a fine artist, she fell in love with photography as a main tool and a medium to create her visions. ‘Wearable Foods’ is the first long term project she started two years ago and it still continues to this day. This series of her work forces viewers to defy the actual meaning, the functionalities, and the aspects of what clothing signifies in our lives.

TRACY FEATHERSTONE

wearable sculptures
Wearable Structures materialize our daily struggle between control and chaos. The balance is precarious and can tip one way or another in an instant. Building materials traditionally used to construct living environments or other architectural securities are used in a frenetic fashion.

adi meyer

borderline
Space Aware Wearable
Border Line is a 3D printed modular neck piece designed to alert the wearer of invisible urban boundaries through vibration and light stimuli. The data is fed by users and collected on a networked platform to redefine social boundaries throughout the city.

Lindy Wilkins

android apparatus
Hillary Predko: Design + Textiles + Fabrication
Lindy Wilkins: Design + Code / electronics
Vanita Butrsingkorn: Performer @ Design Exchange, photos
Coco Freddie: Model @ Electro Threads
Miranda Tempest: Performer @ Android TO
My initial artwork didn’t feel like wearables as we conceptualize them now, but slowly my work morphed into artistic concoctions of cybernetic beings. I have an undergrad in computation arts, and a masters in digital media, so that definitely laid the groundwork for my explorations in this field.

sam o’brien

An interpretation of the textures of Iceland’s landscape, using synthetic and artificial materials to make the unnatural appear natural in the eyes of the ignorant. Paired with a silhouette inspired by the saturnian symbolism of the cube, these clothes journey from a literal, compromising analysis of the three dimensional cube to a broken down and wearable analysis of the two dimensional cube, the hexagon.

Claudia Girbau

Wearable Walls
Claudia is a designer in a sense that is becoming rarer and rarer in the generation when everyone seems to be one

Céline Park

Fungus Wearable
The Fungus Wearable was designed based on the assumption of ‘What if… people elevate their immune system by wearing the portable vaccine attenuated fungus?’ The cloth is made with solid agar which can maintain the fungus to grow fast and maintain itself.

Mella Jaarsma

The Coming World
The twelve costumes created by Yogyakarta-based artist Mella Jaarsma operate both as an installation and as a set of separate, wearable items. The set comes alive once a week as a part of a performance in which actors wearing the “uniforms” transform into half human-half animals strolling through the Museum and holding each other on leashes.

Mella Jaarsma

The Carrier
Mella Jaarsma’s wearable sculpture The Carrier addresses the fleeting nature of all living things, especially the temporality of humans and their urgent need to escape their current situation or move from place to place. She notes how the human condition of gathering experiences without knowing why, collecting possessions, and fearing death while longing for immortality impacts every living human being. We live in a world in which people are on the move as travelers, vacationers, explorers, and even migrants fleeing the oppressors of their beloved homelands.

Hussein Chalayan

フセイン·チャラヤン
ЧАЛАЯН
후세인 샬 라얀
Intel connected accessories

Designer Hussein Chalayan partnered with Intel to bring wearable tech to his spring/summer 2017 fashion week show. Five models walked the runway alongside visual projections that showed their stress levels on the walls. All of it was made possible by vital information sent through the wearable tech they sported on the runway.

alexander mcqueen

الكسندر ماكوين
亚历山大·麦昆
알렉산더 맥퀸
אלכסנדר מקווין
アレキサンダーマックイーン
Александра Маккуина
Android Couture

Presented on the cusp of the new millennium, Alexander McQueen’s Autumn/Winter 1999 collection for famed French fashion house Givenchy captured the new fascination with personalized digital technology in popular culture. At the culmination of the show, two models appeared outfitted in molded Perspex bodices studded with flashing LED lights and glowing leggings patterned like computer chips. The creation of a digital aesthetic and its intimate application to the body—an android-like amalgamation of the physical and digital—anticipated the “wearables” trend and the formation of the digital self. Known for his exquisite tailoring, meticulous detailing, and ambitious collections, McQueen also represented one of the remaining visionaries of haute couture extravagance.

MINOU LEJEUNE

Glasses with interchangeable lenses
In her work, she takes the normal out of its context, twists and play with it, to see where it ends up. She wishes to explore the limits within the relationship between fashion, wearable objects and performance. Her body related objects are made to be part of something bigger. It’s her aim to collaborate with all kinds of ‘story tellers’; art directors, photographers, fashion designers, and so on.

MINOU LEJEUNE

Minou Lejeune, born in Maastricht, the Netherlands, is graduated as a Jewellery designer at MAFAD: Maastricht Academy of Fine Arts and Design. She sees herself as a jewellery designer and prop maker. In her work, she takes the normal out of its context, twists and play with it, to see where it ends up. She wishes to explore the limits within the relationship between fashion, wearable objects and performance. Her body related objects are made to be part of something bigger. It’s her aim to collaborate with all kinds of ‘story tellers’; art directors, photographers, fashion designers, and so on.

Stephanie van Zwam

airborne
Zephyrus Wings

The collection investigates how air influences the form of a wearable object. Some pieces use enclosed air, some use the movement of air, and some use the static of air . They invite the viewer or wearer to discover the changes and take part in the performance.

tracy featherstone

Wearable Structure: Tudor Collar
The traditional role of structure or stability becomes mobile when placed on the figure allowing the individual to indulge in the illusion of stability. The mobile/wearable element of the work further subverts attempts of control and order. Similar to the way water will carve a new path around an obstruction, participant finds new ways to move about daily routines in ordinary fashion.

JONATHAN WOOD

Suspension Dimension
Jonathan Wood’s wearable installation Suspension Dimension is an example how you can make an actual object that looks like 3D spacey data visualization… Suspension Dimension was awarded in 2008 at the awe-inspiring Montana World of WearableArt™ Awards Show in Wellington, New Zealand.

MINOU LEJEUNE

Bluedenîmes
In her work, she takes the normal out of its context, twists and play with it, to see where it ends up. She wishes to explore the limits within the relationship between fashion, wearable objects and performance. Her body related objects are made to be part of something bigger. It’s her aim to collaborate with all kinds of ‘story tellers’; art directors, photographers, fashion designers, and so on.

HANNAH SOUKUP

Insides Evening Cape
Hannah Soukup brings a multidimensional approach to apparel design by combining traditional and unconventional techniques using innovative materials and technologies to transform ideas into provocative, and intriguing wearable experiences. She is a futuristic thinker and passionate ideator with her process deeply rooted in material research and experimentation, evolving ideas through draping and sculpting on the body to bring to life intimate interactions with the garments and realities.

PETER MOVRIN

Wearable Sculpture
He designs with meticulous attention to detail and longing for newness. Leather and wool are still his favourite materials. To get the effect of surprise he juxtaposes these two traditional materials with others, perhaps not typically associated with the textile industry. An important part of his design process is treating natural and synthetic fabrics with various methods, using heat, chemicals or other techniques, thus combining innovation and tradition.

TRACY FEATHERSTONE

Wearable Structure: Yellow Pod
Tracy Featherstone is an Associate Professor of Art at Miami University. A SFA Scholarship and Teaching grand allowed Featherstone to travel to Ghana, West Africa in order to initiate a body of sculptural work dealing with the theme of personal environment. The language of home such as furniture, textiles, and construction is used to express the awkward, fragile, and tenuous hold on stability and structure in her work. The sculptures, wearable or free-standing, are frenzied attempts to create order from an ultimately unpredictable surrounding.

PAULINE VAN DONGEN

wearable solar

There is nothing natural in nature; technology makes our humanness giving form to our surroundings. The human habitat reveals a techno-morphed structure that can no longer be hidden behind the vestiges of a natural world: technology has to be naturalized. Pauline van Dongen researches the body in a technologically textured space. After graduating from ArtEZ, Academy of the Arts in Arnhem, the Netherlands, she started her own womenswear label in 2010. Pauline operates a meticulous research of the behaviour of experimental and high-tech materials, combining new technologies with traditional techniques to constantly renovate craftsmanship. Working closely with companies from the field of science and innovation, Pauline aims to merge fashion and technology giving life to scientific creations.

Amy Karle

Internal Collection
FILE SAO PAULO 2017
Internal Collection
Switching up conventions about the body and beauty, the selections from her “Internal Collection” showing at FILE represent internal anatomy in external wearable form. Merging anatomy, fashion, and technology, each piece is created by hand and digital manufacturing technologies. By depicting designs inspired by anatomy, this work communicates that, when we share our likeness and what is going on inside of us, an opportunity is offered for finding beauty within ourselves and connection with others.

Wan Tseng

Wisp
Erotic Wearable Technology

Hwang Kim

CCTV chandelier
“CCTV Chandelier : Virtual Doppelganger Simulator” is an interactive installation that can reflect viewer’s Virtual Doppelganger. You can look objectively into yourself in a third person’s point of view.
This machine have around 12 CCTVs surrounding and hanging near viewer’s face and engineering viewer’s experience to show their Virtual Doppelganger in the connected monitors. This wearable visual system then allows the participant to see his/her own body or the surrounding environment from a third person’s perspective even when he/she is moving. Therefore, you yourself, viewer and visitor is displayed as an object in the gallery.

Richard Nicoll

Fiber Optic Dress
At the intersection of fashion and digital innovation comes wearable tech. Giving analog clothing and accessories a futuristic upgrade, it promises to completely redefine their form and function. One of the most stunning examples of the tech-chic trend is a headline-making dress dubbed the “jellyfish.” Created by designer Richard Nicoll, it appeared to float down the runway at London Fashion Week exuding the same phosphorescent glow of the eerily gorgeous sea creatures that inspired it. (Except his dress used strings of fiber optics—no stinging tentacles here!)

Jiun-Shian Lin

the Reversed Eye

‘The Reversed Eye’ is a cheek-controlled wearable device made by Jiun-Shian Lin in 2013. It provides participants upside-down left-right reversal sight and rear vision in their everyday life, attempting to turn the ordinary life experience into an aesthetic one.

TRACY FEATHERSTONE

Wearable Structure: Tudor Collar

可穿戴结构实现了我们在控制与混乱之间的日常斗争。 平car可危,可以瞬间向另一方向倾斜。 传统上用于建造生活环境的建筑材料或其他建筑安全设施以疯狂的方式使用。 很快,也许无望地试图对失去控制的情况施加命令。 当放置在人物上时,结构或稳定性的传统作用变得可移动,使个人沉迷于稳定性的幻觉中。 作品的可移动/可穿戴元素进一步颠覆了控制和秩序的尝试。 与水将围绕障碍物开辟一条新道路的方式类似,与者发现了以常规方式移动日常生活的新方式。

TRACY FEATHERSTONE

Wearable Structure: Head Organized

As estruturas vestíveis materializam nossa luta diária entre o controle e o caos. O equilíbrio é precário e pode tombar para um lado ou para o outro em um instante. Os materiais de construção tradicionalmente usados para construir ambientes residenciais ou outras garantias arquitetônicas são usados de forma frenética. Rapidamente, e talvez desesperadamente tentando impor ordem a uma situação que está saindo do controle. O papel tradicional de estrutura ou estabilidade torna-se móvel quando colocado na figura, permitindo ao indivíduo entrar na ilusão de estabilidade. O elemento móvel / vestível da obra subverte ainda mais as tentativas de controle e ordem. Semelhante à maneira como a água abrirá um novo caminho em torno de uma obstrução, o participante encontra novas maneiras de se movimentar em suas rotinas diárias de maneira normal.

KRZYSZTOF WODICZKO

Dis-Armor Project

Dis-Armor is the newest in a series of psychocultural prosthetic equipment designed to meet the communicative need of the alienated, traumatized, and silenced residents of today’s cities. It connects contemporary research in two fields: wearable communi- cation technology and prosthetics. In doing so, it counters the dichotomy of the present explosion in communication technology and rampant cultural miscommunication. Dis-Armor offers an opportunity for indirect, mediated communication by allowing its users to speak through their backs. LCD screens, worn on the back, display live images of the wearer’s eyes transmitted from cameras installed in the helmet covering the face. A speaker positioned below the LCD screens amplifies the user’s voice. Attached to the helmet is a rearview mirror, alternatively, a rearview video camera, monitor, microphone, and headphone. These permit the user to see the face and hear the words of the spectator/interlocutor standing behind. Wireless video equipment installed in the helmet further allows two users to work in tandem, showing each other the other’s eyes and broadcasting to each the other’s voice.

Akira Wakita, Motohiro Tanji, Sohei Kitada, Midori Shibutani, Masa Inakage, Hiroko Uchiyama

Wearable Synthesis

REIN VOLLENGA

Ephemeral and ethereal

Ephemeral and ethereal, the work of artist Rein Vollenga is particularly notable in his ‘wearable sculpture’. Vollenga’s unique and visceral work is darkly seductive, and his creations have been embraced by many of fashions forward thinkers as they continue to venture into darker, more fetishistic territory that celebrates a deeper, animalistic sexuality and revels in individuality and fragmented identity. Vollenga is a native of Berlin, reflected in the Teutonic avant garde nature that pervades his work, as is a dangerous, slightly sinister and hedonistic sense that harks back to pre-war Berlin’s days of decadence and ‘voluptuous panic’; his creations conjure all the allure of the decadence of a futuristic Ball Masque. Renowned for his wearable art, which takes form in sculptural headwear and accessories, the artist is now gaining the attention and patronage of the fashion industries elite; a more severe and gothic, 21st Century Dali if you will. Chasseur sat down with Rein himself to discuss his work; its origins and nature, and what drives the man behind the masks.

 

MYO

wearable gesture controlled arm-band

CAROLINE MOIRET

Wearable Sculpture

TRACY FEATHERSTONE

Wearable Structure: Arm Extended