Now this season algorithms, digital weaving and pixels are inspiring and producing fashion. Artists are combining traditional textile techniques with computer algorithms to generate intricate virtual patterns. In doing so they are bringing in a new era of design, whilst also paying homage to fashion and craft’s heritage. Algorithms producing textiles is not a new process, it is vintage. The term ‘weaving algorithm’ describes any process that creates a fabric from a set of threads. Originating in the interlacing formulas of Neolithic basket-weaving (c.7000 BC) and developing in Ancient Egypt (c.3400 BC) with the algorithm of the loom - all following a set of rules -producing something random and unique each time.
Christie’s and Gucci’s recent auction confirms that materials made by code are in the vanguard of fashion. Titled ‘Future Frequencies: Explorations in Generative Art and Fashion’, digital artists use algorithms to explore the relationships between fashion, art and technology. “The outputs they’ve created range from abstract to literal and are completely fascinating, changing the way we can think about using algorithms and data to advance human creativity across fields,”comments Sebastian Sanchez, manager of digital art sales at Christie’s.
So, if technological powered craft is fashion’s future, who are the pioneers?
Luke Shannon
Luke Shannon’s work ‘pattern.dst’ generates a wearable jacket and embroidered design using Gucci’s own original jacket pattern combined with his algorithmic embroidery. The work produces an infinite algorithmic range of embroidery files from on-chain assets for both full jacket patterns and small embroidered designs. The artwork's inspiration? The fashion industry's design and production of garments and textiles, just like the 21 other artworks in the auction.
Anna Lucia
Anna Lucia is also leading generative weaving, taking traditional modes of textile art, and reproducing them with computer algorithms. In her collection ‘Loom’ she explores concepts of feminine craft and the functionality of the loom in textile work. Lucia’s algorithm expertly emulates the inner workings of a 4-shaft hand weaving loom and the appearance of fabric falling part. The distortions were inspired by old pieces of fabric falling apart which influenced the algorithm underneath. The unique weaving pattern is generated at the moment of transaction, creating materials in real time.
Alexi Andrés
Another trailblazer is Alexi Andrés, who is contrasting virtual and physical threads in a series of artworks titled ‘Navette’ in collaboration with Trame and CPG. The collection combines the digital generative process with a physical loom - producing NFT artworks paired with large-format tapestries from acclaimed French atelier Néolice. “Navette plays with the notions of series and unique pieces but also of the inherent randomness of the digital realm—featuring the infamous “glitch.” Generative art thus becomes a way of taking a shuttle to the edge of a new universe.”
Nicolas Sassoon and DRAUP
Nicolas Sassoon and digital fashion house DRAUP are bring pixels into fashion, investigating the pixel pattern for their collection ‘Seen on Screen’. Sassoon views the digital screen and the moiré pattern as part of fashion’s future. Moire, originating in textiles (mostly silk), describes fabric with a ‘dreamy’ overlapping and interlocking texture. However, moiré is now seen on screens - when digital images are layered. Sassoon explores the patterns and forms that digital layering creates. In ‘Seen on Screen’ each garment is generated with unique moiré patterns that become more dynamic in 3D. “The garment becomes more than just an outfit. It's an optical sculpture. It's an interactive object” explains Sassoon.
Generative fashion is the new couture. DRAUP believes it has clear parallels to traditional couture, “For centuries Paris couturiers have created garments which are both unique and tailored to clients, and at the same time part of a wider brand. In the context of fashion, a generative approach to creation does just that...by producing outputs that are both one-of-a-kind and an expression of a wider collection — the generative system mirrors the couture model; each piece is unique yet tied to its contemporaries with a shared algorithmic thread.”
Coded couture, generative weaving and pixels are in. Already the influence of digital aesthetics on luxury brands is apparent - the SS23 collection from Loewe including pixel clothes as did Pharrell Williams debut collection for Louis Vuitton featuring a pixelated camouflage pattern.This season and next (and after that...) we will be wearing code. When code generates textiles and garments the possibilities for the future of fashion are fascinating. The potential for digital garments to generate in real-time according to different conditions is extremely exciting. The opportunity for our digital identities to look as stylish as our physical selves is fantastic. Fashion has just got very exciting.
