Dimension Studio: How fashion is being brought to the metaverse

A London-based startup has worked with Balenciaga, Jean Paul Gaultier and H&M on avatars, VR, AR and virtual production. Here’s why all fashion brands should take note.

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Stepping onto Dimension Studio’s circular stage in Wimbledon, south-west London, you’re greeted by 106 cameras, which can volumetrically scan a person into a 360-degree digital human within seconds. That 3D capture can then be dropped into virtual worlds, from VR to gaming.

The virtual production startup, which specialises in creating digital humans and virtual worlds for brands, operates two more volumetric capture stages, one in the north of England in Newcastle and a second across the Atlantic, a co-owned stage in Washington DC. It’s also the owner of a Polymotion portable truck, acting as a mobile capture studio. READ MORE Why games became luxury fashion’s NFT on-ramp


Business is booming. Dimension made $6.5 million in revenues from 2020-2021, double the previous year, according to the company. Brands are queuing up to experiment with virtual activations, particularly in the fashion sphere. From AR try-on to VR showrooms and fashion games, the metaverse is front of mind for fashion brands hoping to catch a new marketing wave.

The company is perhaps best known for producing Balenciaga’s Afterworld game for Autumn/Winter 2021, created by volumetrically capturing real-life models and garments and dropping them into a gaming experience, designed in consultation with Balenciaga artistic director Demna Gvasalia. Dimension has also worked with London Fashion Week on a virtual catwalk, and H&M on an AR pop-up book for the H&M x Simone Rocha collaboration. Projects currently in progress include Jean Paul Gaultier and Charlotte Tilbury (with details still under wraps).

The benefit of volumetric capture is the detail — the movement of garments can be tracked photo-realistically, says Simon Windsor, Dimension co-founder and joint managing director. The company also reports a surge in demand for avatars, enabling fashion and beauty brands to have their own digital influencers for multiple use across social media and marketing channels.

Demand keeps on growing

Everyone in this world appears to be reporting exceptional demand. Cathy Hackl, a futurist and metaverse expert who consults for brands, notes a surge in work for her consultancy business. “I think that the opportunity could be life-changing for startups that really present a value proposition; that are really doing things that have never been done before,” she says. “Dimension is one of those companies; they’re gaining the skills of volumetric video and virtual production that in the future a lot of the big content companies are going to need.”Most Popular

Projects can range immensely in terms of cost, depending on the scale and complexity, says Dimension co-founder technology director Callum Macmillan. A volumetric capture of one human might require a budget of £15,000, but the scope will be much smaller than for a project such as Afterworld with multiple looks and a much larger platform. The most complex projects can easily top six figures, Macmillan says.

Dimension Studio used volumetric scanning of models and 3D realtime design to construct Balenciaga Afterworld.
Dimension Studio used volumetric scanning of models and 3D real-time design to construct Balenciaga: Afterworld. DIMENSION STUDIO

On the other hand, Dimension also produces projects free of charge with creative collaborators to showcase its expertise and support new talent. This week, it launched a mixed reality experience at London’s V&A, filming a contemporary dance artist in collaboration with Microsoft Hololens. Viewers can wear a Microsoft Hololens 2 headset and interact with the hologram.

It’s important that mixed reality startups learn how to “productise” their output as they scale, Hackl says. “You’ll see lots of brands doing one-off things to dip their toe, but then taking a step back to really think about the longer-term metaverse strategy,” she says. “The opportunity for Dimension is to create those relationships now. So that they’re part of that longer term roadmap and strategy that brands are working on for the future.”Most Popular

Lauren Dyer, Dimension’s director of strategic partnerships, finds that many potential clients are in the process of educating themselves about the potential. “They might only have X amount to develop the R&D for this year, but they have ambition for next year and more money,” she says. “Next year, we can get on board really early to workshop with companies and get them to a point where they want to press go and they’ve got their budget to make that happen. It allows them to understand the technology better and allows us to understand their requirements and their needs.”

Collaborations and challenges

Innovation is moving so fast that scaling a startup in the virtual production industry can be challenging in terms of recruiting talent, Dimension’s Windsor says. Real-time development, powered by Epic Games’s Unreal Engine or Unity Technologies’s Unity Engine, is the next frontier for virtual production companies, allowing developers to 3D render with instant feedback. Finding real-time designers who can render in these technologies is a struggle as demand surges, Windsor says. Dimension Studio has doubled its staff numbers to 75 people over the past year.

“The professionals of today need to start thinking in 3D, because the professionals of tomorrow will already be thinking in 3D,” says Hackl. “Agencies will need to partner with people that have game design experience and game theory. They’re going to need those people that not only know how to create beautiful things, but actually know how to make things work in a gamified way inside virtual worlds,” she says.

Dimension is self-funded at present. However, it’s a Microsoft Mixed Reality Partner Programme (MRPP) member, meaning Microsoft provides resources and support as well as licensing Dimension some of its mixed reality technology. Dimension Studio also launched with initial investment from Digital Catapult in 2017, a UK-based talent incubator that helps propel startups (the size of the investment is undisclosed).

In the US, Dimension collaborates with Avatar Studios on a stage in Washington DC. That’s mutually beneficial, says Windsor — in an industry in its infancy, any companies helping to boost awareness of the metaverse and what it can do are supportive to Dimension’s growth. “It’s in both our interests to drive the awareness and adoption of volumetric content,” Windsor says. “It’s still a very new medium in many ways. We’re keen to help support new use cases and applications to show what companies like ours can do.”Most Popular


Clients often come to the company with briefs that present new challenges, which requires constant R&D, says Windsor. With Balenciaga, for example, Dimension had to do intensive R&D to accurately replicate Gvasalia’s chainmail, armour and reflective prints, which can be hard to render digitally from a volumetric scan.

Complacency is not on the agenda. “We’re constantly learning,” acknowledges Dyer. Staff are obliged to test and innovate to solve pain points while working on their projects. Typical “gotchas”, as Windsor puts it, might come from darker fabrics or replicating underneath the beak of a cap. “We’re getting speedier, compared to where we were a couple of years back,” Dyer says.

Future ambitions: Virtual runways

Companies such as Dimension are racing to improve the potential of virtual runway shows. Model Adwoa Aboah had to walk on a treadmill inside the circular stage to mimic a runway walk for a virtual London Fashion Week campaign created by Dimension in February 2020. “Collectively, we’ve always had the ambition to take what’s in a round here and put it in a line, so it can replicate a catwalk. We’re getting closer to that with the technology stack we’ve got now,” says Dimension’s Macmillan.

Taking this further, the company is keen to develop real-time volumetric scanning: the ability to capture performance in one location and stream that as a hologram into another location in near real time. “I guess at first, the resolution may still warrant that you [need] a normal video feed to get the detail,” says Windsor. “But we’re making strides towards the ability to have one physical catwalk show that can be streamed as holograms, anywhere in the world, for multiple shows.”

Key Takeaway: Dimension Studio is benefitting from a new digital world that fashion is starting to embrace. By leveraging support from Microsoft’s Mixed Reality Partner Programme and partnering with similar companies around the world, the business hopes to scale as the industry grows. Hurdles include recruiting talent and securing longer term partnerships with brands, beyond one-off marketing moments.

Comments, questions or feedback? Email us at feedback@voguebusiness.com.

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Inside Roblox’s metaverse opportunity

Fashion’s new opportunity to reach Gen Z is in the metaverse. Christina Wootton, VP of brand partnerships at Roblox, explains how brands can make the most of it.


The metaverse is increasingly becoming fashion’s go-to playground as people spend more time in virtual worlds. With opportunities to create and sell digital clothing to engaged audiences, many of them Gen Z, brands from Gucci to Vans are figuring out where they fit in. At Roblox, which now counts 46 million daily active users, it’s the job of Christina Wootton, vice president of brand partnerships, and her team to guide them.

“As brands think about how they come to the metaverse, they shouldn’t necessarily think of it in the same way as their mobile strategy or console games. It’s really: what is your metaverse strategy? How do you want people to engage with your brand and what is going to benefit them in the experience?” Wootton says. “People wanting to express themselves through fashion is a huge opportunity.”

Neil Rimer, partner at Index Ventures who led the company’s investment in Roblox, agrees that you really can’t think of Roblox as a game: “Or even a collection of games,” he says. “Given the number of people who have made Roblox a central part of their digital life, it’s only natural that fashion houses, lifestyle brands and all kinds of other businesses will see Roblox as a new way to connect with people and be part of their experiences.”

The Gucci Garden on Roblox in May showed off Roblox's new capabilities including more lifelike avatar figures and...

In Roblox’s virtual worlds, users update their avatars with new clothing, hair and accessories on a regular basis using digital items. Anyone can build and sell designs on the platform, and developers and creators will earn $500 million by selling user-generated content this year, according to the company. Brands have started playing a more proactive role: In the past year, Gucci and Vans have created entirely customised, branded worlds on Roblox, while Stella McCartney sold a collection of virtual items. Gucci’s two-week experience garnered approximately 20 million visits, and hundreds of thousands of Roblox users acquired multiple items, according to data supplied by Roblox.

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Roblox will be one of the metaverses, says metaverse consultant Cathy Hackl, who advises luxury brands as CEO at tech consultancy Futures Intelligence Group. “It offers a very strong glimpse of the bigger metaverse as an idea. I don’t think it’s the sole metaverse, but it is one of the leading platforms.”

Hackl works with several fashion brands, and many are considering Roblox, which she says allows luxury fashion to test the waters without having to create a new game or app. Brands have also worked with games such as Animal Crossing and virtual worlds including Zepeto.

Opportunities in the metaverse unlock access to and a relevance among younger customers, let brands test new designs including some that wouldn’t be possible in the real world and introduce a new revenue stream. Jumping in also comes with risks of alienating endemic users or missing the mark on what will sell, Wootton cautions. “Just because you are a popular brand and you have massive intellectual property, doesn’t mean it’s necessarily going to translate,” she says. “You have to really understand the community and take time to learn what’s already going on in the metaverse.”

Co-creation is key

Gucci’s May experiment in the world of Roblox demonstrated how virtual value translates to the real world. For two weeks, the brand sold limited-edition digital Gucci clothing and accessories for between approximately $1.50 and $11.25 in equivalent Robux. One bag, originally sold for about $5.50 on Roblox, resold for more than $4,000. People who purchased Gucci items within Roblox also wear them five hours longer throughout Roblox experiences than they wear other accessories, according to insight shared with Vogue Business.

Prior to the Gucci Garden, the brand experimented on Roblox with three outfits in October 2020 and created virtual goods for a December gift campaign. As Gucci EVP of brand and customer engagement Robert Triefus told Vogue Business, a willingness to test and learn is “fundamental”.

Working with designers familiar with the metaverse can also help brands translate items for the virtual world. Gucci created items in partnership with designers cSapphire and Rook Vanguard, who are Roblox creators who already have a popular following. Stella McCartney, meanwhile, partnered with community creator Samuel Jordan, who goes by “Builder Boy” on its virtual collection. Top-selling items were a tote bag, heart-shaped sunglasses and a puffer. “I would highly recommend that brands study the collaborative and community aspects of the metaverse,” says Vanguard, who is part of Roblox’s official creator programme. “There is incredible potential to create long-lasting impressions on users.”Most Popular

Many Gen Z users value virtual items more than physical goods, and they don’t want to be told what to wear, Wootton says. “They want to be a part of that process. We’ve seen designers on Roblox designing virtual fashion for years before everybody took notice. They’ve already been getting feedback on what resonates well. They’ve been having virtual fashion shows and coming up with their own trends.”

Gauge user interest

Vans partnered with Roblox on an experience earlier this month that includes skateparks, an interactive store where users can customise their own sneakers and a space to attend virtual concerts (pictured at top). The platform reached out to the brand years ago after finding through surveys that it was already popular among users. Vans ultimately took the plunge on its first metaverse experience after determining that Roblox’s user-generated content (UGC) approach was a good fit for the brand.

“Creativity is deeply rooted in everything that we do and UGC is really important to us, so when we started exploring what it would mean for us to enter the metaverse, we started to think about how individuals who express themselves creatively through gaming do that, and also to reach the individuals who feel like technology is their creative expression,” says Julia Patkowski, senior manager of global brand digital marketing at Vans. Roblox was a natural partner because it “was not just throwing tons of brands in there to be there, but really looking for authentic partnerships,” she adds.Most Popular

Vans also wanted to make an accessible experience to a range of users, so as they were building the experience, the brand invited various ages to test it out and provide real-time feedback, Patkowski says. “We wanted to make sure that it was something for everyone. If you are a competitive gamer, you can have all the fun you want in our quests and daily missions. If you’re just a social Roblox user, there’s lots of areas that are built in for just socialising with your friends. And if you’re still a solo player, it’s definitely built for that as well.”

Expand beyond IRL

In the Gucci Garden, avatars absorbed elements of the world around them as they explored various spaces. In both the Vans and Gucci experiences, visitors could buy items that weren’t sold in real life. For Gucci’s December 2020 gifts, it created items that previously would not have been able to exist.

“You don’t want to just replicate what’s going on in the real world,” Wootton says. “[With Gucci] we wanted people to feel like they were actually in the exhibition in Florence, Italy, whether you can go there or not. But we were able to do so much more, because you don’t have the limitations that you do in the real world — you had flowers growing on your head and the ceiling that opened up to show the sky.”

Native Roblox creator and developer Rook Vanguard created original designs before attracting the eye of Gucci. Vanguard...
Native Roblox creator and developer Rook Vanguard created original designs before attracting the eye of Gucci. Vanguard is now assembling a team of developers who can create experiences. ROOK VANGUARD

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Users might also be inclined to try on items and personas that they might not be willing to try in the physical world, which opens up another opportunity for brands to test trends or expand assortments. “If they want to wear an elaborate headpiece or gown, they will,” Wootton says. “People who are not comfortable, like, exploring Goth in real life would go and find a Goth community on Roblox, and it gives them a sense of self-expression.”

Hackl agrees it’s a space for experimentation. “Younger users are going to look to these luxury fashion brands to provide them with virtual clothing that looks awesome but also allows that digital virtual fashion to do things that can’t be done in the real world, and to them these experiences are real,” she says.

That doesn’t mean there would be no crossover, which bodes well for brands hoping to garner sales of physical items by creating brand affinity virtually. “Now we’re starting to see people seeing what trends are coming from the virtual space and then bringing that to the real world. That’s happening more and more,” Wootton says.

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More on this topic:

Inside Gucci and Roblox’s new virtual world

Are branded virtual worlds the new marketing terrain?

Inside Gucci’s gaming strategy

Referencess : https://www.voguebusiness.com/technology/inside-robloxs-metaverse-opportunity#intcid=_voguebusiness-uk-bottom-recirc_9b00d717-f2fc-42f6-b6bd-7ef5259af2d4_cral2-2

What is the fashion designer’s place in the metaverse?

Are you familiar with the term “metaverse”? It was first coined by the author Neal Stephenson in his 1992 science fiction novel Snow Crash, but according to Google Trends it reached its peak among internet searches in April 2021 and seems to be keeping a high score since then. But why is everyone in the fashion industry suddenly interested in the Metaverse?

Daniella Loftus, This Outfit Does Not Exist

Are you familiar with the term “metaverse”? It was first coined by the author Neal Stephenson in his 1992 science fiction novel Snow Crash, but according to Google Trends it reached its peak among internet searches in April 2021 and seems to be keeping a high score since then. But why is everyone in the fashion industry suddenly interested in the Metaverse?

Going beyond the obvious race for investment – Epic Games raised $1 Billion in funding last April to support its long-term vision for the Metaverse, which include many market opportunities for fashion brands – there are several unanswered questions about the topic. What will the metaverse mean for the fashion industry? And how will it impact fashion designers?

What is the metaverse?

“It is not gaming”, said Richard Hobbs from BNV, a marketplace for designers and brands to be present in multiple virtual environments. For Hobbs, “the metaverse is anything where a digital asset can be easily transferred across multiple use cases.” Not forgetting that it is open ended and still in its early stages of development.

Even though we already know the metaverse is not gaming, it is a fact that gaming is leading the way. An industry that, in 2020, was worth 152.1 billion dollars, and doesn’t seem to stop growing. Through gaming, people are getting to know the metaverse and making it part of their everyday life.

Fashion merges with gaming

Leslie Holden, co-founder of The Digital Fashion Group, believes in the potential of merging fashion and gaming as a career path for young designers: “In the UK alone there are around 5000 fashion design graduates each year, with limited opportunities for employment. I see the metaverse as opening up new marketplaces, new opportunities, and new occupations for creatives in fashion. We are desperately needing to ensure that there is less waste of fashion talent and the metaverse can supply the answer to a lack of opportunity in the traditional fashion industry “

And Holden continues, “the technology we’re using today to create the metaverse has been developed by the gaming industry, which means that the tools weren’t developed for fashion, and like the development of the metaverse itself, we do need to ensure a joined up approach. Epic Games knows this and they are already investing in fashion, and I see the metaverse as the beginning of a new definition of fashion with purpose, potentially powered by new partners. It can be a fantastic opportunity for fashion designers.”

When it comes to fashion in the metaverse, we are talking about wearability. And as explained by Richard Hobbs, currently if you buy an asset in one metaverse you can not wear it in another, because there is not a single metaverse. There are different metaverses being built by different initiatives. Some of them are owned by companies, some of them are more in the decentralised area. But both have multiple standards, multiple formats and require a single way where you can own something digitally and be able to utilise that. The current emergence of decentralised autonomous organisations facilitate the concept of NFTs and digital asset ownership. And this opened up business opportunities to fashion brands and designers as well.

Fashion designers in the metaverse

Daniella Loftus, from This Outfit Does Not Exist, a platform for digital fashion, believes that designers have a key role at the centre of this new universe: “I see the digital designer’s place as ensuring that we are immersed in the digital world”, said Loftus.

Loftus defines digital fashion in three distinct forms: the first is phygital, digital fashion designed for the aim of producing physical garments. The second form is physical and digital combined, which is digital fashion that can be worn using augmented or virtual reality. And the third is fully digital, which is digital fashion that is sold directly to an avatar. The metaverse is concerned with the last two forms: physical and digital combined, and digital-only.

“If you look at the way we consider fashion in the physical world, it allows us to shape our perceptions of ourselves when we are wearing garments, but also to shape others’ perceptions of us. As we move to the metaverse, you have those functionalities really enhanced. It does not only ensure that you feel a certain way about yourself, or others feel a certain way about you. It is immersing you in that virtual environment and defining the rules of interaction within that environment,” continued Daniella Loftus. In this scenario, designers have a unique place in guiding us to express ourselves, and allowing us to participate in worlds that otherwise would be unfamiliar.

And what skills should designers develop to be this guide for the metaverse? According to Sean Chiles, co-founder of The Digital Fashion Group, “in addition to the digital mindset, fashion designers have to be able to translate the emotions that arise when researching the zeitgeist, and working with physical elements such as fabrics, technical trimmings, etc. This is the connection to the physical. Learning to work with it and blend the real with the unreal, is the primary skill I think that fashion designers need to know how to transition into a new digital reality for the future.”

For Chiles, the new techniques required for digital fashion and 3D design are very similar to bespoke tailoring or couture design where you create an outfit for one customer. “Digitally you can create so many different iterations of a unique asset that there’s going to be a flood of creative output, a flood of creative NFT’s, that can only exist within the metaverse,” he said. This creates a different kind of pressure for the designer, as he concludes, “in the sense of the metaverse and digital fashion design, mastering AI is going to be really interesting as AI can help alleviate this issue.”

Advancements in technologies such as artificial intelligence, and the increased ability of cloud servers to run 3D applications and rapidly render the files created, are all contributing to the expansion of the metaverse. But as Richard Hobbs points out this is open ended and in its early stages.

While the technology is still developing, we can seize the opportunity to consider the best ways to create the right mindset for this new future, understanding the metaverse as a borderless landscape where we can discover new forms of social interaction.

You can get a sneak peak of video here:

By Guest Contributor 5 Sept 2021

This article is a collaboration between The Digital Fashion Group Academy and FashionUnited and it was based on the Webinar “Fashion Design Meets the Metaverse”, hosted by TDFGA in partnership with Parsons N Ventures. Author: Lívia Pinent, Digital Professor for Research at The Digital Fashion Group Academy.

Searches More : https://fashionunited.uk/news/fashion/what-is-the-fashion-designer-s-place-in-the-metaverse/2021090557513

The Future Design Series: Fashion, Innovation and Technology

As the world consumes its way to an environmental apocalypse, it has become obvious that humankind will have to reassess the way it uses its resources. One way we have come to cope with this challenge is through innovations and sustainable design.

The intention of sustainable design is to “eliminate negative environmental impact completely through skillful, sensitive design”.

Manifestations of sustainable design require renewable resources, impact the environment minimally, and connect people with the natural environment.

Over the coming months we will be examining some of these design developments aimed at building a sustainable future. Some of these are already in the market; others are still no more than ideas and prototypes. Whatever stage they are in, what they offer is hope. 

Future Design: Fashion Edition

According to the United Nations, the fashion industry is responsible for 10% of global greenhouse emissions. That is twice more than the aviation industry. Every second, the equivalent of one garbage truck of textiles is landfilled or burned. Even without the aid of these statistics, it’s easy for us to see just how unsustainable fashion currently is.  

Fashion’s unsustainability runs from end-to-end. For instance, It takes roughly 20,000 litres of water to produce just one kilogram of cotton, equivalent to one t-shirt and a pair of jeans. So that by the time the end-consumer buys it, enormous amounts of water and power have already been used and wasted, and in the case of synthetic fabrics, microplastics are released into the ocean. 

A viable solution here is design. Fueled by a vision of a sustainable future and advancements in technology, fashion houses and startups have taken up the challenge of designing a more sustainable future for the fashion industry. In my estimation, this involves the fundamental overhauling of fashion and its supply chain. It also means redefining our traditional values as they relate to clothes because what we believe our clothes should be made of and who we imagine ought to make them all depends on our perception.

In this first edition of #FUTUREDESIGN, we look at the design breakthroughs that hold the key to fashion’s sustainable future.





Some of our favourite fashion innovations from recent months, focusing on marketing, emerging technologies and design

We’re in the midst of the fall Fashion Week season. Besides showcasing the latest fashion trends and designs, these events also feature some of the industry’s most exciting innovations, such as Superpersonal’s virtual fitting app, which was showcased during London Fashion Week in February. 

We thought this would be a good time to resurface some of our favourite fashion innovations from the last several months. Having recently shared 10 of our top innovations in sustainable clothing, the following innovations focus on the industry in a broader sense — including breakthroughs in marketing, emerging technologies and design.


15 innovations changing the fashion world

From biodegradable glitter to fabrics made from seaweed or orange fibres – these are the next generation of fashion innovators. Algiknit, BioGlitz, circular.fashion, FLOCUS, Frumat, Good on You, Mango Materials, Nano Textile, Orange Fibre, PAPTIC, PlanetCare, Provenance, Reverse Resources, Scalable Garment Technologies and Style Lend are brands working hard to transform the fashion industry for good.


Fifteen selected start-ups are offering a better future to the fashion industry. That is why they are actually being supported by the Fashion for Good-Plug and Play Accelerator through partners like Adidas, C&A, Galeries Lafayette, Kering, Target and Zalando.

Algiknit, BioGlitz, circular.fashion, FLOCUS, Frumat, Good on You, Mango Materials, Nano Textile, Orange Fibre, PAPTIC, PlanetCare, Provenance, Reverse Resources, Scalable Garment Technologies and Style Lend represent varied supply chain areas -from alternative raw materials to new business models-. But, who are them? What kind of innovations are they offering?

A better future for fashion


A History of Fashion’s Obsession with the Space Age, From Courrèges to Chanel

Isaac Newton were alive today, he might have come up with a fourth law of motion just to deal with fashion trends, which seem to defy all existing rules by moving forwards and backwards at the same time. Fashion is supposed to take us into the future, but wait long enough and yesterday’s trends will come back eventually, some returning faster than others.

In 2017, for example, we’re seeing the return of Paco Rabanne’s signature metallic chain-metal dresses, which first walked the runways in the 1960s, and were “in” again in the early-aughts during Paris Hilton’s heyday. Now, they can be found in Paris nightclubs on twentysomethings like Bella Hadid. To boot, white go-go boots are back as well—a trend that similarly took off in the ’60s along with Space Age style, starting with André Courrèges and was later recycled during the Studio 54 era. Now, they’re back with the help of brands like Balenciaga. (And Hadid too, of course.)

As with the constellations, drawing lines between reoccurring trends can help make sense of where we come from, how we ended up here, and where we might be headed. And fittingly, all roads lead to outer space at the moment, from Chanel’s rocket launch on the runway to Christopher Kane’s cosmic prints.

MORE https://www.wmagazine.com/story/space-age-style-history-courreges

Aliens Have Officially Landed on Earth, and They Just Walked Two Paris Fashion Week Runways

I have seen a lot of wild things making their runway debuts, but extra-terrestrials? That’s, like, next-level strange. Sure, we all witness some absurd styles during fashion week—during couture week, especially—but I honestly don’t think I can say I’ve seen anything quite like this Paris Fashion Week alien trend. Have aliens arrived on Earth, or is it just a coincidence that two different designers decided to incorporate alien-chic into their runway shows on the same day? I don’t know if we’re all just living in the Twilight Zone or what, but something is going on in Paris right now, and I’m not sure if I really want to know the truth.

shutterstock 10120552e Aliens Have Officially Landed on Earth, and They Just Walked Two Paris Fashion Week Runways

Manish Arora, Fall/Winter 2019

Whether or not aliens have invaded Earth—and frankly, I’d prefer to stay in the dark on this one—they certainly have invaded the Paris Fashion Week runways. On Thursday, not one, but two shows featured alien-inspired looks. Both Manish Arora and Rick Owens have done some weird things with their collections before. Arora’s spring/summer 2019 collection was wild, but there were no aliens. Rick Owens always manages to somehow make his models look like stylish cavemen or modern art projects, but, once again, no aliens in sight. However, both of these designers used alien-chic looks in their runway shows for Fall/Winter 2019. I truly hope Manish Arora and Rick Owens just happened to both have similar visions for their collections, and we’re not really all about to scroll through photos of real aliens. TBH, I don’t know what to think anymore.

shutterstock 10120564u Aliens Have Officially Landed on Earth, and They Just Walked Two Paris Fashion Week Runways

Rick Owens, Fall/Winter 2019

MORE https://stylecaster.com/aliens-paris-fashion-week/#slide-2

The Evolution of Space Age Fashion

On July 20, 1969, NASA astronauts Neil Armstrong, Edwin “Buzz” Aldrin, and Michael Collins successfully completed the Apollo 11 mission which culminated in Armstrong taking that fateful space walk on the moon’s surface, telling those listening, “That’s one small step for man, one giant leap for mankind.”

Armstrong’s legendary accomplishment is chronicled in Damian Chazelle’s latest film, First Man (opening today), which the Hollywood Reporter has called a, “sober, contemplative picture [with] emotional involvement, visceral tension, and yes, even suspense, in addition to stunning technical craft.”

Although the six American flags which have been left on the moon since Apollo 11 have been confirmed to have turned white due to alternating days of searing sunlight and 100° heat and days of numbing-cold -150°, there’s no mistaking the technicolor impact that the mission had on various facets of industries.

Since the days of the space race, designers like like André Courrèges, Paco Rabanne, and Pierre Cardin, have attempted to sartorially predict what the future held for society – whether forecasting the daily uniforms for the masses — or more esoteric fare for those on the fringes as drastic changes occur in society.

Dubbed “space age” in their terse assessment by fashion critics, these looks have permeated couture houses in as futuristic silhouettes, and have been more overt homages to NASA by contemporary designers.

Here’s a look at some of the space age fashion over the years

MORE  https://www.highsnobiety.com/p/evolution-space-aged-fashion/