{"id":26230,"date":"2015-09-14T15:41:53","date_gmt":"2015-09-14T14:41:53","guid":{"rendered":"http:\/\/centmagazine.co.uk\/?p=26230"},"modified":"2015-09-14T16:12:40","modified_gmt":"2015-09-14T15:12:40","slug":"digital-disturbances","status":"publish","type":"post","link":"https:\/\/staging.centmagazine.co.uk\/?p=26230","title":{"rendered":"Digital Disturbances"},"content":{"rendered":"

As they open their doors again for the autumn term, the London College of Fashion<\/a> welcomes a new exhibition at Fashion Space Gallery. Opening on the 11th of September, Digital Disturbances explores the \u2018The New Aesthetic\u2019 in fashion, a term coined by James Bridle<\/a> in 2011 to describe the increasing influence of the visual language of digital technology and the Internet.<\/p>\n

\"FloraMiranda_photographer-G\u00f4KAY-CATAK-digital-artwork-JOACHIM-BEENS3\"<\/a><\/p>\n

\u00a0As we enter \u2018the Digital Age\u2019, technology has had a profound effect across almost every type of industry, and it continues to advance to the point where its scope is really limitless.<\/p>\n

\u00a0The fashion industry is a prime example: from digital prints to wearable tech, brands are integrating these modern tools into every business and creative process as a way to connect across all areas and innovate to create something new.<\/p>\n

\"Anrealage_WideShortSlimLong_AW<\/a><\/p>\n

\u00a0However, digital is still a path relatively untraveled and its influence and usage is still in need of critical assessment and definition. This is the core concept that Leanne Wierzba sought to develop when curating Digital Disturbances.<\/p>\n

\u00a0The exhibition explores how designers today are examining their capacity to integrate digital techniques into their creative practices, and at what cost in doing so. It provides a showcase for seven designers and creative teams who are using technology disruptively, who are working against conventional understanding.<\/p>\n

\u00a0The biggest challenge for Wierzba was \u201ccarving out a space to discuss things that aren\u2019t immediately obvious or tangible. Whenever I mentioned working on an exhibition on digital fashion, most people had a preconceived idea on what it would include\u2026 but my approach to the exhibition is a bit unexpected, and full of challenging ideas\u201d.<\/p>\n

Wierzba is definitely right in saying that Digital Disturbances is not what you\u2019d expect; the sheer breath of artistic mediums that have been used to bridge the gap physical and virtual is both captivating and thought-provoking.<\/p>\n

\u00a0\"TigranAvetisyan_SS15Collection_PhotographyFelix<\/a><\/p>\n

Ripple, an interactive film installation by Postmatter uses an interactive film to simulate a virtual experience of touch, whilst Shirts from Simone C. Niquille<\/a>\u2019s REALFACE Glamouflage collection raises questions about the impact of facial recognition technology and surveillance on personal privacy and both Echo by Bart Hess and ANREALAGE\u2019s wideshortslimlong deal directly with how aesthetic and physical properties can be manipulated using digital software. These are just a few examples of the type of installations you will see get to see at the exhibition, which is also going to be accompanied by an series of talks, workshops and masterclasses.<\/p>\n

\u00a0With Digital Disturbances, Wierzba invites audiences to \u201cbroaden their digital imagination and consider how digital impacts the way we engage with ourselves and our surroundings as it becomes increasingly immersed into our lives\u201d.<\/p>\n

\u00a0The end of the exhibition merely brings you to the beginning of a conversation: the now, near and future of fashion technology.<\/p>\n

For all Information, check out http:\/\/www.fashionspacegallery.com\/exhibition\/digital-disturbances\/<\/p>\n

Written by Alana Kennedy, studying<\/b><\/span>\u00a0<\/span><\/b><\/span>International Fashion Management at London College of Fashion, UAL<\/span><\/b><\/p>\n

 <\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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