Pictures and videos exhibited at Everything and Everybody as materials 2017. 

The work exemplifies how the body can extend into materiality and through this it questions the borders of the body not only in form, which is usually the case in fashion design, but also in movement qualities as temporal form. Further it high lightens the importance of awareness of movement qualities in materials of dress as they express the form.

The body is extended by its angular structure into the geometric form. 3 examples of the work was displayed. In its simplest form as lines connected with elastics, then the structure dressed in fabric and one where the structure is extended as squares. 

This article discusses a practical exploration of the ability of a textile to meet with and affect bodies. It builds on the inherent ability of textiles, particularly in the form of a garment, to evoke movements and emotions. This paper suggests a shift in focus of the design of bodily materiality, towards an expression emerging from interactions connecting materiality and performativity. The findings are the result of 2.5 years of exploration, during which four performances, ten workshops, and four exhibitions were performed. The entwined parameters of expressing and informing are applied as a material choreographic thinking, which in this case results in a material choreography of openness, where expressing and informing are essential as entwined design parameters in the design of body-material interactions. The material choreography is developed as a method for addressing somatic experience, with improvements in terms of wellbeing and presence as aesthetic goals, focusing on reducing movements and emotions relating to stress for people suffering from chronic fatigue syndrome.

In response to digital technology, new methods, thinking and aesthetics have emerged that challenge the way we design. In particular, the extraction of movement introduced by motion-capture technology proposes a design process wherein the motion rather than the form is used as a material. In such a process, the motion is extracted from a defined set of points that creates a digital representation. In this exposition, the strategies utilized when capturing a motion is translated into the process of garment making resulting in other bodily aesthetics through dress. 

Practically, this exposition is based on two independent studies that aim to define parameters for transformations of the moving body’s expression applied to a garment making process. The transformation is approached from two different perspectives; the first study is non-material and borrows theory and references from the field of dance and motion capturing technology. It maps the body as a point-based system based on the body as a moving form and pin-points body functions that affect these points. This part serves as a foundation for the second study that adds material aspects to the work, in particular, by mapping material parameters that relate to how the material is arranged in relation to these points. 

In conclusion, strategies of extraction of movement as the attachments and the scale of fragmentation of materials are considered as the main contribution to the garment making process. As it proposes a new usage of movement, the work has implications for fashion design, costume design and other body movement-based practices.

Through this abstract, STM16:9fft_VR, a pilot for a VR film is discussed and presented. The project is developed through a collaboration between Nicole Neidert, choreographer, Joakim Envik Karlsson, film photographer, and Linnea Bågander costume designer. The pilot is part ofNarrative VR Lab, a project initiated and funded by Visual Arena, Region of Halland, Gothenburg city and Gothenburg Film Studios and supervised by Visual Arena.

When entering into a new set of tools we started to, not only explore them physically but also by its definition. We asked ourselves what virtual is and found intriguing definition such as; “almost a particular thing or quality”, “very close to being something without actuallybeing it” or; “not physically existing as such but made by software to appear to do so.” (Merriam-Webster, 2019). The technical tools suggest this ‘almostness’ and we started to explore how to implement it in the process of developing a narrative. Parallels to surrealismcame naturally and when finding the definition of surrealisms narration as “means of unnatural or irrational juxtapositions and combinations” (Merriam-Webster, 2019) it became obvious how to not only work with the technical tools but also to explore the narrative, through a meeting between a natural context and an artificial figure. Methodologically we used the experience of working with a stage-based and site-specificworks to develop a narrative-driven by visual means mainly. The narrative was an interaction between dance, costume and visual situation. A dialogue between materials and bodies, mainly using movements of bodies and directions formed by the natural environment to drive the narrative. In the presentation, the possibilities and limitations to situate, distort and the experience of the reality of both virtual reality and the reality of site-specific and stage based performing arts will be discussed and compared.