Sometimes the online world reveals unsuspected parallel dimensions. This is an unknown restyle of Neural independently (and secretly as we never knew about it) made by NY-based Motion and Graphic Designer, Clarke Blackham. Very nicely made, perhaps only a bit glossier for the magazine’s line, it testifies once more how even your most familiar outcomes can have another life somewhere else.
During a period of time thought to be between two and six million years man has slowly lost the long, thick fur that covered his body. As protection against the elements and indecency we have dressed ourselves in a variety of materials over the centuries, from animal skins to fabrics, creating before unconsciously and then maniacally, an artistic and business empire called “fashion”. Although for the early hominids clothing was closely related to survival, at a certain point in human development it became of great social importance, almost a currency in its own right and one of the defining features of different eras. Caress of the Gaze, a work created through valuable research undertaken by architect and designer Behnaz Farahi, enters the already thriving debates surrounding 3D printing, interfaces and wearable technology. Thanks to the study and application of actuators in shape-memory alloy (SMA) and an expert use of 3D printing, the Iranian Farahi “dresses” her model with artificial feathers, perhaps with spines or scales, of a second sensing skin, that imitates goose bumps and is able to react to the gaze of others with a movement as realistic as it is fascinating. Like a new mating ritual, Caress of the Gaze breathes, intercepts, moves and also sees things that the wearer doesn’t see. A third eye, in addition to that second skin. Are we seeing the fur of the future? Benedetta Sabatini
Caress of the Gaze