THE MATERIAL AGE Part…

Fashioned from Nature is an exhibition at London’s Victoria & Albert Museum that explores the complex relationship between fashion and nature from 1600 to the present day. It presents fashionable dress alongside natural history specimens, innovative new fabrics and dyeing processes, inviting visitors to think about the materials of fashion and the sources of their clothes. (Continues…)

Part 4 of The Material Age series is a guest post by Omuus.

Bio Design or Synthetic biology, also called bio-engineering, is an expanding market. It is expected to exceed $13.4 billion by 2019. This field is increasingly relevant to designers and everyone working in the field of design today should at least be aware of what it is. (Continues…)

Part 3 of The Material Age series is all about slime. This still growing trend is attracting both children and kidults. (Continues…)

We know that our current way of consuming is not going to make it in the long term if we want to keep this planet alive. Thankfully, many of today’s designers are exploring new ways to innovate more sustainable materials for future products. (Continues…)

The basis for the future of design lies in material innovations. In this series of articles we explore just a few of the many ideas that the Around Team feels could make a difference and change the way we think about the materials that surround us. (Continues…)

In celebration of the 50th birthday of the iconic Tasaraita collection, art historian Anna Parviainen retraces the different phases of Marimekko’s unisex fashion and the recent history of an aesthetic freely titled Nordic unisex. (Continues…)

How does a person defend the particularity of one’s identity in a digitalized world? Hyperculture is the result of endless mixing of origins and ideas on the web. Hannaleena Heiska’s exhibition Camouflage touches not only the current theme of an individual’s right to privacy, but also the actual fluidity of identity. ”About a year ago I bumped into an article about an anti-facial recognition algorithm to conceal people’s identities with the help of make-up. The idea of hiding one’s true identity or even creating temporary one started to fascinate me.” (Continues…)

“At the moment, I’m interested in the idea of emptiness in the painting. At its best, when I feel that I have succeeded with a work, I have been able to make the painting complete in a way that it becomes empty: none of the elements in the work stick out or annoy the viewer. Everything lives together – form and color speak to each other in harmony, creating something that strikes a balance between substance and emptiness.” (Continues…)

The revolution of technology is transforming the aesthetic encounters that we make in our everyday life. ‘Immersiveness’ has during the past few years become a popular term also in the contemporary artworld with the success of digital art exhibitions, multi-sensory spectacles and other visual experiences. Is it becoming more common to be with art instead of viewing art? (Continues…)

Jonna Kina’s work lies at the junction of sound and art. Viewing Kina’s art objects requires you to make connections, to find the thread that runs through the visual and aural ideas she presents. In Somnivm, she removes the human element from the images of the marble quarries at Carrara, allowing the viewer to discern what has caused the beautiful destruction of the landscapes. Here, the sound adds to the emptiness in the landscapes by filling it with the natural, authentic sounds recorded at the quarries. (Continues…)