THE FUTURE OF FASHION IS HELL

Situated in Charlottenburg, at event space Nest3, Berlin-based designer Marlon Ferry showcased his debut runway show, Artifacts of Uncertain Transformation, at this latest Berlin Fashion Week. It was the perfect venue to showcase this collection; a cold, industrial space with exposed concrete ceilings and blinding white artificial lights. The eeriness of the environment was intensified by a smoky haze that clouded the room. A dark, minimal ambient soundtrack began and silenced the space as the audience patiently waited for the show to start. After what felt like an eternity, the first model slowly made their way down the winding runway, in a look that completely captivated the room. 

Neena Bui for EXIT Magazine © 2024 

The opening look was something straight from hell. But in a good way. The model was covered head-to-toe (face and all) in a deep red lycra body-forming gown, with large devilish horns that protruded upward off the shoulders. The next looks followed this minimal gown style, and eventually brought the introduction of Marlon's signature sculpture pieces, which can only be described as alien armor wrapping around the body. They are intricate, undulating shapes, symmetrical and glossy, with sharp points poking out in every which way. One would easily feel threatened by their intimidating presence.

The collection was further enhanced with glossy vegan leather, plush faux fur, and padded chest and shoulder appliques. Accessories were used sparingly but as statement pieces. Like the 3D printed, spiked cage headpiece, reminiscent of a medieval torture device. Or the sculptural bag with spine-like tubes curving around it. The final look was the peak rendition of this wearable sculpture; a red, shiny, exoskeleton, which engulfed the model in a frozen image of flames.

The process of Marlon's craft is what I find most intriguing. His sculptures best showcase his technical innovation, utilizing AI, 3D printing, and handcrafted techniques to develop these complex designs. Programming tools are utilized to create these cryptic forms that mold around the body. It's almost as if he holds the algorithm on a leash; giving it the freedom to play and contort as it pleases, but reins greater control over it the whole time.

The materials used in Marlon's work are intentional as well. The sculptural pieces are made from recycled PETG from fashion industry waste. It's all a bit meta; making futuristic fashion out of the garbage generated from fashion's past. And making real, tangible objects from things generated by a computer. (But humans made the computer… so maybe it's all handmade?)

In the end, humans decide the final outcome, but it raises questions of AI's controversial role in the future of design. How much is acceptable to use in your work before it's not your work anymore? And is a future with the co-existence of natural and artificial processes possible? Marlon's work shows that maybe it can be. He seems to have mastered a balance between the two in his process and the final products reflect this as well. The objects he creates are so alien and otherworldly, but they still serve to decorate the natural form that is the human body.

The future is scary, unknown, maybe even a bit hellish. The pace of technological advancements nowadays feels so extreme, and the advancements themselves feel limitless. We're still in the early stages of exploring what we can use them for, or if we should even use them at all. It's a fine line we're walking; trying not to erase the need for our own existence while also utilizing the tools that can expand our creativity and make our existence easier. Artifacts of Uncertain Transformation is this. Maybe it all is hell. But maybe hell can be more exciting than we think.