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Throughout my design development I incorporated feathers. Although I knew I didn’t want to use feathers in my final outcome as I find feathers can come across more costume-like. So I decided that the closest fabric manipulation to use is fraying as it gives a feathery feel and look.

I want to focus on sustainability for my garment construction so fraying is the perfect option as I can use everyone in the studios scrap fabrics to reduce waste and fray and layer them.

This was a breakthrough as I plan to use fraying in my final piece.
*Now that I have completed my final outcome here is an image of the frayed layers of scrap fabrics. I put into lines to link to my linear art development which alludes movement.

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I created this digital art piece to show as a world some of our unfortunate realities; black lives matter, women’s inequality and covid-19. It shows how despite all of these unfortunate realities we still manage to smile, even if it’s to mask the suffering.

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this image is a breakthrough as it shows people celebrating being
liberated from an oppression. This links to my project as my project focuses around the euphoric vision of a world with no oppression, with everyone feeling liberated.

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this image is a breakthrough as it shows a protest poster saying power to the people. Part of my concept is the power people have to make the world a better place.

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Attach image and explain/reflect: This image is a breakthrough as it shows one of my main design inspirations for this project – issey miyake’s collections. The concept behind the presentation of the collection at fashion week was an ode to female joy. As part of my concept is violence against women this was also a breakthrough as it links to mine. The garments Miyake creates have a vision of movement and he also creates movement by making the models actually dance. This has given me ideas for the presentation of my final collection and how to demonstrate the concept behind it.

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Fashion can be a lot of things, including fun. But while it's common for fashion shows to feature quirky designs-think Moschino, for instance, whose whole aesthetic is based on irreverence and eccentricity-seeing the models themselves having a good time is unusual.

Despite the progress made by the fashion world in embracing women of more common shapes, sizes, and behavior, the vast majority of fashion presentations still feature women exercising their best posture while strutting down the catwalk.

Well, not at Issey Miyake's latest Paris Fashion Week presentation yesterday. The brand's new lead designer, Satoshi Kondo, displayed his collection through a combination of choreography and plain old jumping around, as well as skate-boarding, running, and skipping. His colorful items are made for moving, in that movement maximizes, rather than messes up, their lines and shapes.

Issey Miyake's latest Paris Fashion Week presentation.

The outfits descended from the ceiling right onto models who waited with their arms stretched up-like kids being dressed by an invisible, giant adult. Dancers, acrobats, and even musicians punctuated the event, which has already been called by some the show of the season.

Issey Miyake, Spring/Summer 2020.

The models and artists jumping in the brightly colored clothes were an explosion of pure joy. The scene conveyed a quintessential love of color and geometry, and the sole purpose seemed to be that the women wearing those outfits have fun, together, for the sake of it. Models and artists alike seemed completely captured by the lines and shapes their clothes could create-by the way they would stretch in the air, expand into unpredictable volumes, or just bounce perfectly, each layer to its own rhythm.

An outfit descends from the ceiling to dress one of the models.

"I wanted to express joy through fashion. So I mixed different emotions-happiness, pleasure, a modern sensibility-combining different materials, Japanese tradition, and innovative techniques," explained Kondo.

It was an ode to the kind of design the Japanese fashion house is known for, and to the contagious nature of female joy. One of the people in the audience referred to the models as "the sisterhood," and it's hard not to see them as a large group of sisters showing how gorgeous it is to have fun-just as it must be hard, for anyone watching, to resist joining in.

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Issey Miyake's latest fashion show is an ode to the beauty of female joy

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Fashion can be a lot of things, including fun. But while it's common for fashion shows to feature quirky designs-think Moschino, for instance, whose whole aesthetic is based on irreverence and eccentricity-seeing the models themselves having a good time is unusual.

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This article showing the colour chart for coronavirus was very helpful when I was choosing my projects colour palette as I knew I wanted my colour palette to my concept, which coronavirus is part of. It has given me some colours to work with as long as they compliment my other colours.

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Phantome Palette: a brand new colour chart for the post-coronavirus world

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EXCLUSIVE : COVID-19 has changed the way we view the world, and in this lens, lies a fresh life for colour. Meher Varma and Harshyla Singh chart the new shades and meanings being born.

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The definition of social movement helped me to focus on specific recent social movements so that my concept had more substance. I have now chosen to focus my concept around; BLM and VIOLENCE AGAINST WOMEN.

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Neil J. Smelser | See All Contributors | View Edit History

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social movement | Definition, Types, Theories, & Facts

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Social movement, a loosely organized but sustained campaign in support of a social goal, typically either the implementation or the prevention of a change in society’s structure or values. Although social movements differ in size, they are all essentially collective.

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Chapter 21. Social Movements and Social Change – Introduction to Sociology – 1st Canadian Edition

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Note: The second edition of this book was published in October 2016. You can find it here: Introduction to Sociology - 2nd Canadian Edition.

Introduction to Sociology adheres to the scope and sequence of a typical introductory sociology course. In addition to comprehensive coverage of core concepts, foundational scholars, and emerging theories, we have incorporated section reviews with engaging questions, discussions that help students apply the sociological imagination, and features that draw learners into the discipline in meaningful ways. Although this text can be modified and reorganized to suit your needs, the standard version is organized so that topics are introduced conceptually, with relevant, everyday experiences.

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Similarly to the article on the definition of social movements, this article helped me to choose the two social movements; BLM and VIOLENCE AGAINST WOMEN. As a black female and being a part of both movements. I see that the black race and female gender have had to fight hard to be equal to their counterparts and up to know still aren’t fully equal.

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One of the human species' most admirable abilities is the capacity to drive social change. Throughout history, movements that promote change have been driven by passionate leaders. Whether it was women's suffrage, the civil rights movement, the gay rights movement, or resistance against apartheid, strength and dedication marked the efforts of these leaders.

Women's Right to Vote

Brit Emmeline Pankhurst founded the Women's Franchise League in England in 1889. The League organized many demonstrations, as well as more extreme measure such as hunger strikes, in protest of the British government's failure to give women the right to vote. Emmeline was arrested several times and went on hunger strike which resulted in violent force-feeding. British women legally gained the right to vote on July 2nd, 1928, as a result of her efforts.

Emmeline's legacy can be seen in the 1964 musical film Mary Poppins in the song "Sister Suffragette."

Susan B. Anthony joined the American women's suffrage movement in 1852. Anthony traveled throughout the United States in spite of opposition and abuse, lecturing and canvassing for the vote. She also campaigned for the right for women to own their own property and retain their earnings, and advocated for women's labor organizations. She was commemorated on the U.S. dollar coin. Anthony's efforts resulted in women getting the right to vote on August 18, 1920.

Civil Rights Movement

Perhaps the most famous civil rights activist in the U.S. is Dr. Martin Luther King, Jr., who led a nonviolent movement for change in the 1950s and early 1960s. He advocated for protests, grassroots organizing, and civil disobedience in place of violent activism. He is best known for his "I Have A Dream" speech, which took place at the Lincoln Memorial on August 28, 1963. In 1964, at age 35, Martin Luther King, Jr. became the youngest person to win the Nobel Peace Prize (at the time). King was assassinated on April 4, 1968.

Malcolm X was a devout Muslim after converting while serving time in prison. Upon release, he became was a proponent of black rights. After making a pilgrimage to Mecca, Malcolm X became an advocate for integration. He preached to all races about equality. He is well known for his charisma and oratory skills, which helped him galvanize the public into joining the civil rights movement. Members of the Nation of Islam, which he had left for moral reasons, assassinated Malcolm X on February 21, 1965.

LGBT Rights Movement

This movement is far from a thing of the past; however, its history is rich and worth taking a look at.

Brenda Howard is known as the "Mother of Pride." A bisexual and polyamorous woman from New York City, Brenda organized the first Pride parade in 1970 and popularized the use of the word "pride" in LGBT circles. The 1970 Pride march marked the one-year anniversary of the Stonewall riots. Howard lobbied successfully for gay rights in New York City and chaired the Gay Activists Alliance.

Harvey Milk was the first openly gay person elected to public office. When Milk began planning a run for city supervisor, he sought the support of the gay political sphere but was met with a cold rejection. However, he built up support among members of the LGBT community who felt that political representation had taken too soft of a stance and were tired of the harassment and discrimination they often faced. Milk's oratory and media skills brought him a lot of press attention in 1973, and although he lost the election that year, he came in 10th out of 32 candidates. Milk was finally elected supervisor in 1977 and made headlines as the first openly gay non-incumbent man to hold elected office.

Internal Resistance Against Apartheid

Also called Madiba, Nelson Mandela is revered in South Africa for his resistance against the apartheid state. Mandela was originally imprisoned for leaving the country without a permit and inciting people to strike. He was further convicted of four counts of sabotage and conspiracy to overthrow the government and was given a life sentence. He ultimately served 27 years. His " Speech from the Dock ", which he gave while facing the death penalty on April 20, 1964, reads, "I have fought against white domination, and I have fought against black domination. I have cherished the ideal of a democratic and free society in which all persons live together in harmony and with equal opportunities. It is an ideal which I hope to live for and to achieve. But if needs be, it is an ideal for which I am prepared to die." Mandela was voted South Africa's first democratically elected president on May 10, 1994.

In 1978, in his position as general secretary of the South African Council of Churches, Desmond Tutu began to speak out about the injustices of apartheid. The South African government persecuted him and denied him a passport. After 18 months without a passport, the government granted him a limited travel document. Tutu traveled to the United States and educated Americans about the apartheid state. In 1984, Tutu received the Nobel Peace Prize for his untiring efforts. Tutu was elevated to the position of Archbishop of Cape Town and became a principal mediator in the transition to democracy. He urged for civil disobedience as well as foreign divestment from the apartheid government. Post-apartheid, President Mandela asked Tutu to chair the Truth and Reconciliation Council, which was set up to bear witness to, record, and sometimes grant amnesty to the perpetrators of human rights abuses.

The Environmental Movement

The environmental movement began in the 1950s with concern over water and air safety, as well as nuclear non-proliferation. After an oil spill in Santa Barbara in 1969, the U.S. government passed the National Environmental Policy Act in 1970. In the same year, the Environmental Protection Agency was created and the first Earth Day took place. In the 46 years since, environmental agencies have lobbied for bills that protect the ecosystems and keep species from becoming extinct. Sustainability has become more and more relevant as the effects of climate change have begun to reveal themselves. This movement is global and extremely pertinent to the future of our planet.

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Social Movements-and Their Leaders-That Changed Our World

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Meet the strong and dedicated leaders behind some of the social movements that have most changed our world.

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This image shows the print designs created by issey miyake in his fashion week collection, these prints allude movement and have a bright colour palette. As I plan to create print designs that allude movement this piece of research is very useful in clearly showing prints that do so.

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Issey Miyake, SS13, Paris. In the Spring-Summer 2013 collection for Issey Miyake, Yoshiyuki Miyamae used vibrant colour, bold graphic lines and incredible disintegrating pleating to fill the sculptural clothing with movement. -->There was a clever visual

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Fashion and Furniture transformative movement

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Fashion and Furniture transformative movement

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A woman enters a white room, advances slowly toward a round wooden coffee table, removes its central part and steps into the mahogany piece of furniture, before pulling it up and fixing it to her waist. She then walks around wearing the morphed, telescopic table skirt, to loud clapping and cheers from the audience in front of her.

What might sound like a magic trick was instead the finale of a fashion show that still resonates today. When Hussein Chalayan presented his fall 2000 "After Words" collection, he added a new page to the big book of fashion - under the chapter of transformative creations, which he has always had a penchant for and which further sealed his reputation as a conceptual and erudite designer.

Chalayan 's intention wasn't to simply make a theatrical flourish but to investigate the concept of displacement, since the show was inspired by war refugees forced to leave their homes and carry their personal possessions with them.

In a sitting room-like stage, models interacted with furniture, sheltering household objects inside their coats and pockets as they walked around, while four women in gray shift dresses removed the fabric covers from a set of chairs and wore them, before the furniture was folded into suitcases to be carried off the set.

At a time like today when people are being challenged to reconsider their relationships with the spaces in which they live in and their possessions and the world is questioning how to become a home to everyone, Chalayan's collection still strikes a chord even two decades later.

The show's longevity results from its balance of audacity, design, performance, meticulous execution and meaningful storytelling. The synthesis of these elements has passed the test of time for its ongoing ability to spark conversation about immigration and human survival, while also tickling the imagination with its cross-pollination of design disciplines. No one who was at the show has ever forgotten the sense of puzzlement when the model stepped into the center of the table, and the delight and amazement when it rose into a perfectly balanced skirt and she walked off literally wearing the furniture.

Not that Chalayan was new to experimentation. He had already proven his talent and displayed his signature blend of innovation and social commentary on multiple occasions, ranging from investigating garments' value by burying dresses with iron filings in the ground for months before digging them out and presenting them on the catwalk in 1993 as part of his graduation collection at Central Saint Martins, to reflecting on the status of Muslim women in society by showing chadors of different lengths in 1998.

Here, the London-based designer reflects on that iconic fashion moment in "After Words," retraces the difficulties and favorite memories while preparing it and explains why digital shows can't replace live events.
WWD: What was the context at the time and how was it different from now?
Hussein Chalayan: This is around 1999, and I was initially inspired by the war in Bosnia and by the people being displaced from their homes. That actually reminded me that we experienced the same thing in Cyprus. I wasn't born then - Cyprus was divided in 1974, but these events happened in the Sixties. I connected it to the idea of a universal upheaval of having to leave your home at the time of war. And what I wanted to do was to look at how you protect your possessions by having them as chair covers or how you can put the objects in a room into the pockets of your clothes and take them with you, so it was about that carrying your home with you....It was the idea of trying to capture something in my opinion quite horrific in a very sort of stripped-down way. I thought there was universality to it, even though Bosnia was the trigger....And then it became a performance on how you empty the room, so that's why models entered one by one to pick up objects. The wardrobe of the whole collection, I wanted it to feel a little bit Eastern European as well, so that's why you have this kind of floral mixes that I had not done before and that were present inside the linings of the chair covers, too. So in a way I think it was timeless and today it can still apply. We've had a massive influx of immigration from the Middle East again, for all the same reasons, from where there is a war and you have to leave your home to safety and I think this is an ongoing universal issue.
WWD: If you were to re-create the collection today, what would you change?
H.C.: I don't think there would be anything different now, if it were to happen. You still sit on chairs, you still carry suitcases, you still have tables, so I don't think it's that different. The only difference I guess are iPhones and we have small computers but apart from that, I don't think much has changed.
WWD: How technically difficult was it to realize the show at the time?
H.C.: It was definitely technically difficult; there was a lot of back and forth because there were scaling issues. We made a little chair model that could fold up and a garment was also made as a mini-version, so that it fit the chair that was to be scaled up. Whatever you wore on the body had also to work as a chair cover and had also to become invisible, and then the chair itself had to fold up to become suitcases you could be carrying. And the table as well it was definitely [difficult] and technically took a long time. And then at the end we also had to make sure that the models in the show knew how to use them because you could have spent all that time making these pieces and if the models got it wrong, you could have completely failed. Even the musicians were coming from Bulgaria and [needed] a special invite. The whole thing was a big production. A lot of things could have gone wrong technically and somehow they didn't. I'm really glad we did that project with a massive risk - this was very risky but later with other technology we took even bigger risks.
WWD: Do you recall any favorite moment or particular emotion linked to the show?
H.C.: The best moment for me was when the Bulgarian [choir] arrived. We were rehearsing the night before the show in our studio, which was in Covent Garden at the time and there was this kind of courtyard. While we were all getting ready with the clothes their voices were really filling up the space and the whole courtyard and I think that, for me, was probably one of the nicest moments. Hearing that rehearsal with our show director at the time, Alexandre de Betak, and getting ready with the clothes, that was a memorable moment.
WWD: What about the reception? Were you afraid of the reaction the collection would have had?
H.C.: The reception was really good. You never know what reactions are going to be to these shows. I would say that with this project, the reception got larger and larger in time, actually. Yes, we had an initial reaction but it was tabloids and papers in the U.K. and also in some other places but it became a bigger reaction in time. Also people used to comment on shows at the time, or shout or clap or whatever. This is a time well before iPhones and tablets, so people's reaction - they just showed it there and then. Now I think they can't even clap because they're too busy holding their phones and recording: Actually all their emotions - if they have any - is through the posts. So we've gone through a direct emotional response to putting everything through social media, which kills the spirit, I think. In a way, it was really annoying for us after these shows to do the editing, we always had these comments in the back and at that time we didn't record the music separately necessarily, we had just recorded the actual event, so we couldn't mix over. What you recorded was what you had, you couldn't cover the sound of the reaction. But if I think about it now, it was quite beautiful that people could just sort of make noise, and very real. It has now been replaced by the handset and you make the reaction on social media, but it's not the same.
WWD: Did that kind of theatrical finale help the collection commercially or not?
H.C.: If I'm being really honest, I think what happens is that with designers like myself or with other designers that had moments like these in their shows, I think that the finale pieces are the ones that are very visible, but actually, I remember lots of our actual compositions of the clothes. And no designer is going to reference the table skirt or the chairs but they reference your other things. What gets noticed by the public is show pieces but actually what really in my opinion has an impact on the industry is the designer's composition from the collection, from the main selection. Show pieces become the talking point and get covered in editorials, but the real effect you have on the industry is actually the clothes and when you start to see those lines, the structure.
WWD: Do you consider this show a pivotal moment of your career?
H.C.: I would say the pivotal moment is not this collection, this is probably the gasoline moment. The pivotal moment is the "Between" collection with the chadors [spring 1998] because this is the collection where we got the WWD cover from the U.S. and for a young London designer, this is a big deal. It was the pivotal moment because Americans started to come to London and I remember us really having lots of coverage. But "After Words" was probably the gasoline, the spark, the one that really got us known much more. And I would have never imagined that at all.
WWD: As there's much talk around digital fashion weeks, do you think the digital format will spoil the way emotions are conveyed through fashion collections?
H.C.: I think you can't replace the magic of the live event. We have to see the digital platform as a bridge, which helps us to stay in touch. I don't believe we have to think of it as being an end of everything. Because I would rather, in a case like this, do smaller presentations than have lots of people coming. And I don't think that right now the priority is to do shows but to keep the contact going, try to rebuild the businesses and get the momentum back again. I don't think anyone right now is in a position to think about doing fashion shows. But you can still say a lot digitally, I'm not against it but that's not necessarily the only way. For me, looking at the future, I would just love to have much more than an exclusive way of presenting things, maybe to a lot less people or to more people but in a different way. It's a good time to rethink everything.
WWD: What about creativity? You have been ahead of the times in terms of transformative clothes and experimenting with technology. Do you expect these to be more and more present in the future? How do you think creativity will evolve?
H.C.: I think when we say technology and transformation in fashion, it's all about how you use them. Technology exists for a long time now, there's technology of communication in fashion and then there's technology that you could apply to clothing. For clothing I think it's still behind, because a lots of things can't be that easy to integrate into fabric and construction, but obviously technology in fashion communication is much more ahead, there's much more possibility. Technology in fashion, there's also a possibility and we can do things but often it has to go hand in hand with sustainability and I think it needs to become part of a broader system for it to become more effective. Right now there are lots of small groups of people doing things but I don't believe this kind of technological, sustainable angle is yet part of a bigger picture. Being also a professor in Berlin at the HTW university and in charge of innovation and technology, I can see generally there's still a lot of work to be done to make this system possible. So I think people's individual endeavors of course will help but for companies to really embrace this, it needs to be part of a broader strategy.

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Seminal Moment: Hussein Chalayan's Fall 2000 'After Words' Show

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A woman enters a white room, advances slowly toward a round wooden coffee table, removes its central part and steps into the mahogany piece of furniture, before pulling it up and fixing it to her waist. She then walks around wearing the morphed, telescopic table skirt, to loud clapping and cheers from the audience in front of her.

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This print design is an adaption to the original print design 5, I added in textual parts of concept alongside the colours I chose to represent them.

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here is a wave of my colour palette

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On procreate i created print designs that alluded movement this was a breakthrough as I used issey miyake and linear art as an inspiration and it helped to create artist print designs that acc lauded movement. I enjoyed messing around with the warp effect and glow effects.

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with inspiration from linear art I created this several line circles to allude movement

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Often lauded as one of the most cerebral designers of his era, Hussein Chalayan's innovative mix of design, science and art in creating his fantastical seasonal collections has won the designer significant acclaim and exhibitions in some of the leading design and art museums around the world.

The seminal designer's futuristic designs have included dresses containing moving airplane parts, a robot dress loaded with Swarovski crystals and Tyvek garments that resembled furniture and could be folded down to envelope size. They have been showcased in museums such as the Palais du Louvre, London's Design Museum, the Metropolitan Museum of Art in New York and the Museum of Contemporary Art in Tokyo.

Having undertaken a foundation course at Warwickshire School of Arts, Chalayan began studying at Central Saint Martins in 1989, quickly earning a name as one of the most radical design students within his class. In 1993, the budding designer's final graduation collection, entitled "Tangent Flows" presented an artfully decomposed and rusted sartorial offering that had been buried underground for six weeks with iron fillings. The collection was bought in its entirety by high-fashion boutique Browns, who showcased the collection in their window displays. In 1994, having completed an internship with Savile Row tailor Timothy Everest, the Cypriot designer established his own company, Cartesia Ltd., and his namesake ready-to-wear line, exhibiting his first collection in London's West Soho Galleries that spring and debuting at London Fashion Week to resounding critical acclaim.

In 1998 Chalayan was appointed as creative director of TSE New York with his inaugural sportswear collection for the brand debuting in March. In 2001, despite receiving several accolades, independent exhibitions at Colette in Paris and producing capsule collections for Topshop and Marks & Spencer's, Chalayan was forced to file for voluntary liquidation, having amassed debts of an estimated $1.5 million.

Shortly after, the designer was appointed creative director of jewellery brand Asprey, parting ways in 2004. In 2008, he was made creative director of Puma, having sold a majority share-holding in his label to the sportswear company. In 2010 the designer bought back Puma's stake in his label, remaining as creative director of the brand, and reintroducing his namesake brand simply as 'Chalayan'.

In 2015 Vionnet appointed Hussein Chalayan as a member of the creative team for ready-to-wear. In September of the same year, Chalayan opened his first flagship store in London.

Chalayan has been awarded the prestigious 'Designer of the Year' award at the British Fashion Awards in 1999 and 2000, as well as being recognised as a 'Design Star' at the 2007 Fashion Group International Awards. Along with being listed as one of the "25 most powerful figures in the industry" by the British Fashion Council , Chalayan was also credited by Time magazine as one of its '100 Most Influential Innovators of the 21st Century'.

Chalayan was also a professor at University of Applied Arts Vienna, stepping down in August 2019 after five years at the school's fashion department.

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Often lauded as one of the most cerebral designers of his era, Hussein Chalayan's innovative mix of design, science and art in creating his fantastical seasonal collections has won the designer significant acclaim and exhibitions in some of the leading design and art museums around the world.

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Curated by Jay Ezra Nayssan, the four-person show 'Technologies of the Self' at Marc Selwyn Fine Art, Los Angeles, is a catacomb of sorts - a room 'decorated' with coffins or chrysalises, depending on one's perspective.

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Curated by Jay Ezra Nayssan, the four-person show 'Technologies of the Self' at Marc Selwyn Fine Art, Los Angeles, is a catacomb of sorts - a room 'decorated' with coffins or chrysalises, depending on one's perspective.

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How Iris van Herpen Transformed Fashion - High Museum of Art - Google Arts & Culture

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Iris van Herpen (Dutch, born 1984) works at the nexus of fashion, design, technology, and science. With a dynamic and path-breaking body of work, she is wi...

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Fashion designer Iris van Herpen has created a series of dresses that replicate the feathers and soundwave patterns of birds in flight, and showcased them alongside a kinetic lighting installation by Studio Drift.

Amsterdam-based Van Herpen studied the movement of birds' wings to create her Syntopia collection, which she presented at Le Trianon on 2 July, for Paris Haute Couture fashion week.

To accompany them, Lonneke Gordijn and Ralph Nauta of Studio Drift created an installation of moving glass tubes that also capture the motion of bird flight.

Each of Van Herpen's 17 designs combine both organic and inorganic forms, to highlight the convergence of natural biology and manmade technology.

Traditional weaving techniques are combined with high-tech digital fabrication, resulting in a series of garments featuring complex parametric patterns. These range from pleated dresses made from liquid-coated silk organza, to wool coats made using laser cutting.

Each of the patterns is based on the movements made by birds' wings and feathers.

"As a former dancer, the transformation within movement has hypnotised me," said Van Herpen. "For this collection I looked closely at the minutiae of bird flight and the intricate echoing forms within avian motion."

She used chronophotography - a Victorian photographic technique that captures movement in several frames of print - to find similarities between the way fabric drapes and the way that feathers move during flight.

"Studio Drift inspired me to look more closely at the draping of a garment through chronophotography," said Van Herpen.

"By slowing down time into split seconds, I started breaking down the usual draping of fabric, to then layer the milliseconds all slightly shifted, like the layering of a bird's feather."

The designer then translated these frames into thousands of layers of transparent organza. Continually overlapped in different directions, she laser-cut and heat-bonded them with Mylar and cotton, to create the effect of a time-lapse motion.

Iris van Herpen uses visual trickery for latest couture collection

Similarly, she translated the sound-wave patterns of a moving wing to create her Mimesis corset dresses. Constructed from laser-cut Mylar, black cotton, red organza and transparent black acrylic sheets, these are layered to mimic the architecture of a feather.

The lines of the dresses resonate with Studio Drift's kinetic installation, which was suspended above the heads of models walking the blacked-out runway.

Called 20 Steps, the site-specific structure comprises 20 delicate glass tubes that move up and down, emulating the various motions of a bird in flight. The designers see it as a tribute to the evolution and the human desire to be able to fly.

"The moving wings of delicate glass represent the constructive steps of continuous improvement," explained Van Herpen. "The vivacious glass bird flows in symbiosis with the models while they move over the runway, their delicate interaction emphasises the fragility of new worlds living and soaring together."

"Whether they are waves, flying birds or running men; all movements on earth can be seen as the carrier of innovation, a true desire for all species to deeply connect," added Gordijn.

Van Herpen, who interned at Alexander McQueen in London before starting her own label in 2007, is known for employing innovative techniques to unusual materials in her collections.

For last year's couture week in Paris, she presented a collection of 18 garments featuring biomorphic elements and rippling fabrics, designed to explore the contrasts between water and air.

Back in January last year the designer also used visual trickery to create hypnotic garments that distorted the models' bodies.

Studio Drift is also known for its innovative designs, which draw on science fiction. A major retrospective of the studio's work is currently on show at the Stedelijk Museum Amsterdam, featuring a floating concrete monolith and a light sculpture made from dandelions.

Photography is by Yannis Vlamos and Paul Blind.

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Iris van Herpen translates motion of bird flight into pleated garments

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Iris van Herpen has created dresses that replicate the feathers and soundwave patterns of birds in flight, and showcased them with a kinetic lighting installation by Studio Drift