THREE HUNDRED AND NINETY ONE

John Waters:

“When I was young there were beatniks. Hippies. Punks. Gangsters. Now you’re a hacktivist. Which I probably would be if I was 20. Shuttin’ down MasterCard. But there’s no look to that lifestyle! Besides just wearing a bad outfit with bad posture. Has WikiLeaks caused a look? No! I’m mad about that. If your kid comes out of the bedroom and says he just shut down the government, it seems to me he should at least have an outfit for that.”

TWO HUNDRED

From Beautiful Decay on McCharen and Chromat’s Bionic Bodies.

“Their new line was called Bionic Bodies, inspired by a love story McCharen envisioned between a human and a robot. The result? Bodies scaffolded like bionic arms and exoskeletons, chromed ribcages studded at the seams, and, most strikingly, faces and bras illuminated with blue LEDs. When the lights are off, the cyborg effect of the LEDs is eerily sexy; have a look at Chromat’s runway video above and see for yourself.

What McCharen and the Chromat crew are creating is more than just experiments in fashion and architecture — their work is fascinating from a theoretical perspective, as well. Absorbed in our daily experiences and emotional lives, we forget that we are, in fact, bones wrapped in muscle and flesh, propelling ourselves through space by the miracle of physics. By engineering such structures on the outside of the body, Chromat celebrates such functionality and mechanical perfection. The parallel between structural facades and fashion is interesting, as well, if we understand fashion as a way to construct our identities and shift the way people interact with us. Like the exterior of powerful structures, Chromat’s revolutionary works exude strength, self-assurance, and impermeability — hence the eerie power and unsusceptible beauty of McCharen’s cyborgs.”

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