Irenebrination: Notes on Architecture, Art, Fashion, Fashion Law, Science & Technology

The Soil as a Dynamic Ecosystem, Bacteria as Microbial Muses

In yesterday's post, we explored the transformative power of mushrooms, a natural inspiration elevated to Haute Couture in a film costume. Yet, the natural world offers many inspirations, even in its most unassuming elements.

Next year, London's Somerset House will unveil "Soil: The World at Our Feet" (23 January - 13 April 2025), an exhibition celebrating the profound connection between soil and life itself. Featuring over 50 works spanning historical artifacts, scientific specimens, and documentary evidence, the showcase explores the intricate role of soil not as mere dirt, but as a foundation of human civilization and a beacon of hope for planetary restoration.

While fashion won't take center stage (a missed opportunity, as some Alexander McQueen, Martin Margiela and Hussein Chalayan's designs would resonate here), the event will bridge art, science, and textiles. Textile highlights include pieces by Annalee Davis, a Barbados-based artist whose textile works look at post-plantation economies, weaving together history, ecology, and cultural renewal.

Annalee Davis' embroidered panels pay homage to British sewing traditions inherited by Barbadian women over centuries. By integrating time-honored embroidery with machine-made crocheted appliqués, Davis transforms these domestic artifacts, once confined to decorative roles in kitchens and living rooms, into potent protest placards. Her works critique the legacies of mono-crop farming and plantation economies, addressing today's climate emergency with bold statements like "Unlearn the plantation."

The exhibition will be divided into three thematic sections, "Life Below Ground," "Life Above Ground," and "Hope," exploring the geopolitical, economic, and social imprints that we leave on planet's surface.

Among the newly commissioned works is Vivien Sansour's deeply evocative piece, weaving stories of soil and human culture. Her work connects soil trade in the Caribbean, rehabilitation efforts in Palestine, and seed-saving initiatives in North America, combining field research with imaginative elements such as handwritten notes, plants, seeds, and soil samples that narrate soil's profound ties to humanity.

Collective Marshmallow Laser Feast, renowned for their immersive fusions of art and technology, will unveil "Poetics of Soil", in which also amanita muscaria mushrooms appear (something that will delight fungi enthusiasts - there's actually more for them including Jo Pearl 's "Unearthed - Mycelium" sculpture). Other commissions include Sam Williams, Something & Son, and Semantica (Jemma Foster and Camilla French) with Juan Cortés, exploring human impacts on soil and inspiring narratives of change and resilience. Besides, Somerset House Studios artist Maeve Brennan will present "With Horses", a film installation addressing the temporality of industrial landscapes and the enduring scars of plastic waste.

Fashion and textile designers seeking fresh inspiration should instead look no further than the mesmerizing photographs of bacteria by Dr. Tim Cockerill from the Institute of Photography at Falmouth University, and Dr. Elze Hesse from the University of Exeter's Environment and Sustainability Institute (ESI). Cockerill, a macrophotography specialist and science communicator, collaborates with Hesse, an expert on species interactions and environmental challenges, to explore the interplay between bacteria and their surroundings.

Their work focuses on bacteria found in Cornish soils contaminated by toxic heavy metals from mining, as well as microbes from everyday garden compost. In previous studies they examined Paenibacillus, a gram-positive soil bacterium, often affected by the presence of other bacterial species, and its swarming behavior in response to social and environmental cues, such as interactions with Rhodococcus (first one on the left, top row, in the fifth image in this post). One finding involves Variovorax, a yellow soil bacterium, producing vibrant tendrils by exploiting iron scavenged by Paenibacillus (fifth one from the left, top row, in the fifth image in this post).

These studies not only uncover how microbial interactions impact environmental health, offering insights into reducing antibiotic resistance and detoxifying polluted areas, but also produce visually stunning macrophotographic images. The bacteria's irregular patterns, bold colors, and diverse forms evoke a kaleidoscopic beauty, transforming what might seem an unsettling subject into a mesmerizing visual narrative. These images could serve as a striking foundation for a bacteria-inspired fashion or textile collection, merging science and creativity in a celebration of nature's unseen wonders hiding in our soil.

Image credits for this post

All images courtesy Somerset House, London

Fly Agaric (detail) © Marshmallow Laser Feast

Unlearn the Plantation by Annalee Davis © Roberto Ruiz

Jute Mallow Processing by Palestine Heirloom Seed Library (Artist Vivien Sansour)

Unearthed - Mycelium by Jo Pearl © Elsa Pearl

A Diversity of Forms Image created by Dr Tim Cockerill, bacterial colonies isolated and cultured by Dr Elze Hesse

Cinematic Wicked Pleats, Please

You can listen to an audio version of this post in a dialogue form (generated using NotebookLM) at this link: Download Haute Couture in Wicked_ Costume Design and Fashion

The red carpet has long served as the intersection of film and contemporary fashion, a stage where actors showcase modern Haute Couture (though some occasionally dazzle in vintage pieces…). It's where we fall for the colors of a gown, the silhouette of a dress, or the elegance of makeup and hairstyles, often sparking new trends in the process.

In recent years, the phenomenon of method dressing has become the rule, with actors embodying the essence of their on-screen characters in their red carpet appearances. Margot Robbie, for instance, mastered this approach during the promotion of Greta Gerwig's Barbie, frequently stepping out in designs that evoked Barbie's iconic style or dresses. Similarly, since the 96th Academy Awards, Ariana Grande and Cynthia Erivo have been seen in candy-pink and emerald-green gowns, respectively, channeling their roles as Glinda and Elphaba from Jon M. Chu's adaptation of the Tony Award-winning musical Wicked.

This growing interplay between fashion and costume design highlights how inseparable the two disciplines have become. From ballets to musicals and theatrical productions, there is often a connection between fashion and costume design.

For example, Susan Hilferty's pale blue gown for Glinda in the Broadway production of Wicked features a skirt reminiscent of Dior's iconic Junon dress (View this photo), combining costume and couture.

In Jon M. Chu's Wicked, featuring costumes by Paul Tazewell, the Shiz University uniforms subtly echo Thom Browne's aesthetic. In a way, there are links between school uniforms in general and Browne's designs, but here the resemblance is undeniable: an early sketch of Elphaba in her uniform as conceptualized by illustrator Sophia Lee Johnson, for example, with her feet turned outwards, wouldn't feel out of place in one of Browne's lookbooks.

The uniforms often incorporate striped motifs, which are cleverly reimagined, broken into zig-zagging or diagonal patterns to introduce variation and disrupt the monotony of linearity. These design choices not only add visual interest, but can also serve as symbolic elements.

In early films like Robert Wiene's Das Cabinet des Dr. Caligari (1920) and Anton Giulio Bragaglia's Thaïs (1916), distorted patterns reflected the fractured human psyche or the turmoil of the soul. Similarly, in Wicked, these broken stripes may hint at duplicity or reflect individuality and nonconformity, particularly in Elphaba's case. Indeed, her green skin and natural magic abilities set her apart as both an outcast and a rebel, making her the perfect embodiment of this visual metaphor.

The stripes in the uniforms take on a three-dimensional quality when transformed into pleats in different costumes. Pleats add depth and dynamism to the costumes, they peek out from skirts, as seen in Glinda's uniform and those of other students, but they play a more pivotal role in Elphaba's iconic black Oz attire. Here, the pleats evolve, becoming integral to her character's transformation and narrative arc.

The inspiration for the pleats in Wicked's costumes came from an unexpected yet thoroughly modern source, as highlighted on Tazewell's Instagram page: mushrooms. In recent years, mushrooms and mycelium have taken center stage in installations, experimental projects, fashion collections, interior design, and art. Costume designer Paul Tazewell drew from this trend after watching a documentary on mushrooms, inspired by the intricate textures and varying colors of mushroom gills.

The pleated fabrics in Elphaba's costume were crafted from felted textiles, gauze, and chiffon. Each piece was pleated by hand  by Ciment Pleating, a historic pleating house in the UK. According to Ciment Pleating's Instagram account, achieving the final result required extensive experimentation, exploring techniques like "pleating, ruching, crinkle, and draping." The company worked with a green form during production to mimic Elphaba's skin tone, ensuring the costume harmonized with her skin.

Established in 1925, Ciment Pleating is the oldest pleating company in the UK, a rare survivor in a craft that has dwindled in other countries. The company offers its services to fashion designers, interior designers, home dressmakers, fashion schools, theatrical costumiers, and milliners. Their impressive client list includes renowned fashion houses like Viktor & Rolf, Alexander McQueen, JW Anderson, Erdem, and Chopova Lowena.

They've also collaborated with artists such as Yinka Shonibare (pleating the fabric for his sculptures) and provided pleated creations for productions like Wednesday, Game of Thrones, Harry Potter and multiple Disney titles (the striking pleated fabrics employed for Cleopatra's design in a black and white BBC production - View this photo - were also crafted by Ciment Pleating).

The pleating in Wicked carries a deeply natural inspiration, a fitting choice given Elphaba's profound connection to nature and animals. The swirling patterns hint at the dynamic forces of magic and nature, besides, much like mushrooms that flourish unseen in the shadows of the woods, Elphaba is a marginalized figure whose unique beauty goes unrecognized by others. This connection between nature and costume is subtly woven throughout the production.

For instance, nature-inspired motifs extend beyond pleating: the tornado heel, spirals (nods to the 1939 film Wizard of Oz film), and the wave details in the silver shoes allowing Nessarose, Elphaba's wheelchair-bound sister, to walk, evoke organic forms (View this photo). The silver shoes, crafted by New York-based costume designer and artisan Miodrag Guberinic, were inspired by the Boucheron Wave Tiara and constructed through 3D printing before being adorned with crystals (Guberinic also created Glinda's crown, further elevating the fantastical elements of the costumes).

Spirals and nature are themes in the film, so try to spot them also in Madame Morrible's costumes, while a variation of the spiral was applied to Glinda's classic bubble dress that was reinvented through a Fibonacci sequence-inspired design that allowed Tazewell to create spiralling cones instead of ruffles (View this photo).

So, if you're a fashion design student, when you go and watch Wicked do not just think about costume design and fashion, but check out all these connections and focus on how Haute Couture techniques can help theatrical storytelling. In this case, indeed, the use of hand-pleated designs by Ciment Pleating transforms the costumes into elevated works of art. Issey Miyake's famous line may be called "Pleats Please", but, in this case, it's more a matter of "Cinematic Pleats, Please".

Wicked has so far inspired countless collections in collaborations with various companies - from Target to H&M, Crocs and Marks & Spencer - but you can’t help but wonder if Tazewell, whose illustrious career spans Broadway (Hamilton, Suffs), television (The Wiz!), and film (Harriet, West Side Story), might follow in the footsteps of Milena Canonero. The legendary costume designer was once tapped to create a menswear collection for Norman Hilton inspired by her Chariots of Fire designs, a collaboration that earned her the Coty Award. Perhaps a similar fashion venture awaits Tazewell, maybe after Wicked or Wicked: Part 2 (slated to come out in 2025)?

Saturday Project: Multicolored Diagonal Striped Fitted Jumper from the Late '60s

The cinematic version of "Wicked", the popular Broadway musical and prequel to "The Wizard of Oz", has finally arrived, and we're all in love with Glinda (Ariana Grande) and Elphaba (Cynthia Erivo).

While some of us may choose a pink palette to honor Glinda and others might go for green and black to pay tribute to Elphaba, why not dig deeper into fashion history for something a little less expected that may recombine these shades?

For instance, a fitted jumper in the style of Pierre Cardin, featuring diagonal stripes in fuchsia, aqua green/emerald, white, black, brown, and yellow (for that hint of the iconic yellow brick road…).

Featured in the December 31st, 1967 - January 6th, 1968 issue of French magazine Echo de la mode as a holiday project to kick off the new year with energy and brightness, this chic design is certainly eye-catching. While it might not be the easiest project for amateur knitters, there’s always time to learn and craft your own version - or perhaps enlist the help of a friend who happens to be a wizard knitter to bring the idea to life. Enjoy!

Multicolored sweater with diagonal stripes - Instructions (Size M) 

Supplies: 125 g of black yarn and then 75 gr each of the remaining colors – in these instructions we will opt for yellow, aqua green, emerald, white, brown and fuchsia (but you can obviously choose other colors to suit your imagination). Four black buttons.

Stitches used:
1x1 ribbing, needles size 2 1/2. Stockinette stitch, needles size 3.

The stripes are offset every 2 rows by 1 stitch to the right, in the following order :
*8 sts fuchsia, 6 sts black, 8 sts fuchsia, 6 sts black, 6 sts white, 6 sts brown, 6 sts white, 6 sts yellow, 8 sts emerald, 8 sts aquamarine, 8 sts emerald, 8 sts black, 8 sts brown, and repeat from *.

Instructions:

Front: Cast on 130 (140) sts in black and work 12 rows of ribbing. Continue in stockinette stitch with diagonal stripes, straight until a total height of 40 (42) cm. Bind off for the armholes: 3 sts, and 1 st twice. At 55.5 (58.5) cm, bind off for the neckline the 24 (26) center stitches, and 5 times 2 sts on each side. At 55.5 (58.5) cm, bind off for the left shoulder 8 times 4 sts (9 times 4 sts). At 58 (61) cm, bind off 8 times 4 sts (9 times 4 sts) for the right shoulder.
Back: Same as the front, with the right shoulder at 58 (61) cm, the neckline at 58 (61) cm, and the left shoulder at 60.5 (63.5) cm.
Sleeves: Cast on 60 (66) sts in black and work 6.5 cm of ribbing. Continue in striped stockinette stitch, increasing 4 sts on the first row, then 1 st every 8 rows until you reach 88 (96) sts. At 43.5 (45) cm, bind off 6 times 2 sts, then 1 st at a time. At 57.5 (60) cm, bind off.
Neckline ribbing: Cast on 116 (122) sts and work 12 rows in black.
Shoulder ribbing: Cast on 44 (48) sts and work 12 rows, with 4 buttonholes (2 sts each) on the 6th row, 6 sts from the edges.

Assembly:
Use steam to set the pieces. Sew the front and back together with machine stitching. Attach the neckline ribbing, then the shoulder ribbing to the left shoulder of the front. Overlap the shoulder ribbing on the back by 3.5 cm. Close the sleeves and sew them on. Attach the buttons to the shoulder. Use steam again to set the pieces.

Pearls Through Time: "Paris, City of Pearls" @ L'ÉCOLE, School of Jewelry Arts, Paris, France

You can listen to an audio version of this post in a dialogue form (generated using NotebookLM) at this link: Download Paris City of Pearls_ A History in Gems

Pearls hold a multifaceted place in history, spanning jewelry, art, literature, and myth. Johannes Vermeer's "Girl with a Pearl Earring" (1665) epitomizes their allure, while George Bizet's opera "The Pearl Fishers" (1863), set in the Indian Ocean's Gulf of Mannar - a pearl source cited by Pliny the Elder - adds a historical dimension.

Arabian myths liken pearls to dewdrops swallowed by oysters during full moon nights, while other legends describe them as the tears of rebel angels, fueling superstitions.

Pearls are often seen as harbingers of tears and unhappiness; one belief warns against gifting pearls to brides, fearing they may bring sorrow to their marriage - a tale possibly rooted in the Far East, where pearl divers' tragic fates left loved ones grieving. Similarly, buying pearls for oneself is thought to invite misfortune (hence you should be receiving them as a gift).

In the Gospel of Matthew, Jesus compares the kingdom of heaven to a precious pearl, a metaphor for spiritual sacrifice and value. Yet, in John Steinbeck's "The Pearl" (1947; inspired by a Mexican folktale from the pearl-rich region of Baja California Sur), a great pearl brings ruin to a family. In Dino Buzzati's "Il Colombre", instead, a mythical creature guards a pearl destined for the protagonist, blending fantasy and moral allegory.

Even in science fiction and adventure, pearls captivate: Jules Verne's "20,000 Leagues Under the Sea" provides a vivid, almost journalistic account of pearl fishing, emphasizing the physical work beyond this industry. Across disciplines and centuries, pearls remain enduring symbols of beauty, mystery, and complexity.

If pearls fascinate you, don’t miss the exhibition "Paris, City of Pearls" at L'ÉCOLE, School of Jewelry Arts (running until June 1, 2025; fashion and jewelry design students take note: admission is free, so this may be an ideal exhibit to visit, but reservations are required).

While the exhibition focuses on Paris and pearls, it weaves together history, art, fashion, design, and science. The exhibition's stars are the jewelry pieces, complemented by archival documents, paintings, photography, poster designs, drawings and illustrations (Barbier's are particularly beautiful). In total, around a hundred pieces are showcased from prestigious lenders, including the Musée des Arts Décoratifs, the Petit Palais, and heritage collections from Van Cleef & Arpels, Cartier and the exceptional Albion Art private collection.

The introductory display examines the definition of a "pearl," emphasizing that the term historically referred only to natural pearls, a distinction made necessary in France after the rise of cultured pearls in the 1920s. This part also looks at the biology of pearl formation, explaining that molluscan shellfish produce pearls from calcium carbonate, with quality influenced by species, temperature, salinity, and nutrition. Contrary to popular belief, grains of sand do not initiate pearl formation. While science has yet to pinpoint what triggers the formation of a pearl, we do know that pearls result from the displacement of epithelial cells into the mollusk's mantle.

Another section highlights pearls' historical ties to the East. In the late 19th century, they became emblematic of Orientalism in art and theater (think also about the costumes of the Ballets Russes' performances and in particular the print by George Barbier of Vaslav Nijinsky as the Favourite Slave and Ida Rubinstein as Zobeide in Mikhail Fokine's ballet "Schéhérazade", included in this exhibition).

The Arabo-Persian Gulf, a prime pearl source since antiquity, was celebrated for its abundant oyster beds, noted on Renaissance maps. Even as new pearl sources emerged in Central and South America, Gulf pearls remained highly prized in Western markets, cementing their cultural and artistic significance.

From the third section onward, the exhibition becomes particularly engaging for fashion and jewelry designers, focusing on the artistry and craftsmanship of pearl jewelry designs.

Around 1900, Paris was a hub for natural pearl trade, with 300 dealers operating between numbers 1 and 100 Rue Lafayette. Jewelers on Rue de la Paix and Place Vendôme sought the finest pearls, frequently pairing them with platinum and diamonds.

During the Belle Époque, jewelry was defined by its whiteness, luster, lightness, geometric precision, and aristocratic sophistication, adorning figures such as queens, first ladies, and courtesans.

The exhibition features stunning examples from this period, including Carlo and Arturo Giuliano's 1890 necklace of natural pearls, enamel, and gold, and an extraordinary set by Frédéric Boucheron (1896 - 1902) created for Edith Amelia Glyn, Lady Wolverton, incorporating natural pearls, diamonds, gold, and silver.

A standout piece is a Belle Époque five-strand natural pearl necklace from circa 1910, showcasing a grand yet streamlined aesthetic.

Coveted Gulf pearls, noted for their creamy tones with a pinkish hue, were central to the creations of Art Nouveau luminaries such as Paul and Henri Vever, René Lalique, and Georges Fouquet. These designers often drew inspiration from nature and Far Eastern motifs, favoring baroque pearls and unconventional varieties like Mississippi mussel pearls.

Highlights include René Lalique's 1910 ring, featuring a natural pearl, diamonds, enamel, and yellow gold, and Henri Vever's 1905 floral corsage brooch, incorporating Mississippi pearls, diamonds, enamel, gold, and silver. These pieces reflect the era's embrace of both classic elegance and innovative designs.

An illustration in the March 1914 issue of Gazette du Bon Ton by George Barbier depicts a young woman in a Paquin evening gown adorned with cascades of pearls, a fitting introduction to the next section of the exhibition, which looks at the decorative artistry of the era.

The 1910s, marked by a flourishing Parisian pearl market, have often been overshadowed by the dominance of the Art Nouveau movement and the subsequent rise of Art Déco.

However, this period is worth revisiting, particularly for the "Knights of the Bracelet", a group of Parisian dandies and artists who were deeply passionate about pearls. The Rosenthal brothers, key players in the Gulf pearl trade, were at the forefront, while jeweler Jacques Cartier's 1912 visit to Bahrain elevated him to near-dignitary status.

While pearl values reached their peak in France, it was in the U.S. that demand for pearls soared. One iconic story from 1917 involves Maisie Plant, the wife of a wealthy American businessman, whose love for jewelry led her to Pierre Cartier's boutique on New York's Fifth Avenue. There, she fell for a breathtaking double-strand pearl necklace with 65 and 73 pearls. The price? The value of the Plant mansion on Fifth Avenue. She struck the deal, underscoring just how precious and rare pearls were at the time.

To understand the rarity of such a piece, consider the odds: only one in 100 oysters contains a natural pearl, and just one in 100 of those is jewelry-grade, with only a few meeting top jewelers' standards. It would therefore take thousands of oysters to create a necklace like the one Maisie Plant admired.

The mid-'20s marked pearl mania in Paris, with pearls adorning everything from jewelry to clothing and appearing in films and advertising, as shown in the exhibition's many examples including pieces like a 1920 barrette-shaped brooch made of natural pearls, diamonds, lapis lazuli, and platinum, or iconic accessories, such as a Van Cleef & Arpels evening bag (1924) made of platinum, pearls, onyx, and diamonds, and a vanity case (c. 1925) crafted from yellow gold, pearls, enamel, and diamonds. These designs captured the spirit of the flapper era.

Pearls were also among the protagonists of the 1925 International Exhibition of Modern Decorative and Industrial Arts. Yet the pearl market had already been thriving post-World War I, led by merchants like Léonard Rosenthal, Jacques Bienenfeld, and Mohamedali Zainal Alireza.

However, the arrival of Japanese cultured pearls began to challenge the market. While the demand for natural pearls grew, supply decreased due to overfishing in the Gulf of Mannar and the Gulf region, along with public outcry over the harsh conditions faced by pearl fishers.

The dominance of Parisian pearls began to decline with the 1929 economic crisis, and was further eroded by World War II and the deportation of Jewish merchants from Rue La Fayette. Many of these merchants fled to the U.S. or Polynesia, where they established pearl farms.

World War II also disrupted trade between France and the Gulf, leading many French merchants, including the Rosenthals, to shift focus to cultured pearls, notably in Tahiti.

To protect the region's black pearls, which were endangered by overfishing in the 1950s, French and Japanese efforts led to the establishment of pearl farms. While cultured pearls became more popular, especially among younger generations, the natural pearl trade moved away from Paris.

Iconic pieces, like René Boivin's half-set bracelet and clip (1935 - 1937), inspired by the "Barbare" series and made of granulated gold and natural pearls, or Van Cleef & Arpels Gladiator brooch (1956), crafted from yellow gold, emeralds, rubies, turquoise, pearls, baroque pearls, and diamonds, mark the continued evolution of pearl jewelry in this new era.

One of the most unusual items on display remains instead not a piece of jewlery, but a rare object from the 1920s inspired by pearls - a velvet box containing what appears to be a necklace of graduated pearls. However, this is no ordinary necklace as each "pearl" is actually a tiny hand-blown nacreous glass bottle, a miniature vial designed to hold perfume (the smallest ones were fakes glued to the box for effect). Created by Paul Heymann for Delettrez (founded in 1835 and famously known as "The Perfumers of High Society"), this whimsical design perfectly captured the pearl craze of the 1920s.

Today, while natural pearls are still sought after, many are sourced from family collections and antique jewelry, with a small but ongoing production in certain countries. In the 21st century, contemporary art initiatives between France and the Gulf continue to celebrate the rich cultural heritage of pearls and preserve their historical significance.

Pearls remain a source of fascination for jewelry designers, with recent high jewelry creations from designers like JAR, such as his Sheep's Head brooch (2006), featuring natural pearls, star sapphires, and a mix of metals.

You can expand your knowledge about this topic through the exhibition catalogue, or, if you visit in person, consider staying for an afternoon course that combines gemology with the history of jewelry. For those on the go, there's also the exhibition podcast.

However you choose to enjoy this event dedicated to all pearl enthusiasts take note - it's the perfect opportunity to overcome any lingering superstitions about pearls, especially for those still wary of their bad luck associations.

Image credits for this post

1. William McGregor Paxton, The String of Pearls, 1908

2. Jean-Gabriel Domergue, advertisement for Van Cleef & Arpels from 1923. Courtesy of L'ÉCOLE, School of Jewelry Arts

3. Carlo and Arturo Giuliano, necklace, c. 1890, natural pearls, enamel, gold. Private Collection, courtesy of Albion Art Institute. Albion Art Jewellery Institute / Courtesy of L'ÉCOLE, School of Jewelry Arts

4. Print by George Barbier of Vaslav Nijinsky as the Favourite Slave and Ida Rubinstein as Zobeide in Mikhail Fokine's ballet Schéhérazade, 1913. Courtesy of L'ÉCOLE, School of Jewelry Arts

5. Frédéric Boucheron, necklace and earrings of Edith Amelia Glyn, Lady Wolverton, 1896-  1902, natural pearls, diamonds, gold, silver. Albion Art Jewellery Institute / Courtesy of L'ÉCOLE, School of Jewelry Arts

6. Belle Epoque natural pearl necklace with five strands, circa 1910, natural pearls, platinum. Private Collection, courtesy of the Albion Art Institute. Albion Art Jewellery Institute / Courtesy of L'ÉCOLE, School of Jewelry Arts

7. An Henri Vever corsage brooch from 1905, featuring Mississipi pearls, diamonds, enamel, gold and silver. Faerber / Courtesy of L'ÉCOLE, School of Jewelry Arts

8. 1922 Van Cleef & Arpels Catalogue. Courtesy of L'ÉCOLE, School of Jewelry Arts

9. Van Cleef & Arpels, evening bag, 1924, platinum, pearls, onyx, diamonds. Collection Van Cleef & Arpels. Courtesy of L'ÉCOLE, School of Jewelry Arts

10. Rooryck, Taillefer & Co., Maison des Perles, Jewelry and Goldsmithing. Silver bromide gelatin photograph, Paris, 1909 © Courtesy of L'ÉCOLE, School of Jewelry Arts

11. George Barbier, "The Fountain of Shells. Paquin Evening Gown," Gazette du bon ton, no. 3, plate 27, 1914. Courtesy of L'ÉCOLE, School of Jewelry Arts

12. Pearl-shaped perfume vials by Delettrez. Courtesy of L'ÉCOLE, School of Jewelry Arts

13. Juclier, 11 faubourg Saint-Honoré. Chromolithograph, 1913 by Georges Goursat (Sem) (French, 1863–1934) © Paris Musées / Musée Carnavalet - Histoire de Paris. Courtesy of L'ÉCOLE, School of Jewelry Arts

14. Brooch, c. 1925, natural pearls, diamonds, platinum. Private collection. Benjamin Chelly / Courtesy of L'ÉCOLE, School of Jewelry Arts

The High-Tech Allure of Nvidia's GPUs

In yesterday's post, we explored fashion, focusing on digital handbags. Today, let's stay within the tech realm but shift our attention to a physical handbag inspired by technology. A few months ago, Theresa Barton, a research scientist at Artificial Intelligence (AI) platform Databricks, began selling her creations - transparent purses featuring outdated PC graphics cards encased in epoxy resin - on her site GPUPurse.com.

Barton, a research scientist specializing in pretraining large language models, holds a master's degree in Computer Science from Brown University. Her diverse career includes stints at Pixar, SpaceX, Tinder, Snapchat, and The New York Times.

Barton's first design incorporated an Nvidia GT 730 graphics card, a model released in 2018. Originally priced between $70 - $80 when the GeForce 700 series debuted in 2014, this model can now be found for as little as $20 on platforms like eBay. For her handbag, Barton ethically sourced the part from discarded data center hardware and integrated it with a functional cooling fan. The result? A design priced at $1,024.

Building on this concept, Barton later announced she was crafting a more exclusive version featuring Nvidia's H100 AI accelerator chip. This enterprise-grade GPU (Graphics Processing Unit), widely used across the tech industry to train advanced AI models, elevates the handbag's price to a staggering $65,536 (a price based on raising the power of 2, a number that plays an important role in the design and operation of neural networks and other machine learning models, primarily in the context of computational efficiency and hardware optimization - to the 16th power).

This year, we've seen technological detritus appear on high-fashion runways, notably in Daniel Roseberry’s S/S 24 Haute Couture collection for Schiaparelli. One dress in that collection featured unconventional materials such as flip phones, Casio calculators, CDs, and a computer fan.

Barton's designs lean toward a DIY aesthetic - acrylic purses (likely sourced from online marketplaces like Amazon or Temu) combined with electronic components, a cooling fan, and chain straps. Yet, her choice to embed a graphics card in the handbag draws a parallel to Haute Couture. The production of a graphics card, much like some couture techniques, is indeed a highly intricate process. It involves meticulous steps in photolithography, etching, and material deposition, pushing the boundaries of physics and engineering with each new generation of graphics card.

Some of these stages in manufacturing are particularly intriguing, involving cutting-edge techniques such as the use of ultraviolet (UV) and extreme ultraviolet (EUV) lithography.

These methods project intricate patterns onto silicon wafers, which are then etched using plasma (ionized gases) that chemically or physically remove material. Alternatively, wet etching, which employs liquid chemicals to selectively dissolve specific materials, can also be used for processing semiconductor wafers.

That said, the real value of the bags may not lie in the GPUs, but in the company that manufactures these processors.

Nvidia, the leading AI chipmaker, has indeed become one of the world's most valuable companies, largely due to its role in enabling the AI revolution. The firm's highly advanced GPUs are integral to the infrastructure driving generative AI and other computationally demanding applications, making them indispensable as tech giants invest heavily in AI processing capabilities.

In its quarterly earnings report, released yesterday, Nvidia disclosed an extraordinary $35.1 billion (up 17% from Q2 and up 94% from a year ago) in quarterly revenue, marking a significant surge in profitability. In a press release, Jensen Huang, Nvidia's CEO, predicted a dramatic increase in computing power over the next decade. Huang further emphasized that AI is catalyzing a new industrial revolution capable of transforming industries globally and establishing a multi-trillion-dollar AI market.

Wedbush analyst Dan Ives aptly described Nvidia's GPUs as "the new oil and gold" in a note earlier this week, reflecting their pivotal role in modern technological advancements. Industry analysts largely agree with Ives, pointing to the immense demand for Nvidia's Blackwell GPU. Named after David Harold Blackwell, a distinguished mathematician and statistician, this next-generation GPU has been forecasted to drive Nvidia's sales and market capitalization to unprecedented levels.

Reports indicate extraordinary demand for Blackwell GPUs, with projections of record-breaking sales and inventories sold out for the next year. These factors highlight Nvidia's sustained dominance in the AI hardware market and its potential for continued financial and technological leadership.

A potential headwind for Nvidia lies in the prospect of global tariffs proposed by US president elect Donald Trump. Tariffs on imported goods could significantly impact companies like Nvidia, which depend on a global supply chain, including critical components manufactured abroad, particularly in Taiwan.

While Trump has frequently expressed opposition to China, some of his past statements have created uncertainty regarding U.S. support for Taiwan in the event of geopolitical conflict with China. This ambiguity has heightened concerns within the semiconductor industry, given Taiwan's pivotal role as home to Taiwan Semiconductor Manufacturing Company (TMSC), the world's largest contract chipmaker and a key supplier of Nvidia's advanced chips. Any disruption in Taiwan could severely impact Nvidia's supply chain and manufacturing capabilities, posing risks to the availability of critical components.

Nvidia has already encountered hurdles in the Chinese market due to existing trade restrictions, which have curtailed its revenue streams from the region. Some analysts speculate that a potential Trump administration might relax restrictions on advanced chip sales to select nations, including China. However, proposed global tariffs could introduce additional complexities, potentially affecting Nvidia's operations and supply chain dynamics.

Huang recently affirmed Nvidia's readiness to comply with any trade regulations that may be implemented under a Trump presidency (it's worth noting that Huang was among the few prominent tech leaders who refrained from congratulating Trump following his election, a detail that may add nuance to Nvidia's positioning in evolving trade and geopolitical landscapes).

Despite these uncertainties, Nvidia's strategic importance remains unparalleled. As a leader in AI innovation and a cornerstone of advancing technologies, the company is increasingly becoming a critical asset to U.S. national security interests.

But let's go back to tech-inspired art and accessories: PC enthusiasts looking for more affordable designs (from wall art pieces to keyrings and jewelry) made from repurposed GPUs wall art to keyrings and jewelry crafted from old CPUs may head to Etsy. For those with a DIY spirit, recreating their own version of the GPU bag isn't out of reach: GeForce GT 730 GPUs can still be found on eBay at times for less than $50 (the luckiest ones may even have an old computer that they can dismantle...).

As for Nvidia's potential ties to the fashion world, the opportunities could be vast. From creative collaborations and sponsorships to generative AI-driven fashion, there's plenty of unexplored territory. Perhaps it's time for Nvidia to strengthen its connections with established fashion designers and bring its technological prowess into the fold of the fashion industry.

Redefining Consumer Engagement in the Digital Era: Prada & Miu Miu Bags X Snapchat's Bitmoji

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The history of department stores shows us the power of creating desire through perfectly curated displays. Think of the iconic Christmas windows in cities like London and New York or luxury store installations that collaborate with artists and architects to craft unforgettable experiences.

A recent standout, for example, is OMA's Shohei Shigematsu's design for the Louis Vuitton flagship on 57th Street in Manhattan. This temporary space (planned to run for two to three years) features mesmerizing 16-meter-high towers of stacked trunks - a tribute to the verticality of Midtown Manhattan.

But we live in an era of constant change, and brands must connect with consumers across diverse platforms and spaces, both physical and digital. The rise of digital fashion and virtual wardrobes began a few years ago, gaining momentum during the Covid-19 pandemic in 2020. What started as a niche interest has evolved into a vibrant new frontier, spanning everything from designs for video game characters to bespoke creations for avatars.

Personalizing an avatar to reflect your IRL self or creating a stylish virtual persona that inspires your physical wardrobe has evolved beyond its earlier, more superficial roots. Collaborations between tech companies and fashion brands are driving this shift, even if some early efforts, like Balenciaga, Prada, and Thom Browne's designs for the Meta Avatar Store, didn't quite resonate with consumers.

Roblox's 2023 Digital Expression, Fashion & Beauty Trends Report sheds light on this transformation. Among over 1,500 Gen Zers in the U.S. and UK active on platforms like Roblox, 56% said virtual styling holds greater importance than their physical-world fashion choices.

This sentiment is even stronger among older Gen Zers aged 22–26, with 64% prioritizing avatar styling over real-world outfits. The proof is in the numbers: nearly 1.6 billion digital fashion items and accessories were purchased on Roblox Marketplace last year alone. Additionally, 84% of Gen Z respondents said they would be more likely to consider wearing a brand in real life after purchasing items from that brand for their avatars.

Things are rapidly evolving with more collaborations. At the Snap Partner Summit in September, Snap Inc. (the developer of Snapchat and owner of Bitmoji) announced new designer handbags. The accessories - Prada's Small Galleria Bag in Saffiano leather (though our digital avatars will never be able to touch real Saffiano leather…) and Miu Miu's Wander Bag - launched yesterday. Unlike their physical counterparts, these items are much more affordable (priced under 11 euros). Bitmojis can now wear the bags across Snapchat, from profiles and stickers to the Snap Map and Lenses.

While not all brands have ventured into digital design for avatars, those that have recognize the deep connection between users and their digital selves. A digital bag bought for an avatar today could very well lead to a real-world purchase in the future, especially as these users are still young. Engaging users at this playful, game-like level can indeed build lasting connections with consumers and even introduce them to fashion.

This collaboration marks Bitmoji's first foray into bags, but it's not their first fashion offering. Users can also choose from 14 Miu Miu garments, including a chino miniskirt, cropped knitwear, and woolen pants, as well as 18 pieces from Prada, such as a cashmere cardigan and a re-nylon baseball cap.

And if Miu Miu and Prada aren't to their taste, users can explore digital offerings from brands like Valentino, Ralph Lauren, Off-White, Carhartt, Adidas, Crocs, Converse, Nike, and more (or they may opt for the "Beauty Drops" that replicate real-world makeup products for their avatars).

Some of these digital items are available for free, promoting their real-world counterparts, while others require a purchase. For example, Valentino’s Bitmoji Luxury collection last year - including a Crêpe Couture Dress, Embroidered Blazer, and Rockstud Pumps - could be unlocked by redeeming Snap Tokens (80 to 1,100 tokens, available for purchase in the Snapchat Token Shop).

Brands obviously take a share of these sales, but the appeal for fashion houses goes beyond these (somehow smaller) immediate profits. They're indeed betting on the long-term value of cultivating digital engagement, which, as stated above, could translate into real-world purchases down the line.

Snapchat has become a major player in the fashion scene, with users turning to the platform not just for shopping but also for sharing opinions, seeking advice, and making buying decisions through chats. One of the app's most popular features – the Augmented Reality (AR) Lenses - also plays a significant role in enhancing the shopping experience.

Snapchat's partnerships with luxury brands, particularly in the augmented reality (AR) ecosystem, have gone from strength to strength. As mentioned in a previous post, back in 2019, Louis Vuitton unveiled a collaboration at VivaTech in Paris, allowing visitors to unlock a virtual version of their Keepall bag using a Snapcode. In 2021, Snap Inc. expanded its AR offerings with the launch of its first Bag Try-On AR Lens, which included a selection of Prada purses (Snap Inc. and Prada have been working together since 2017). Over the years, other prestigious brands, such as Cartier, have followed suit, introducing shoppable AR experiences like Cartier's AR Lens that lets users try on its designs virtually.

These AR experiences are poised to be further enhanced with Snapchat's Spectacles AR glasses, which hold significant potential across multiple industries, including fashion (in a way the sunglasses included in Prada's Spring/Summer 2025 men's collection made a nod to AR glasses by incorporating mirrored lenses in their designs, creating visual illusions of beach views, marble statues, and sailing boats on the horizon).

In essence, the handbags for Bitmoji avatars are just the beginning - a temporary digital accessory and a preview of the immersive AR experiences that may become commonplace in the near future (more virtual try-ons, but also interactive runway experiences, ad campaigns or even collections of patterns from the archives to overlay on the real-world... the possibilities, as you may guess, are endless). And though small, a handbag can easily steal the spotlight. Last week, Charli XCX carried a black Gucci Jackie shoulder bag ifrom the luxury fashion label's A/W 2024 collection during her "360" performance on Saturday Night Live, puzzling fans (why carrying a bag during a live performance?). Who knows, perhaps it marked a new phase for the "Brat" artist, just like Prada & Miu Miu Bags X Snapchat's Bitmoji may be ushering in a new era of digital opportunities involving fashion. Looks like whether physical or digital, handbags are being used as symbols and metaphors for something bigger on the horizon.

An Architectural Exploration of the Cathedrals of Consumerisms: "La Saga des Grands Magasins" @ The Cité de l'Architecture et du Patrimoine, Paris

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Writing an essay on the influence of department stores is a substantial undertaking, requiring an extensive list of references, not least of which would be Émile Zola's Au Bonheur des Dames (The Ladies' Delight or The Ladies' Paradise, 1883). However, to truly understand the architectural significance of these retail palaces, a visit to Paris' Cité de l'Architecture et du Patrimoine latest exhibition may be a must.

While the exhibition that recently closed at the Musée des Arts Décoratifs, "The Birth of Department Stores," looked primarily at the social, commercial, and recreational aspects of these establishments, the Cité de l'Architecture offers a unique point of view through its exhibition "La Saga des Grands Magasins" (The Saga of the Department Stores; until 6th April 2025). This exhibition seeks indeed to uncover the architectural history of these monumental temples of consumerism, examining both their internal and external designs. For those whose interests lean more towards fashion than architecture, the exhibition also offers a wealth of material to satisfy such tastes, from clothes and accessories to textile samples.

The golden age of French department stores began in the mid-19th century, coinciding with the industrial and transportation revolutions. Opening a department store during this period meant carefully studying the urban fabric of cities and strategically positioning stores in areas that would influence the city planning.

In 1869, French entrepreneur Aristide Boucicaut launched the first modern department store, Le Bon Marché, on Paris's Rue de Sèvres. The architect behind this pioneering project was L.A. Boileau, who employed an innovative iron frame structure with large glass windows to showcase displays, a design concept inspired by the multi-story buildings in New York created by American businessman Alexander Turney Stewart in the late 1840s. Boucicaut's creation, Le Bon Marché, became an emblem of modern retail architecture, and its influence extended far beyond Paris.

From a mere commercial enterprise, the store soon became a cultural and architectural symbol of the time: fascinated by Le Bon Marché, Zola asked the store to give him a complete tour in 1882, a request that he was readily granted. His portrayal of the store owner, Octave Mouret, in Au Bonheur des Dames was directly inspired by Boucicaut.

Following the success of Le Bon Marché, other department stores soon followed, including Les Grands Magasins du Louvre, Les Grands Magasins Dufayel, Le Printemps, La Samaritaine, and Les Galeries Lafayette. These "cathedrals of modern commerce," or of consumption, as Émile Zola aptly described them, represented far more than mere retail spaces. They were transformative environments, redefining the act of shopping. The sheer variety and careful display of goods, coupled with the grandeur of their architecture and atmospheric design, created a sensory experience that invited customers to enter a new realm, a utopia of products. Shopping itself became a pleasurable and desirable activity, not merely a transaction.

This shift in consumer experience brings to mind a quote from Walter Benjamin's Arcade Projects: "For the first time in history, with the establishment of department stores, consumers begin to consider themselves a mass. (Earlier it was only scarcity that taught them that)." The architectures of department stores played a key role in this transformation, they offered a space where individuals could collectively engage in the act of consumption, reshaping them as a unified social group.

Parisian department stores were characterized by their lavish interior design, which encouraged visitors to linger and explore, immersing themselves in a world of fantasy among the opulent displays. These 19th-century buildings boasted grand entrances, sweeping staircases, columns, and gilded elements - features that elevated the shopping experience to a form of leisure.

Taught at the École Nationale Supérieure des Beaux-Arts, this architectural style influenced department stores far beyond France, from El Palacio de Hierro in Mexico City to Magasin du Nord in Copenhagen. As evidenced by the exhibition posters, the domed design of Le Printemps also inspired store architecture in countries as diverse as Bulgaria and Egypt.

It wasn't just the architectural styles that were replicated across borders; many of the department stores expanded internationally, with La Samaritaine, for example, opening outposts in Buenos Aires and London.

In some cases specific architectures or features of the department stores became landmarks of Paris, standing alongside other historic monuments like the Eiffel Tower, the Sacré Cœur, and the Arc de Triomphe. Among the others the neo-Byzantine-infused polychrome glass cupola of Galeries Lafayette (the store was revamped in 1912). Created by master glassworker Jacques Grüber, the dome complemented the gilded ironwork balconies by Louis Majorelle.

The exhibition at the Cité de l’Architecture offers a detailed exploration of this phenomenon, blending technical information with immersive visual displays. Visitors are presented with architectural and site plan drawings, models, and even original architectural elements like sections of staircases and doors. The historical documents on display were sourced from the archives of the International Association of Department Stores (IADS), while private collections from the stores themselves contributed tile mosaics, stained glass, and other interior design pieces.

This exhibit also complements the previous exhibition at the Musée des Arts Décoratifs, which focused on the advertising and commercial aspects of these iconic spaces. Here, visitors will find posters and catalogs, many of which feature illustrations by artists. For fashion enthusiasts, on loan from the Musée d'Orsay and Palais Galliera fashion museum, there's a display of fashion dolls offering a glimpse into the fashion culture of the time.

Fans of Zola will find a treat as well: an original handwritten version of his novel Au Bonheur des Dames, displayed publicly for the first time, with the accompanying notebook.

The exhibition also highlights works that suggest the growing freedom of female shoppers, as symbolized by the first public women's toilet built within Le Bon Marché. Jean Béraud's painting "Parisienne sur la place de la Concorde" symbolizes this shift, illustrating the changing role of women in the city and society (something to ponder for visitors who may want to explore more this point is the ambivalence in Zola's portrayal of Octave Mouret, the department store owner. While Mouret seeks to conquer women as consumers, he simultaneously desires to elevate them to queens of this new world of commerce, blurring the line between empowerment and objectification – while exploring this exhibition wonder in which ways architecture played along with this ambivalence).

For those interested in the commercial side of department stores, the exhibition offers a look at marketing strategies and retail events - from loyalty programs to specialty items like branded postcards and fans, in-house clothing lines and special seasonal sales designed to draw in customers (like the biannual "White Sales" on linens). These marketing innovations and their impact on shopping culture are explored through documents and archival advertisements on display.

The success of department stores was immediate, and they grew rapidly until the interwar period. However, by the 1930s to 1980s, the rise of supermarkets and superstores forced department stores to adapt. To survive, they transformed into "selling machines," rationalizing space and employing marketing strategies.

As architecture evolved post-World War II, so too did department stores. Following Le Corbusier's modernist style, stores opted for closed box-style façades and reorganized internal layouts. Advertising and marketing also adapted, with playful TV ads and artistic collaborations (yes, even Salvador Dalí designed window displays…). From mere temples of consumption, department stores also turned into places to study consumer behavior.

Yet, as the decades passed, while retaining their cultural influence, the sensory experience of shopping began to fade. From the 1980s onwards, economic crises and competition with supermarkets prompted department stores to reassess their role in society. Some closed, while others rediscovered their architectural identity to reconnect with their original commercial appeal.

The rise of online shopping and globalization in the 1990s disrupted traditional models, further transforming consumer behavior. To remain relevant, department stores had to evolve, focusing on experience and service rather than just shopping.

Architecture played a big role in revamping modern department stores. The rediscovery of their architectural identity through projects with famous architects and design studios has indeed allowed many department stores to reconnect with the essence of their original commercial appeal.

Examples include Rem Koolhaas' Office for Metropolitan Architecture redesigning Berlin's KaDeWe and Future Systems' redesign of Selfridges in Birmingham. The architectural reinvention of department stores is also evident in China, where new models, such as the SKP outposts in Chengdu and Xi'an, point to the future direction of these retail spaces.

There’s plenty of time to visit the event as it will run until next year, so, before going it may we worth re-reading Zola's Lady's Paradise, or watching some of the films included in the special screenings at the museum, from Charles Reisner's "The Big Store" (1941), starring the Marx Brothers, to "The Store" (1983) the documentary by Frederick Wiseman about the employees and shoppers at the Neiman-Marcus department in Dallas, Texas, during the holiday season. Or you may try and rediscover some early films from other countries linked to this theme, including Mario Camerini's "I grandi magazzini" (Department Stores, 1939) and Glauco Pellegrini's 1956 film "Una pelliccia di visone" (A Mink Coat).

If you're a fashion design student, re-read Zola, but also think about how you can repurpose these materials for your own studies, research, and collections. Could quotes by Zola or Benjamin inspire your work? How about using site plans as prints or incorporating ideas inspired by interior design elements into accessories and jewelry pieces? The possibilities are endless, just play into the early desirability that department stores once created.

Beauty & Bytes: Estée Lauder Integrates Custom GPTs into the Company Framework

It has been two years since OpenAI launched ChatGPT, and in that time, significant developments have taken place, including debates over artificial intelligence (AI), copyright lawsuits, and assorted dramas.

A key shift has been the evolving perception of AI tools. In 2023, concerns were high over potential copyright infringements and the impact of AI-generated content. By 2024, however, strategic partnerships between major organizations and AI leaders like OpenAI signaled a more integrated approach.

One notable example came in April 2024, when the Financial Times (FT) announced a strategic partnership and licensing agreement with OpenAI. This collaboration aimed to enhance ChatGPT's capabilities by incorporating attributed content from FT journalism. The partnership allows ChatGPT to deliver attributed summaries, direct quotes, and rich links to FT articles, enriching responses with high-quality, reliable information and improving the model's relevance.

Moreover, the Financial Times adopted ChatGPT Enterprise, a version of OpenAI's tool designed for organizational use, first launched in August 2023. By providing all FT employees with access to this platform, the publication aimed to ensure its teams were proficient in leveraging AI technology.

In October 2024, Hearst announced a content partnership with OpenAI, integrating its vast newspaper and magazine content into OpenAI's ecosystem. This move expanded the breadth and depth of available content for OpenAI's products, enhancing their utility. Publications such as the Houston Chronicle, San Francisco Chronicle, Esquire, Cosmopolitan, ELLE, Runner's World, Women's Health, and others were included in this partnership, spanning over 20 magazine brands and 40+ newspapers.

The broader potential of ChatGPT has therefore become more evident and more companies are now trying to maximize its capabilities, as demonstrated by the latest high-profile collaboration.

Estée Lauder Companies (ELC), a global leader in prestige beauty with a portfolio of over 20 iconic brands - including Clinique, La Mer, Bobbi Brown Cosmetics, and Aveda - recently adopted ChatGPT Enterprise. This move was designed to empower employees and enhance customer engagement. ChatGPT Enterprise offers advanced customer support, assisting with technical and service inquiries, while providing higher speed, more powerful processing, and customization options that align with a company's specific needs and branding. 

Beyond these features, ChatGPT Enterprise offers robust security, privacy protections, and scalability, its ability to handle large number of users and higher volumes of data making it adaptable for organizations of all sizes. Besides, its suite of admin tools and analytics equips businesses with greater oversight and actionable insights, paving the way for improved operational efficiency and innovation.

These features ultimately must have convinced ELC to adopt ChatGPT Enterprise. Jane Lauder, Chief Data Officer & EVP of Enterprise Marketing and a member of ELC's Board of Directors, highlighted in a press release the company's need for a version of ChatGPT that safeguarded their "most valuable asset" - over 75 years of consumer data gathered from surveys, clinical trials, and product usage.

Developing ELC's custom Generative Pre-trained Transformers (GPTs) was an in-depth process. When ChatGPT was launched at the end of 2022, while other companies were exploring initial AI integration for workforce reductions, ELC approached its employees directly, inviting them to share how they envisioned using AI tools. This initiative garnered over a thousand submissions, showcasing internal enthusiasm. This led to the creation of ELC’s GPT Lab - a collaborative, cross-functional unit tasked with developing tailored GPTs in partnership with OpenAI.

Within the GPT Lab, teams composed of business users, subject matter experts (SMEs), and technical leads worked methodically to design and build specific GPTs. They rigorously defined each project's purpose, scope, and target audience, asking critical questions about the need and potential value of each model. Data collection and preparation were followed by comprehensive testing to ensure accuracy and reliability before deployment.

Currently ChatGPT has become an essential part of ELC's operations, with over 240 custom GPTs integrated into workflows.
Among their notable achievements was the development of the Fragrance Insights GPT. This tool empowered the Fragrance Foresight team to extract insights from vast consumer survey datasets, identifying trends and preferences that informed product development aligned with diverse demographics.

Another significant innovation was the Clinical Trial Data GPT. This model streamlined the extraction of key insights related to skincare product efficacy. For example, it can answer specific questions (such as "what are the immediate moisturization improvement percentages after using the Advanced Night Repair Serum?") based on thousands of clinical trial reports, all accessible through a simple query.

There is also a Copywriting GPT, a tool tailored to craft detailed, brand-aligned content across various platforms, enhancing the quality and consistency of ELC's communication. Another innovation, the Vendor Snapshot Creator GPT, synthesizes comprehensive profiles of vendors, detailing purchase histories and key insights to support informed business decisions.

The benefits of these advancements are notable. Tasks that previously required hours of research, such as verifying product efficacy claims, can now be completed in minutes, saving time and resources. This efficiency contributes to faster product launches, enabling ELC to respond more swiftly to evolving consumer trends. The widespread adoption of these AI solutions within the company reflects a positive shift, with more teams seeking to integrate GPT capabilities that can drive operational efficiency and help maintaining the company's competitive edge in a dynamic industry.

Rather than viewing AI as a disruptive force that threatens job security, ELC has redefined its relationship with technology, positioning ChatGPT as a collaborative tool that enhances human productivity. This approach has transformed ELC into an AI-empowered organization.

In contrast, many fashion houses still seem focused on using AI for more niche applications such as ad campaigns and design concepts. This limited view misses broader opportunities. ChatGPT Enterprise could indeed revolutionize processes for fashion brands by enhancing customer experience through personalized virtual assistants, optimizing e-commerce strategies, generating content for marketing and social media, analyzing data, and streamlining design research with insights from archives and brand history.

Actually, there have been experiments between fashion houses and GPTs: last year, as you may remember, Ganni turned to Danish digital artist Cecilie Waagner Falkenstrøm to create a purpose-built GPT that was then used during a runway show to engage members of the audience. While this was an intriguing use of AI in fashion, the most impactful application of this technology lies in streamlining research and operations, like in the case of Estée Lauder and OpenAI collaboration.

Henry van de Velde Awards 2025: From Sustainable Designs & Caregiving Innovations to Data-Driven Textiles

It's that time of year when the winners of the Henry van de Velde Awards are announced. Since 1994, these awards have recognized products, projects, services, and systems by designers and companies from Flanders that use thoughtful design to positively impact the economy, environment, and society.

A professional jury recently selected winners in eight categories: Business Innovation, Consumer, Crafts by Bokrijk, Design Research, Environment, Graphics, Habitat, and Spaces.

This year's selection includes some noteworthy designs. In the Business Innovation category, the Caretool by S!MPLR S!MPLR stands out. This lightweight, durable tool combines essential items for caregivers - scissors, ampoule opener, ruler, magnetic key, bottle opener, and clamp - in a compact, user-friendly form.

Also in this category, the Open Access Breast Couch by Max Schoepen and Radion-D provides a positioning platform for chest radiotherapy that allows patients to lie on their stomach for more precise radiation delivery.

Eco-friendly designs are also featured: the Verde KinetiCore by Lazer Sport is a bicycle helmet that minimizes material use by reducing components.

Seventy percent of the components are recycled, and the entire helmet can be easily disassembled and recycled as no glue is used (this design could inspire the fashion industry to adopt similar sustainable practices, especially for accessories; so far experiments to eliminate glue especially from shoes haven't been that successful yet, but there are researches in that direction…).

In the Habitat category, there is eco-friendly tableware made from discarded plates, which preserves materials and reduces energy consumption.

Some products were included in more than one category. The Gent Waste Brick for DING by BC materials was recognized in both the Design and Environment categories.

This brick, set to be used in the new wing of the Design Museum Gent, is made from lime, sand, white cement, and 63% raw materials sourced from Gent's waste streams, including crushed concrete and construction glass. The production method avoids traditional firing; instead, the bricks are pressed, cured, and dried.

In the Graphics category, the Safer Streets light installation by Mutant, styled like classic Christmas lights, addresses and raises awareness towards street harassment targeting women.

Tosca is another standout in this category: at first glance this innovative book by Jelle Jespers appears blank, but it hides a novel within a collection of poems, accessible by cutting open the pages. The chosen typography, paper, and techniques align perfectly with the book's narrative.

Architects instead will be drawn to spatial projects like 019, selected in the Space category. This transdisciplinary platform, collective and building encourages experimentation, collaboration, and interaction between disciplines, in particular architecture, graphic design, and visual art.

The "Crafts by Bokrijk" category is particularly interesting for fashion and textile designers. One of the winning projects, Al Khat by Gillis & Aniss, is a multifunctional textile inspired by the haïk, a traditional Moroccan garment and interior design object.

The design, crafted from Belgian wool spun at an artisanal mill and woven on industrial Flemish jacquard looms, reflects the designers' Flemish and Moroccan heritage. The pattern, resembling a deconstructed barcode, comments on overconsumption and symbolizes a link between crafts and industry. This project aims to revive the local wool industry and prevent wool, a valuable material, from being incinerated due to overseas competition.

Flora Miranda's IT Pieces project explores instead the intersection of data, technology, and textiles.

Since her master's collection at the Antwerp fashion academy in 2014, Miranda developed an interest in quantum physics and data, wondering how she may have connected these themes to the world of art and fashion.

Miranda combined digital innovation with traditional methods, using machine learning, 3D printing, laser cutting, weaving, and embroidery to create clothing that narrates stories and demonstrates how technology can reshape fashion.

The starting point for the designs included in the IT Pieces project is the gathering of data: designs range from embroidering data onto tulle to sublimating data insights about employees and customers into prints.

Other designs draw inspiration from hashing algorithms and the data underlying the Standard and Poor's 500 (S&P 500), a stock market index tracking the stock performance of 500 of the largest companies listed on stock exchanges in the United States.

Miranda's designs also include generative artworks translated into woven textiles, 3D-knitted designs, and experiments involving physical research inspired by Myrrha (Multi-purpose HYbrid Research Reactor for High-tech Applications), the world's multi-functional first research reactor powered by a particle accelerator. The aim of Miranda IT Pieces project is to demonstrate that programming is a creative tool and that it can be seamlessly integrated with fashion, transforming seemingly mundane, dry, and uninspiring data into visually striking and conceptually rich creations.

While the Henry van de Velde Award winners have been revealed, the Gold, Silver, and Bronze Awards for each category will be announced in January. Additionally, recipients of the Lifetime Achievement, Young Talent, Company, Ecodesign by OVAM, and Public Gold Awards will also be recognized. Public voting for the National Lottery Gold Award is open until December 19, 2024 at henryvandevelde.be

Ecology & the Feminine Struggle in World at Risk Seen Through "Opus Siniestrus: The Story of the Last Egg" (1970) by Leonora Carrington

The talks at the UN Climate Change Conference in Baku, Azerbaijan, will continue through November 22nd, yet, for the time being, participants are increasingly frustrated by the limited progress achieved. Solutions for steering the world onto a sustainable path to prevent climate catastrophe, reduce greenhouse gas emissions, and mitigate climate migration remain indeed elusive.

Amid these challenges, a report released two days ago by the Climate Action Tracker project underscored a stark reality: global heating is continuing to rise. Although world leaders have pledged to limit global temperature increases to 1.5°C (2.7°F), current policies are setting the world on a course toward a 2.7°C increase.

To reflect on climate change and the fate of our planet through an artistic and allegorical lens, revisiting the ecofeminist play "Opus Siniestrus: The Story of the Last Egg" (1970) by Leonora Carrington offers profound insights.

Set in a dystopian future where patriarchal forces have ravaged the natural world, this play envisions a post-apocalyptic landscape in which only one woman survives - a former brothel madam. This old woman, embodying the enduring feminine archetype, becomes the bearer of humanity's last hope - an egg - holding the fate of the planet in her hands.

Carrington's depiction of the woman is in some ways anticipated by her 1947 painting "The Giantess (The Guardian of the Egg)," which evokes protection and creation, while the symbolism of the egg first emerged for Carrington during her time in a Spanish asylum in the early 1940s.

Since then the egg turned into a recurring trope throughout Carrington's works, symbolizing life, fertility, and the feminine. In this play, it embodies potential and creation, representing wonder and the balance between destruction and the promise of new beginnings, rebirth and the delicate balance of existence. The egg's symbolism is intertwined with a profound commentary on society, in a world ravaged by patriarchal systems of violence, war, the corrosive power of money, capitalism and ecological destruction.

The woman must battle against patriarchal forces to protect the egg as various characters seek to interact with it, their desires and fears exposing themes of greed, control, and the repercussions of oppressive power structures.

The characters in "The Story of the Last Egg" often wear masks, symbolizing layers of identity, concealment, and the mutable nature of reality. The use of masks in Carrington's play adds another layer of meaning, inviting readers to question the true nature of the characters and the forces at play, suggesting that outward appearances may conceal deeper truths. In the play, masks are indeed both literal and metaphorical, with characters disguising their true intentions and transforming their appearances, embodying deception and ambiguity. The motif of the mask also underscores themes of power and ritual, reflecting Carrington's fascination with esoteric practices and her deep connection to symbolic and mythological elements.

Some of the masks - designed by Carrington and crafted by Jane Stein and Vita Giorgi - were made from materials such as mesh, felt, cane, yarns, and leather. Although funding for the production of the play was never fully raised, Carrington and her team developed some of the costumes and now three masks (Little Mermaid mask, Green Mask with Eyelashes & Double-Sided Mask) are part of the "Modern Day Auction" that will be held on 19th November at Sotheby's in New York. 

For fashion designers, these pieces may be intriguing from the point of view of materials and inspirations as well, since they showcase Carrington's enduring fascination with themes of fertility, mysticism, ecology, female empowerment, and magical realism. Revisiting "The Story of the Last Egg" may offer us instead new perspectives on modern climate change issues, inviting a deeper contemplation of resilience and the role of women in restoring harmony between humanity and the natural world.