I've always used my academic spaces at runways to experiment with head-turning looks, queering the world as I pass through it. The sidewalk-runway-fantasy allowed me to find my most honest self. It was respite from my negative queer experiences growing up. I have nostalgia for those experiences, particularly one centering green, teal, and blue shoes, because I now treat them as moments that reaffirm the fabulosity of my queerness. I'm also nostalgic for the fantasy; the pandemic has limited my sidewalk use. It's also prevented social occasions, making the few moments of sidewalk even more a moment of occasion.
In response to exacerbated inequality during the 1830's, 1930's, 1940's, and 1960s, the american and european fashion world romanticized by exoticizing asian aesthetics. They inevitably distorted their inspiration but did so in a manner that minimizes those cultures. Though it's upsetting, the distortion inspired me to think about ways I could distort the diaspora northwest indian folk aesthetics that I grew up around. It allowed me to control the distortion of my cultures. The collection also allowed an exploration of how I could use virtual fabric and editing tools to distort what began as nondigital art. In short, I've found myself colorizing romanticism
The eras also inspired me in ways less related to exoticism. Wasp waists were popular in europe in the 1830s and 1840's. Now the silhouette is becoming more common in the world of drag corseting (rather than typical hourglass silhouettes).
I happened upon the moire effect when the pixels of my laptop screen interacted with a pattern of digitized bandhani (a south asian resist tie-dye technique). I decided to play with it in the collection by, for example, layering two capes with slightly different bandhani patterns.
I made these garments to feel my fantasy, so the model avatar had the same measurements as my body in a corset. I also edited some of the software's texture files to add makeup and change the colors of the body. With little fabric restrictions, I was able fantasize even more than I can in non-virtual spaces.
garment design and visualization was made possible by Clo 3D software