Dreamlike and futuristic, the work of designer Iris van Herpen is set to show at the Brooklyn Museum in New York in May 2026. The opening will mark the North American debut of the traveling exhibition, dubbed Iris van Herpen: Sculpting the Senses, which brings more than 140 couture works into dialogue with design and scientific artifacts.

The museum has a long history of fashion exhibitions, and this one situates Iris van Herpen’s practice within a broader design conversation. Exhibits showcase how her garments operate as constructed environments for the body, shaped by material research, digital fabrication methods like laser-cutting and 3D printing, and a sustained engagement with natural systems.

Iris Van Herpen, Morphogenesis Dress, from the Sensory Seas collection, 2020. laser-cut and screenprinted mesh, duchesse satin, and laser-cut Plexiglas. collaborator: Philip Beesley. model: Yue Han. photo © David Uzochukwu

digital fabrication for dreamlike creations

Throughout the galleries of the Brooklyn Museum, Iris van Herpen’s garments appear as sculptural forms in motion and unaffected by gravity. Laser-cut meshes, layered polymers, and translucent synthetics register subtle shifts in posture and movement. This way, the designer gives each piece a sense of responsiveness as rippling designs often hover between rigidity and flexibility.

Many works foreground the mechanics of making. Three-dimensional printing, hand pleating, and experimental bonding techniques remain visible, so that the visual language is defined by its fabrication processes. This emphasis on construction aligns the exhibition closely with industrial design and architecture, where form is guided by material behavior rather than just decoration.

Iris van Herpen, Labyrinthine Kimono Dress, from the Sensory Seas collection, 2020. glass organza, crepe, tulle, and Mylar. model: Cynthia Arrebola. photo © David Uzochukwu

iris van herpen’s scientific references

Scientific reference points shape the exhibition design of Iris van Herpen: Sculpting the Senses, as marine biology, anatomy, physics, and astronomy inform the sequencing of the Brooklyn Museum galleries. As such, the progression of spaces moves from themes of aquatic environments toward cosmic scales. But these disciplines are more than just backdrops. They influence how garments occupy space and how viewers circulate among them.

Scientific artifacts and contemporary artworks appear alongside the couture pieces to reinforce this approach. Fossils, skeletal structures, and even optical experiments echo the garments’ geometries. The effect remains measured and deliberate, encouraging close observation rather than quick a walkthrough.

Iris van Herpen. Sensory Seas Dress, from the Sensory Seas collection, 2020. PETG and glass organza. collaborator: Shelee Carruthers. models: Cynthia Arrebola and Yue Han. photo © David Uzochukwu

Iris Van Herpen, Morphogenesis Dress, from the Sensory Seas collection, 2020. laser-cut and screenprinted mesh, duchesse satin, and laser-cut Plexiglas. collaborator: Philip Beesley. model: Yue Han. photo © David Uzochukwu

project info:

name: Iris van Herpen: Sculpting the Senses

artist: Iris van Herpen | @irisvanherpen

museum: Brooklyn Museum | @brooklynmuseum

location: 200 Eastern Parkway, Brooklyn, NY

opening: May 16th, 2026

photography: © David Uzochukwu | @daviduzochukwu

The post iris van herpen’s ethereal garments to show at brooklyn museum this may appeared first on designboom | architecture & design magazine.

Reactive bioluminescent algae lights up the haute couture dress of Iris van Herpen during the Paris Haute Couture Week on July 7th, 2025. Co-created by biodesigner Christopher Bellamy, also known as Bio Crafted, the dress named Look 1 carries 125 million bioluminescent algae around it, illuminating on the runway staged with the light sculptures and set design of artist Nick Verstand. In an interview with designboom, Chris Bellamy tells us that he initially developed encapsulating the bioluminescent microalgae in collaboration with indigenous artists and scientists in French Polynesia. ‘A bespoke 35-step process was developed, which encapsulates the algae in a nutrient gel and a protective coating and allows them to live for many months. This was possible thanks to an artist residency at the University of Amsterdam in the Soft Matters Group,’ he shares with us.

Once encapsulated, the algae only require regular sunlight to photosynthesize and maintain their circadian rhythm. The biomaterial can live for many months, even during hot weather conditions, and Chris Bellamy says that he also has samples that have been alive for more than a year. ‘However, as this new material is so experimental, we are still working to understand what exactly is going on,’ he explains to us. ‘To help keep the algae in perfect condition for the show, a bespoke full-size climate chamber was developed for the garment so that it can be exhibited in different locations and maintain its circadian rhythm.’ The biomaterial is an evolution of Chris Bellamy’s previous project, Lucid Life | Marama Ora (2024), the starting point of his research on encapsulating microalgae. For the biodesigner and maison, developing the algae dress is a collaborative effort, as they need to keep the microorganisms alive through two heatwaves and while transporting them to Paris for the Iris van Herpen show for the haute couture.

all images courtesy of Chris Bellamy of Bio Crafted, unless stated otherwise

Living microorganisms encapsulated in nutrient gel

The collaboration between Iris van Herpen and Chris Bellamy of Bio Crafted allows the two to tap into the capabilities of living microorganisms such as algae. The biomaterial is reactive too; as the wearer moves, the dress glows gently, emitting a bluish glow that lights up in the dark. The maison and biodesigner say that the bioluminescent algae are placed in seawater and then encapsulated inside a nutrient gel that keeps them alive for a long time. The dress with bioluminescent algae forms part of the collection Sympoiesis, the recent series from Iris van Herpen shown in Paris Haute Couture Week. As the model walks, wearing Iris van Herpen’s algae dress co-created with Christopher Bellamy, the set design also glows in the background through the light sculptures by artist Nick Verstand. These artworks, called biospheric, add more light to the show, making the bioluminescent algae embedded into the Iris van Herpen dress glow even brighter. 

‘The vision to have a fully living garment that illuminated while on the runway in Paris was incredibly ambitious. On top of that, the design had to match the level of intricacy and detail expected with Iris’ work. To achieve this, we had to develop an entirely new process to encapsulate and form the algae,’ Chris Bellamy shares with designboom. It took them and the design team around four months of biotechnological process to develop the dress and match its detail and aesthetics to the rest of the Sympoiesis collection, but the biodesigner tells us that he only had a breakthrough finishing the illuminating material just 24 hours before the deadline. The project was only possible to develop in person, and thanks to an artist residency at the University of Amsterdam in the Biophysics and Soft Matters research group, completing the Iris van Herpen algae dress was realized in time for the show.

reactive bioluminescent algae lights up the haute couture dress of Iris van Herpen in Paris

refrigerated trucks to keep the algae dress alive

Because of the time restrictions, Chris Bellamy and Iris van Herpen had to rely on their intuition and gut feeling in developing the algae dress, instead of approaching it in a scientific manner. Luckily, the biodesigner had been knee-deep into the research for two years then, so he was already backed up by personal experiences with the living microorganisms. ‘The final process was incredibly complex, with 35 steps, and required very specific materials, formulations, and techniques. The final challenge was keeping the dress alive while traveling between countries for the show and in the chaos of a show environment,’ he explains to designboom.

To make this happen, the Iris van Herpen team was involved in a logistical trope, renting refrigerated trucks and putting wireless humidity alarms in place that worked under red light to keep the algae dress alive and ready to glow in the dark during the show. ‘Iris was the perfect collaborator, pushing and challenging the design but also learning and adapting as we understood more about the living organism and their behaviors,’ says Chris Bellamy. Back in 2024, the biodesigner worked on and researched the bioluminescent microalgae for just about over nine months. The same algae now flows through the Sympoiesis dress of Iris van Herpen during the Paris Haute Couture Week, which runs between July 7th and 10th, 2025, following the signature coral-inspired designs of the fashion designer.

for the dress, a 35-step process was developed, which encapsulates the algae in a nutrient gel

a protective coating allows the algae to live and glow for many months

detailed view of the dress

once encapsulated, the algae only require regular sunlight to photosynthesize

the algae dress showcased during Iris van Herpen’s show in Paris | image courtesy of Iris van Herpen

view of light sculptures and set design of artist Nick Verstand

a biosphere light portal grows around the models on the runway

detailed view of the biosphere-inspired light sculpture by Nick Verstand

the light portal illuminates the Sympoiesis show of Iris Van Herpen during Paris Haute Couture Week

project info:

name: Sympoiesis

maison: Iris van Herpen | @irisvanherpen

biodesigner: Christopher Bellamy of Bio Crafted | @bio.crafted

light artist: Nick Verstand | @nickverstand

event: Paris Haute Couture Week

dates: July 7th to 10th, 2025

The post reactive bioluminescent algae illuminate iris van herpen’s haute couture show in paris appeared first on designboom | architecture & design magazine.

As the year comes to a close, we round up the big stories that defined the intersection of architecture, art, design, and technology in 2024. This year, fashion has embraced bold new concepts that redefine norms, like Iris Van Herpen’s kinetic butterfly sculptures at the MET Gala and Coperni’s ethereal Air Swipe Bag crafted from NASA’s silica aerogel. Collaborations fused existing designs with cutting-edge innovation, such as Prada’s partnership with Axiom Space for NASA’s lunar spacesuits and NIKE’s 3D printed Air Max 1000 sneakers with Zellerfeld.

From the runways of Paris to exhibitions in Tokyo, 2024 demonstrated how fashion designs become an experience. Designers embraced sustainability, with MIT’s robotic tailoring redefining garment construction and Adobe’s interactive dress proving technology can be integrated into haute couture. These innovations, alongside cultural statements like Mongolia’s Olympic uniforms inspired by traditional Deel clothing, highlight a year rich in fashion phenomena. Here’s a look back at the top 10 fashion stories that captured our imagination and defined the past 12 months.

BUTTERFLY KINETIC SCULPTURES FLUTTER ALONG IRIS VAN HERPEN’S COUTURE DRESS AT MET GALA 2024 

image courtesy of Iris Van Herpen

At the MET Gala 2024, Iris Van Herpen debuted APSARA, a haute couture creation that brings together fashion and kinetic art. The dress, worn by Mona Patel, embodied the theme of the event, Garden of Time, with golden, reflective lines accentuating pink-hued textiles that cascaded like butterfly wings. Accompanying the dress were kinetic butterfly sculptures, created by artist Casey Curran, which slowly fluttered along Patel’s arms, adding a sense of movement and life to the ethereal ensemble.

The kinetic sculptures were powered by a mechanical system hidden in a discreet box, where translucent wires and a rotating crank animated the delicate pink wings. This intricate mechanism gave the butterflies a lifelike quality, transforming the gown into a living, breathing piece of art. 

read more here 

COPERNI REVEALS NEW SWIPE BAG MADE OF 99% AIR USING NASA’S SILICA AEROGEL 

image courtesy of Coperni

Coperni unveiled its groundbreaking Air Swipe Bag during its FW24 show, a creation made of 99% air and 1% glass. The Parisian fashion house collaborated with Professor Ioannis Michaloudis to design the bag using NASA’s silica aerogel, a nanomaterial renowned as the lightest solid on Earth. With a misty, cloud-like appearance, the bag evokes a sense of frozen vapor, resembling a portable CD player. Weighing just 33 grams, the bag is delicate, and users are advised to handle it with care, limiting its contents to light essentials.

Silica aerogel, a cutting-edge material originally developed by NASA, lends the bag its weightlessness and ethereal aesthetic. Aerogel was famously used in NASA’s 1999 Stardust mission to capture comet particles, thanks to its ability to endure extreme conditions, including temperatures up to 1,200°C and pressures 4,000 times its weight. For the Air Swipe Bag, Coperni reimagined this space-age material, creating the largest object ever made from silica aerogel. 

read more here 

NIKE AND ZELLERFELD REIMAGINE AIR MAX 1 AS 3D PRINTED SNEAKERS NAMED 1000 

image courtesy of NIKE

NIKE and Zellerfeld partnered to reinvent the iconic Air Max 1 as 3D printed sneakers, dubbed the Air Max 1000, presented at ComplexCon 2024 in Las Vegas. The innovative design incorporates NIKE’s signature airbag cushioning in the heel for enhanced comfort and support, alongside breathable materials and honeycomb-structured midsoles developed through Zellerfeld’s expertise in 3D printing. Known for their work with Moncler and customizable, washable shoes, Zellerfeld ensures the Air Max 1000 offers a custom fit, using foot-scanning technology to tailor each pair to the wearer.

This collaboration aligns with NIKE A.I.R shoes, introduced earlier in Paris ahead of the 2024 Olympics. At ComplexCon, attendees explored the evolution of NIKE’s Air technology, including historical prototypes from Frank Rudy, the inventor of the original air cushioning system. While the Air Max 1000 silhouette was showcased at the event, no release date or market availability has been announced. 

read more here 

PRADA AND AXIOM SPACE’S NASA LUNAR SPACESUITS FOR ARTEMIS III MOON MISSION 

image courtesy of Axiom Space

Prada and Axiom Space unveiled the final design for NASA’s lunar spacesuits, developed for the Artemis III mission slated for 2026. The reveal took place at the International Astronautical Congress in Milan, Italy, marking a milestone in the collaboration between the luxury fashion brand and the spaceflight company. The suit design, completed after extensive pressurized simulations with partners like SpaceX, will next undergo underwater tests at NASA’s Neutral Buoyancy Laboratory (NBL) and integrated trials with Artemis Lunar Terrain Vehicle prototypes. A formal design review is scheduled for 2025.

Prada’s involvement introduces innovative manufacturing techniques and material expertise, resulting in a suit layered with a heat-reflective white fabric designed to protect astronauts from extreme lunar temperatures and abrasive moon dust. The suit offers improved flexibility, advanced protective features, and tools tailored for lunar exploration, though specific technological innovations have yet to be disclosed. 

read more here 

ADOBE’S FIRST COMPLETED INTERACTIVE DRESS DEBUTS AT CHRISTIAN COWAN’S RUNWAY IN NEW YORK 

image courtesy of Adobe and Christian Cowan

Adobe’s interactive dress, Project Primrose, premiered during Christian Cowan’s FW24 show at New York Fashion Week. The groundbreaking garment merges technology and fashion with 1,264 laser-cut polymer dispersed liquid crystal petals on the upper section and a starry lower half in silvery tones. Beneath its surface, flexible printed circuit boards drive the dynamic shifts in color, alternating between shades of gray and ivory as the model moves. Developed with Adobe’s in-house tools, the dress represents over a decade of research and innovation.

Using Adobe Illustrator and After Effects, Adobe’s Research Scientist TJ Rhodes and Project Primrose co-developer Christine Dierk collaborated with Christian Cowan to map out petal positions, animate the design, and integrate the underlying electronic systems. Every petal and circuit board was hand-sewn into the garment, ensuring the functionality and artistic vision were realized. The project built upon earlier efforts like Adobe’s Project Glasswing, evolving from animated displays in translucent objects to a fully wearable interactive dress.

read more here 

AVAVAV LAUNCHES ADIDAS SNEAKERS WITH DETACHABLE RUBBER TOES THAT DOUBLE AS PURSES 

image courtesy of AVAVAV and Adidas

Adidas and AVAVAV partner for Superfinger Superstar, a pair of sneakers with detachable rubber toes that can double as purses. Initially previewed during Milan Fashion Week 2024, these sneakers bring the Stockholm-based fashion house’s signature finger shoes to the Adidas Superstar line. The detachable rubber toes are crafted from full-grain leather, with a rubber midsole, outsole, and shell toes. These ‘gloves for shoes’ are adjustable, using belts on the side with stoppers to ensure a secure fit.

The rubber toes are designed to be versatile, allowing wearers to either attach them to the sneakers for an avant-garde look or remove them for use as purses. While they may not fit large items, their four toe-shaped compartments are ideal for smaller objects like lipstick, eyeliners, or cigarettes. Thanks to the flexible nature of the rubber, they can also accommodate a variety of items.

read more here 

MIT’S ROBOT ARM CAN TAILOR A DRESS USING COMPUTERIZED KNITTING AND HEAT-ACTIVATED YARNS 

image by Olivia Mintz, courtesy of MIT’s Self-Assembly Lab

MIT’s Self-Assembly Lab, led by Sasha MicKinlay, introduced the 4D Knit Dress, a groundbreaking innovation in customizable fashion. Created in collaboration with Ministry of Supply, the dress combines heat-activated yarns, computerized knitting, and a six-axis robotic arm typically used in the automotive industry. The result is a garment that can be sculpted to fit any body size and style preference.

The 4D Knit Dress is shaped directly on the wearer’s body as the robot applies precise heat to activate the fibers, creating customizable details like pintucks, pleats, or cinched waists—all without sewing or needles. The dress can also be reshaped or resized after months of wear, allowing users to update its style, making it a sustainable alternative to fast fashion. This single-piece garment eliminates traditional cut-and-sew methods, reducing waste and simplifying retail sizing. 

read more here 

AT LAST, CASIO UNVEILS FULLY FUNCTIONAL WATCH RING WITH FLASHING LIGHT AND LCD DISPLAY 

image courtesy of Casio

Casio introduces the CRW-001-1JR, a fully functional watch ring that features an LCD screen capable of displaying the time, date, dual time zones, and stopwatch functions. It even includes a flashing light feature to alert users when a set timer ends, with the screen faintly pulsing to signal the notification.

This launch coincides with Casio’s 50th anniversary in the watchmaking industry and draws inspiration from a playful 2023 toy version. The CRW-001-1JR showcases Casio’s precision craftsmanship, downsizing a traditional wristwatch to 1/10th of its original size and transforming it into a finger accessory. The ring’s default size is 22, but Casio includes silicone size-adjustment spacers for a comfortable fit. Produced using Metal Injection Molding, the watch ring features an integrated case, back cover, and ring. Its LCD display is topped with durable glass, bonded for waterproof performance, and designed to enable easy battery replacements. The screen can project up to six digits, making it a practical option for frequent travelers with its dual-city time display.

read more here 

KAZUYO SEJIMA AND ANREALAGE’S KUNIHIKO MORINAGA UNVEIL INFLATED CELL GARMENTS IN TOKYO 

image courtesy of ANREALAGE

Kazuyo Sejima, co-founder of SANAA, and Kunihiko Morinaga of the fashion brand ANREALAGE have joined forces to present CELL, an exhibition at the Tokyo Metropolitan Teien Art Museum. The project reimagines clothing as living forms, challenging the boundaries between wearability and architecture. Featuring garments that are constantly inflated by streams of air, the pieces transform into dynamic, bubble-like structures. When the airflow stops, they collapse into lightweight, flowing garments, embodying the concept of movable spaces that exist between clothing and enclosed environments.

Kunihiko Morinaga reflects on the inspiration behind CELL, drawing parallels to hermit crabs that inhabit and outgrow snail shells, questioning whether these shells are spaces or clothing. He describes them as both and neither, existing at the intersection of living and wearing, the ordinary and extraordinary. The exhibition explores the connection between the mansion and its surrounding gardens, with the garments echoing this unity through their interplay of softness and volume. 

read more here 

TEAM MONGOLIA’S UNIFORMS FOR PARIS 2024 OLYMPICS PARADE DRAW FROM TRADITIONAL CLOTHING, DEEL 

image courtesy of MICHELAMAZONKA

Team Mongolia’s parade uniforms for the Paris 2024 Olympic Games captivated audiences with their elaborate designs, drawing inspiration from the country’s traditional Deel clothing. Designed by sisters Michel and Amazonka Choigaalaa of the fashion house MICHELAMAZONKA, the uniforms reflect a cultural heritage while embracing contemporary aesthetics. The duo spent three months perfecting the designs, with each set of uniforms requiring an average of 20 hours to produce across six meticulous stages.

For the flag bearers, the designers crafted a sleek, long garment featuring an ornate gold-stitched collar that takes center stage. The athletes’ uniforms feature separate tops and bottoms—trousers for men and skirts for women—paired with vests in Mongolia’s national colors of blue, red, and white. Gold stitching depicts the Olympic torch framed by mountain motifs, symbolizing Mongolia’s natural landscapes and its connection to the Games.

read more here 

see designboom’s TOP 10 stories archive:

2023 — 2022 — 2021 — 2020 — 2019 —  2018 — 2017 — 2016 — 2015 — 2014 — 2013

The post TOP 10 fashion phenomena of 2024 appeared first on designboom | architecture & design magazine.

During the MET Gala 2024, Iris Van Herpen’s haute couture dress made an appearance, escorted by a kaleidoscope of wearable butterfly kinetic sculptures slowly fluttering their pink-dusted wings. By the way the dress looks, it may as well be exhibited inside the post-MET Gala 2024 exhibition, Sleeping Beauties: Reawakening Fashion, which runs from May 10th until September 2nd, 2024.

These moving sculptures are the brainchild of artist Casey Curran. He said that the philanthropist and entrepreneur Mona Patel, the wearer of the Iris Van Herpen kinetic dress, reached out to him for a ‘wild and frankly technically challenging idea,’ the artist writes on his Instagram. It took Casey Curran and Iris Van Herpen’s team a month or so to finish the butterfly kinetic sculptures and the ethereal-looking haute couture dress in time for the MET Gala 2024.

images courtesy of Iris Van Herpen

butterfly kinetic sculptures with pink-hued wings

Named APSARA, the mythological Iris Van Herpen’s haute couture dress fits the MET Gala 2024 theme, Garden of Time. As Mona Patel graced the red carpet, the butterfly sculptures accompanied her poise and stance, taking their glacial flights on the length of her arms. Behind the dress, artist Casey Curran placed a box that may be engineering the movement of the kinetic sculptures. Translucent wires were pushed and pulled by the crank that rotated at the bottom of the box, continuously making the butterflies’ wings beat.

Looking at the dress, the stark lines that have long marked Iris Van Herpen’s haute couture signature appeared visible, golden and light around the pink-hued dress. They formed their own silhouettes that followed the bodice of Mona Patel, even reaching the tail of the dress, where a series of overlapping textiles resembled the wings of the butterfly kinetic sculptures. This project and the village of people that took the MET Gala by gentle storm last night have filled my heart with so much joy, beauty, and inspiration,’ writes artist Casey Curran on his Instagram. In its way, this MET Gala 2024 dress may have invited viewers to visualize what an ethereal garden looks like.

Mona Patel wears Iris Van Herpen’s MET Gala 2024 dress with butterfly kinetic sculptures by Casey Curran

a box behind the dress that makes the kinetic sculptures move

front view of Iris Van Herpen’s MET Gala 2024 dress with butterfly kinetic sculptures by Casey Curran

the tail has overlapping textiles resembling butterfly wings

Mona Patel wearing Iris Van Herpen’s MET Gala 2024 dress

 

 

 

 

 

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A post shared by Iris van Herpen Official (@irisvanherpen)

project info:

name: APSARA

dress: Iris Van Herpen

arm piece: Casey Curran

talent: Mona Patel 
photographer: Alikhan 
art director: Radik Ayzharikov
make up: Sidney Jamila 
hair: Chris Martin, Edgar Martin
producer: Karina Kandel
production designer: Kristopher Saldana

The post butterfly kinetic sculptures flutter along iris van herpen’s couture dress at MET gala 2024 appeared first on designboom | architecture & design magazine.

Ethereal is a way to describe the unearthly haute couture pieces of Iris van Herpen. From her flowing, cyberspace-inspired garments to the otherworldly designs of her growing collections, Iris van Herpen has firmly established her signature style in the creative industry. A recent homage to her over 100 selected pieces on display at the Musée des Arts Décoratifs serves as a fitting tribute to her meticulous and often indescribable works. Visitors to the exhibition are invited to learn more about Iris van Herpen’s haute couture from November 29th, 2023 until April 28th, 2024.

Iris van Herpen, Frozen Falls dress and headdress, “Syntopia” collection, 2018 | images courtesy of Musée des Arts Décoratifs | photo © Dominique Maitre

Showcasing over 100 haute couture pieces

Titled Iris van Herpen: Sculpting the Senses, the extensive exhibition spotlights the way the couturière embraces the varying forms of art, design, and technologies as it investigates many of the haute couture works she has produced. Some of these pieces are displayed in dialogue with the works of contemporary art by artists including Philip Beesley, the Collectif Mé, Wim Delvoye, Kate MccGwire, Damien Jalet, Kohei Nawa, Casey Curran, Rogan Brown, Jacques Rougerie, and design pieces by Neri Oxman, Ren Ri, Ferruccio Laviani, and Tomáš Libertíny.

The entire collection also showcases items from the spheres of the natural sciences, such as skeletons and fossils, which may be reminiscent of Iris van Herpen’s well of influences. The Iris van Herpen: Sculpting the Senses exhibition at the Musée des Arts Décoratifs is presented within the Christine & Stephen A. Schwarzman Galleries. It is curated by Cloé Pitiot and assistant curator Louise Curtis, with the scenography entrusted to the Studio Nathalie Crinière. The retrospective exhibition of and for Iris van Herpen is centered around nine themes, all of which resonate with the artistry, craftsmanship, curatorial skills, and wonders of the designer.

David Uzochukwu for Iris van Herpen, Hydrozoa Dress, Sensory Seas Collection, 2020 | photo © Iris van Herpen private collection

The retrospective exhibition opens with the theme of water and the origins of life, two nuances that are quite omnipresent in the designer’s work. From the lens focusing on water, the theme of skeleton springs up next, where the Skeleton dress on view recalls the hybrid skeleton of a work by Japanese artist Heishiro Ishino, a metaphor for a Gothic cathedral. Visitors continue walking until they enter the sensory world crafted through the photographs by Tim Walker and a sculpture by Matthew Harrison.

As Iris van Herpen’s exhibition at the Musée des Arts Décoratifs draws near to its end, the visitors are shrouded with her haute couture, projected as if they were in the cosmos. Looking up, the designer’s dresses dance across the sky, with bodies floating through space and time. The photographic works of artist Kim Keever accompany the cosmic experience as well as images of nebulae, both of which invite the visitors to immerse themselves into a meditative state and see the world in a holistic fashion.

David Uzochukwu for Iris van Herpen, Sensory Seas Dress & Nautiloid Dress, Sensory Seas Collection, 2020 | photo © Iris van Herpen private collection

A look inside Iris van Herpen’s Atelier

As the curtains to Iris van Herpen’s retrospective exhibition nearly draw, three remaining spaces greet the visitors to visually express their final haute couture flair. An evocation of Iris van Herpen’s studio marches in first, the area allowing visitors to put on the designer’s creative and thinking hat as they are guided through the atelier and hundreds of sample materials in the room. It is an attempt to look into the designer’s process of making her clothing.

A cabinet of curiosities shows up in the second space, spotlighting Iris van Herpen and her atelier’s accessories, ranging from shoes and masks to hairstyling items. These objects are featured alongside elements from the natural sciences and videos documenting their background and accompanying the presentation.

Lastly, a room celebrating the living and moving body makes its way. Here, a series of videos play Iris van Herpen’s runway shows in the past, bringing the retrospective exhibition full circle by bringing up her previous collections. The exhibition at the Musée des Arts Décoratifs, which runs until April 28th, 2024 in Paris, is accompanied by a composition created by Salvador Breed where the soundscape challenges the senses and further immerses the visitor in this journey around the body and the themes close to the designer.

Warren du Preez & Nick Thornton Jones for Iris van Herpen — Cosmica Dress, in collaboration with Kim Keever (print) Shift Souls Collection, 2019 | photo © Iris van Herpen private collection

Carla van de Puttelaar for Iris van Herpen, Various collections, 2020 | photo © Iris van Herpen private collection

Iris van Herpen, in collaboration with Kim Keever, Cosmica minidress, “Shift Souls” collection, 2019 | photo © Dominique Maitre

Iris van Herpen, Symbiotic dress, “Shift Souls” collection, 2019 | photo © Dominique Maitre

Iris van Herpen, in collaboration with Philip Beesley, Hypnosis Dress and cape, “Hypnosis” collection, 2019 | photo © Dominique Maitre

Carla van de Puttelaar for Iris van Herpen — Various collections, 2020 | photo © Iris van Herpen private collection

project info:

name: Iris van Herpen: Sculpting the Senses

designer: Iris van Herpen

museum: Musée des Arts Décoratifs

location: 107, rue de Rivoli, 75001 Paris

dates: November 29th, 2023 until April 28th, 2024

curation: Cloé Pitiot, Louise Curtis

scenography: Studio Nathalie Crinière

The post iris van herpen exhibition pays tribute to her haute couture at musée des arts décoratifs paris appeared first on designboom | architecture & design magazine.

Rolls-Royce unveils Phantom Syntopia, a new Haute Couture masterpiece created in collaboration with renowned Dutch fashion designer Iris van Herpen. Four years in the making, Syntopia is the most technically complex commission ever undertaken by the Rolls-Royce Bespoke Collective. The new luxury ride takes its name from van Herpen’s landmark 2018 collection, designed on the principles of biomimicry in which art is inspired by patterns and shapes found in nature. 

all images courtesy Rolls-Royce

Indeed, like the fashion collection, Phantom Syntopia seeks to represent the elusive, ethereal beauty of fluid motion in solid materials through its ‘Weaving Water’ theme. Washed in cool purple tones, the first-look images gently recall the lapping and reflective qualities of water. For a truly Haute Couture experience, Iris van Herpen will also design a one-off Haute Couture garment, especially for the clients of this transformative commission. 

Phantom Syntopia side view

rolls-royce & iris van herpen: a boundary-breaking collab

Pushing the boundaries of innovation, craftsmanship, and luxury, Rolls-Royce (see more here) and van Herpen (and here) extended the otherwordly design to the car interiors, where three-dimensional textile sculptures capture the movement of flowing water, alongside a unique ‘Weaving Water’ Starlight Headliner. Phantom Syntopia will also be the first Rolls-Royce to include a Bespoke scent, further immersing passengers into the ethereal ride.

an ethereal and elusive design

‘Rolls-Royce has this really beautiful balance between craftsmanship and technology. The way we work for a client, which is a very personalised process, is similar to how Rolls-Royce works with their clients. It’s the customized process of making a one-off,’ comments Iris van Herpen. 

the bespoke piece is inspired by Haute Couture aesthetics

A closer look at the nature-inspired bespoke details adorning Phantom Syntopia clearly reveals a weaving of van Herpen’s iconic textile signature. The customized patterns were carried out at the fashion designer’s Amsterdam atelier while specialists at the Home of Rolls-Royce took to hand-crafting the rest of the vehicle’s unique design. 

Rolls-Royce x Iris van Herpen: a boundary-breaking collab

detail shot of hand-crafted patterns

‘Weaving Water’ Starlight Headliner

close up shot: crafting process

Iris van Herpen next to Phantom Syntopia

project info:

name: Phantom Syntopia

collaboration: Rolls-Royce | @rollsroycecars x Iris van Herpen | @irisvanherpen

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Iris Van Herpen has partnered with Magnum to debut the world’s first haute couture vegan dress. Made from cocoa beans and inspired by the iconic Magnum Vegan Ice cream, the dress was unveiled at Elysée Montmartre during Paris Couture Fashion Week.

‘I am honored to have been approached by Magnum as a partner to bring to life the Magnum Vegan Dress,’ said Iris Van Herpen. ‘As a designer, I have always worked to push the boundaries of design and this collaboration has really allowed us to take this one step further by linking the ingredients of an iconic Magnum Vegan to create a Haute Couture design. The opportunity to work with the brand on such an innovation in sustainable fashion has been a very special experience.’

SUSTAINABLE MATERIALS TOGETHER WITH VAN HERPEN’S FLUID DESIGNS

Debuting the unique design was Cindy Bruna who took to the runway in Iris Van Herpen’s 15th Anniversary show, unveiling the unique design to the world and paving the way for Magnum’s first steps into circular fashion. The dress itself is a celebration of Magnum’s Vegan range — an expertly crafted collection of plant-based ice creams without dairy.

The Magnum Vegan Haute Couture dress has been designed and created using an intricate 3-dimensional design, incorporating sustainable materials that reference Magnum’s vegan ingredients in a fusion between the brand’s iconic melting chocolate and Iris’ fluid designs. With the aid of 3D printing technology, the Magnum Vegan Dress is also the first haute couture dress to be made from cocoa bean husks, which have been processed to create a fully organic biopolymer material.

The dress features intricate details including plantlike body embellishments which are copper-coated, draped and entwined with upcycled and pliseed organza, while other 3D elements have been printed using innovative SLS technology (Selective Laser Sintering).

Magnum is always looking to lessen its impact on the world, and this partnership with Iris van Herpen marks the brand’s first step towards a wider ambition of circularity in the fashion industry. 

project info:

name: Magnum Vegan Haute Couture dress

designed by: Iris Van Herpen

designed for: Magnum

presented at: Paris Couture Week 2022

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images by siermond & nicholas fols

‘I want to give new meaning to couture — give it relevance in the age of technology,’ said iris van herpen. ‘I see couture as the laboratory of the bigger picture of fashion and my aim is to show that couture is not about yesterday. I hope to make haute couture the engine of progress in our rapidly changing digital age.’

the earthrise collection by iris van herpen saw different collaborations including that of james merry for the face jewellery and with rogan brown who was in charge of the hand-cut layers that have a natural science look to it. a kinetic dress inspired by spheres was created with casey curran. for example, the blue marble gown which features circles that form a gradient pattern features merry’s jewels; while the off-white magnetosphere dress was made together with brown and showcases glass-like nails by eichi matsunaga.

overall, the earthrise collection by iris van herpen aims to raise awareness of the fragility of our oceans.

project info:

name: earthrise collection

designer: iris van herpen

created in collaboration with: parley for the oceans

artists: james merry, rogan brown, eichi matsunaga

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on july 24, design in dialogue welcomed fashion innovator iris van herpen, widely celebrated for her explorations of technology in relation to the body. in a conversation hosted by glenn adamson, van herpen delved into a series of wide-ranging recent collaborations that have pushed the boundaries of her practice — including work created with benthem crouwel architects, choreographer damien jalet, and the scientists at the large hadron collider at CERN.

watch the full video interview at the top of the page and stay tuned as designboom continues to share design in dialogue features. see all past episodes — and RSVP for upcoming ones — here.

iris van herpen collaborated with british fashion photographer tim walker and canadian sculptor david altmejd
all images courtesy of iris van herpen and friedman benda

collaborations with outside fields and disciplines form a core part of van herpen’s creative process. ‘I think it’s about taking small steps,’ she says, in response to how her collaborations have taken shape over the years. ‘the amount of collaborations within different fields that we do today were quite unthinkable within the first years of having my studio. my mind would not have been ready for that at that time, because it’s not always super easy to dive into a different world, it takes time. ultimately when I create a collection, I really approach it as a study — I have six months for a collection and I really want to learn something within those six months. I’m not only focussing on creating, I think it’s a dialogue between giving and taking.’

walker photographed van herpen’s couture pieces within the context of altmejd’s sculptural work

van herpen’s collaborations have seen her work with advanced technological tools across many of her fashion pieces — an aspect of her innovative thinking and approach that she believes could transform the future of the fashion industry. ‘in my work, I’m always looking for dualities within the way I make things, but also obviously in the philosophy behind it,’ she continues. ‘there’s a beauty when technology and craftsmanship can be merged, and I think that same merge can happen very beautifully within the [fashion] system at large. I really believe that we are going to need some new tools to be able to create custom a large scale. the way couture is made is not necessarily scalable for a lot of people, but I actually believe that technology can be this beautiful bridge between couture and the future of fashion.’

van herpen’s couture pieces engage with altmejd’s sculptures through the surreal and high-fashion lens of walker 

the designer also reflected on how the pandemic has affected her practice over the last months, emphasizing the importance of flexibility in helping push projects forward. ‘my process is already quite chaotic in its nature, but obviously the last months have been more chaotic than usual,’ van herpen said. ‘mostly because a lot of the partners we work with, and a lot of the collaborations which are so key to my world and my way of thinking, were quite impossible. a lot of the studios were closed on their end and our own studio couldn’t be together. we really had to dance around our usual process and be very flexible in the speed of creation — we are used to doing a new collection each half year, which is pretty full on. I know that in fashion it’s very normal, but with our level of experiment and innovation, it’s already really tight to create a collection. COVID just challenged that timeframe even more…but, we worked through it, and ultimately there’s always a way.’

in collaboration with choreographer damien jalet, van herpen created costumes for the opera ‘pelléas et mélisande’
read more on designboom here

the vision of the opera was to bring unspoken tensions and complex relationships to the spotlight
read more on designboom here

van herpen designed white concrete elements as part of a biodiversity institute in the netherlands
read more on designboom here
image courtesy of scagliolabrakkee / © neutelings riedijk architects

van herpen’s panels resemble flowing fabric — a to her innovative dress designs
read more on designboom here
image courtesy of scagliolabrakkee / © neutelings riedijk architects

the visits to the research center helped inform some of van herpen’s couture designs
image by philip beesley

portrait of iris van herpen

— 

design in dialogue is a series of online interviews presented by new york-based gallery friedman benda that highlights leading voices from the field — designers, makers, critics, and curators — as they discuss their work and ideas. hosted alternately by curator and historian glenn adamson and designer stephen burks, the conversations are held on zoom for 1 hour and include a participatory Q&A.

 

watch the full video interview with iris van herpen at the top of the page and stay tuned as designboom continues to share design in dialogue features. see all past episodes — and RSVP for upcoming ones — here.

 

 

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the hypnosis collection viewed through the lens with post production picture work

image © sølve sundsbø

by placing leroy‘s slow lens installation in front of the models, the intricate details of the hypnosis collection are revealed, from the fine craftsmanship to bold lasercut lines. the dresses are magnified, distorted, multiplied and refracted as the installation slowly rotates. as the lens makes the viewer focus on each fold and curve of the fabric, the dresses take on an ethereal and surreal sensibility, as if they were somehow detached from the real world and its physical constraints.

with post production work, the model inside the installation

image © sølve sundsbø

alongside iris van herpen‘s designs and vincent leroy’s installation, the project also enlisted the artistic flair of norway-born, london-based fashion photographer sølve sundsbø. thanks to sundsbø’s experimental style and post production work, the incredible alchemy between different artistic sensibilities is documented through brilliant imagery.

the lens offers a new vision of the dress

image © sølve sundsbø

the ‘biomimicry’ dress test in one lens

image © sølve sundsbø

video © jérôme echenoz

vincent leroy’s first design drawing

image © vincent leroy

the first assembly in leroy’s paris studio

image © vincent leroy

installation in the photo studio with a white light box

image © vincent leroy

the model moves into place

image © vincent leroy

first test, the model behind the installation in the studio

image © sølve sundsbø

the installation with wide focal test

image © sølve sundsbø

view through sølve sundsbø’s camera

image © vincent leroy

project info:

project name: slow lens

fashion designer: hypnosis collection by iris van herpen

artist: slow lens by vincent leroy

photography: sølve sundsbø & retouching and CGI by digital light ltd, vincent leroy

styling: patti wilson

models: aliet sarah, natalia vodianova, sijia kang, grace hartzel, katia andre

studio: pin up paris

sound video: jérôme echenoz

designboom has received this project from our ‘DIY submissions‘ feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: lynne myers | designboom

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