Photography: Kohl Murdock
As we encroach upon an ambiguous future, the possibilities of fashion are open-ended, and not just in regards to a shifting industry. Designer trio Threeasfour—Gabi Asfour, Angela Donhauser, and Adi Gil—is addressing what’s to come next by playing Mother Nature and using 3D-printing to create artificial silhouettes that reflect the organic world. Loudly extraterrestrial and quietly biomorphic, the all black fall ’16 lineup looked like a curated section of Björk’s closet, which is appropriate considering the Icelandic singer’s been a longtime fan and wore Threeasfour on the cover of her 2011 Biophilia album art.
The relationship between nature and technology is something fashion loves to explore, and with good reason—it provides a visual balance, edging toward sleek futurism, while still incorporating the softness of living foliage, the oddities of wild animals. This is precisely what Threeasfour pinpointed, using 3D printing to make garments that had movement in terms of silhouette and texture. One dress looked almost like a tornado—a beautiful, swirling cloud of black smoke, while another top looked like feathered wings worn over a bodysuit with scale-like cutouts.
This museum-ready collection was given a touch of humor through its presentation, which starred a villainous court jester, who summoned models from backstage and forced them to play musical chairs. One by one, she pulled out chairs from the circular set-up and placed them into the audience, making it so the losing model would have to then walk the full runway and exit. While this system made for an uncomfortably long show, the inclusion of unrehearsed possibilities and medieval undertones added depth to an otherwise standard Threeasfour narrative. The designer trio forced its audience to patiently soak in the collection, which is certainly unconventional for such a fleeting, fast-paced week.