We are talking about a passionate way of life, one that is not inhibited by nostalgic memories of better times but rather faces the future with optimism and curiosity. We ask ourselves, how can we influence the quality of our lives through the objects we surround ourselves with? As part of this search for iconic objects that become a part of our private and working lives, the gb Platinum brand offers design solutions with characteristics of modernity, elegance, technology and an iconic quality, that have come to define a whole generation: warm tones that harmonise with a clean tech-smart appearance. In our world, there is simply no room for boring patterns and outdated styles – aesthetics and functionality carry the same weight. An intelligent reduction is the order of the day. The flowing forms of modern design framed by precisely cut aluminium surfaces take on a sharp presence in any room without being overbearing.

The form

»Creating an image for the body, and reflecting the atmosphere we’re living in«

In a pragmatic approach towards the relationship between form and function, emotionally designed products increase in importance. We are at the center of this discourse, and view ourselves not just as consumers who add accessories to customize our appearance and lifestyle, but instead creators of an environment that truly represents our personalities. More than any other art form, fashion quickly adapts to keep up with technological advances, and it is clear that individuality and identity are the driving forces for designers. This is specifically why fashion, along with architecture and technology, has the power of abstraction and innovation, and has become one of the main inspirations for the gb Platinum brand. Distancing form from function is the main interest of designer Hussein Chalayan. He is someone who has always declared his art as a discipline that places the communicative function at the forefront, viewing fashion as far more than simply an adornment or cover for the wearer. He achieves this by examining the relationship between the individual and their environment. »We are working on creating a human image; creating an image for the body, and reflecting the atmosphere we are living in« he stated in an interview with »1Granary« Magazine. His fashion collection »One Hundred Eleven« (2007) was a ground-breaking examination of form. For the finale of this fashion show, he made use of micro-technology to create silhouettes that shifted their shape on the catwalk – the hemline of a floor-length, Victorian gown retracted into a 1920s mini-dress, small hats grew large brims and dresses tightened, shortened and were made wider. His adaptable designs convey a revolutionary symbiosis between human and textile. Issey Miyake is another designer whose conceptual fashion, although less technical, plays with intricate shapes and shifting surfaces even more. Renowned for his pleating and draping methods, Miyake experiments with unusual materials such as plastic, cloth tubes and paper to focus on how the body changes with the outfit. His designs for the HW-collection 2015 / 2016 exhibit a progressive look at textiles with a measure of inconceivability. For example, the honeycomb structured surfaces in this collection diffract the light in a way similar to a kaleidoscope: from each angle, and with each changing beam of light, we get a new picture. It’s as if our perception was nothing more than a constantly changing point of view: iridescent, futuristic and complex. These sculptural masterpieces by Chalayan and Miyake are the perfect reflection of the advancements of technology. The intellectual designs always manage to bridge structure with commercial wearability, and harness an incredible power of creativity and innovation from the dynamic interplay between adaptation and differentiation on the one hand, and the reversal of the mundane on the other.

Surface

»A dream of fabrics and nature moved forward through technology«

The Dutch avant-garde designer Iris van Herpen has distanced herself from simple experimentation with shape and form in order to direct her focus toward surfaces: »I think that structures are much more interesting haptically than plain surfaces. I myself like to wear something that triggers my tactile sense«, she says in the collection of interviews titled »Talking Fashion«. In her newest prêt-à-porter collection called »Hacking Infinity«, she cleverly toys with the convergence of these seemingly antagonistic stances. The basis of this is the so-called »Terraforming« – the transformation of another planet into an inhabitable one with earth-like conditions by making use of future technologies. In doing so she ponders some of the greatest questions of our time through a use of textiles. The desire to restructure our universe is expressed via hand-pleated geometrical shapes which adapt to the body as much as they frame it, while optical luminescent details create a polymorphous silhouette. Transparent, stainless steel threads are interwoven with silk, and circular shapes represent the boundless infinity of our spheres. She commented after the show: »The whole concept of Terraforming started in science fiction, but it has become a reality«. With this van Herpen manages quite literally to create new worlds for us, worlds that exist somewhere between pre-history, futuristic fiction and a fascination with our own dynamic present.

Function

»The revolution of merging fashion and technology«

It is impossible to deny that digitalization is revolutionizing the fashion industry, leading us to question both aesthetic and practical conventions. One of today’s biggest challenges is to merge fashion with the innovative areas of technology in order to prepare oneself for the market of the future. »The trend of fusing technology and fashion more and more has been apparent for some time and is very exciting,« commented Anita Tillmann, owner and president of the fashion fairs PREMIUM and SEEK, who brought about the »FashionTech-Conference«. She predicts that: »This trend will revolutionize the industry and redefine it. « A flagship for this paradigm shift is the 3D-Printer, which has already established itself in the fashion industry as a creative and practical tool. The technology allows an almost infinite degree of customization, of forms and figures as an alternative to blatant mass consumption, with applications beyond the catwalk that carry over into our daily lives, away from the idea of costumes and toward the evolution of wearable products. It seems as if the desired vision of the future carries a simple message: nothing is set in stone. What better object could set a precedent for both our fashion demands and functional design than a stroller, an accessory that allows parents to integrate their child safely, comfortably and stylishly into any situation in their daily lives? It serves as a symbol for what fashion has become today – something that transcends form-follows-function: namely something that offers far more than just a functional and aesthetic quality. It is about merging design with our everyday life.