The New Aesthetic, as it exists in drone technology and Google Maps imagery and data surveillance, represents a ground-level change in our existence. Instead of shocking society, New Aesthetic art must respond to a shocked society and turn the changes we’re confronting into critical artistic creation. Artists are only just starting to take the raw material of the New Aesthetic and aestheticize it in a conscious, intelligent way.More On The New Aesthetic
Is Fashion Ready For A New Aesthetic?, Jay Owens via BOF
For the last few years, the stylistic purview of much of the creative class in places like Shoreditch in London, the borough of Brooklyn in New York, and Berlin’s Mitte district has been curiously backward-looking. Perhaps this retreat into retro nostalgia is a reaction to economic uncertainty and technological change. Maybe it’s a craving for what we imagine were simpler times or a search for authenticity in a world that is increasingly artificial. Whatever the reason, the backward-looking trend extends to fashion, as well. In fact, perhaps more than any other design discipline, fashion is engaged in an intense dialogue with the past. “There’s so little innovation in fashion in its current state,” Susanna Lau, widely known as Susie Bubble, told BoF. And indeed, from Belstaff to Moynat to Schiaparelli, reviving dusty heritage brands is undoubtedly the business model du jour.
But over the past year, a loose group of creatives in London’s East End have given birth to a counter-narrative to the growing tide of heritage and nostalgia, examining the reality of our increasingly artificial and technology-mediated world head-on. Known as “The New Aesthetic,” the movement was born last May with a blog post by London-based writer and technologist James Bridle, who began collecting found images at new-aesthetic.tumblr.com that dealt with the “eruption of the digital into the physical world” and the idea of “seeing like a machine” in an attempt to capture and communicate the possibilities for a more contemporary visual culture. Subjects included everything from glitches in Google Maps to photographs from military drones in Afghanistan and the techno-organic forms of contemporary architecture that betray traces of the computer-aided design (CAD) programmes used to create them.
The movement really struck a chord and came to wider attention at this year’s SXSW Interactive conference where Mr Bridle led a panel called “The New Aesthetic: Seeing Like Digital Devices” and futurist Bruce Sterling asked what the New Aesthetic meant for fashion in his highly-anticipated closing address. “Although SXSW people do look chic, it’s a rather retro look,” he challenged the tech-savvy audience in attendance. “They don’t actually look very futuristic. I would suggest, when you come back next year…come back in robotvision glitchcore!”
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“We need to see the technologies we actually have with a new wonder,” wrote James Bridle in his first essay on the New Aesthetic. Digital methods of image research, image editing and production have quickly become embedded in the fashion industry, but the possibilities for digital creativity have yet to be fully explored. “It’s still not something people are consciously thinking about,” said Ms Lau.
As a term, “The New Aesthetic” may be short-lived. Surprising many, James Bridle shut down the New Aesthetic Tumblr ten days ago, exactly one year after it was launched. But if the “New Aesthetic” movement is already dead, this is surely only the beginning of digital technologies impacting the way fashion creatives think, see and design. Indeed, the generation of students just starting to arrive in fashion schools have only ever known a world that’s mediated by digital technology and learnt to process visual culture through a ceaseless digital stream of appropriated and juxtaposed images.
Hmmm. Is The New Aesthetic dead, or has it just gone underground?
