At the time being we are working on a very special project, where our inspiration have been ranging from old deep water diving suits, to exosceletons and human anatomy.

“- The first exoskeleton was co-developed by General Electric and the United States military in the 1960s, named Hardiman, which made lifting 250 pounds (115 kg) feel like lifting 10 pounds. It was impractical due to its 1,500 pound (680 kg) weight.^[1]

- Many variations of exoskeletons can be found in science fiction and gaming. It was first popularized in Robert A. Heinlein’s 1959 novel Starship Troopers as powered armor used by the Mobile Infantry.

- Exoskeletons could also be regarded as wearable robots: A wearable robot is a mechatronic system that is designed arou

nd the shape and function of the human body, with segments and joints corresponding to those of the person it is externally coupled with. Teleoperation and power amplification were said to be the first applications, but after recent technological advances the range of application fields is said to have widened. Increasing recognition from the scientific community means that this technology is now employed in telemanipulation, man-amplification, neuromotor control research and rehabilitation, and to assist with impaired human motor control”

- In addition to heightened strength and protection provided by the exoskeleton, other popular features include internal life support for hostile environments, protection from environmental hazards such as radiation and vacuum, weapons targeting systems, firearms affixed directly to the suit itself, and transportation mechanisms that allow the wearer to fly, make giant leaps, or speed by on ground.

In some portrayals of powered armor, the suit is not much larger than a human. These depictions can be described as a battlesuit with mechanical and electronic mechanisms designed to augment the wearer’s abilities. Other power armors are portrayed as being much larger, more like a bipedal vehicle the size of a tank or much larger. These latter are frequently termed Mecha, from the Japanese “メカ” (meka), an adaptation of the

English “mechanical”. The line between mecha and power armor is necessarily vague. The usual distinction is that powered armor is form-fitting and worn; mecha have cockpits and are driven,^[1] or that powered exoskeletons augment the user’s natural abilities, whilst mechas replace them entirely. However, the line between the two can be difficult to determine at times, especially considering that force feedback systems are often included for delicate maneuvers. Even in a larger mecha meant to be driven like a walking tank rather than worn, a realistic control system would have to be either cybernetic or form-fitting.”

( Sources: http://en.wikipedia.org/wiki/Powered_exoskeleton and http://en.wikipedia.org/wiki/Powered_exoskeletons_in_fiction )

Originally used in static photography to achieve blurriness or deformity, the slit-scan technique was perfected for the creation of spectacular animations.  It enables the cinematographer to create a psychedelic flow of colors. Though this type of effect is now often created through computer animation, slit-scan is a mechanical technique. Slit-scan is an animation created image by image. Its principle is based upon the camera’s relative movement in relation to a light source, combined with a long exposure time. The process is as follows:

- An abstract colored design is painted on a transparent support. This support is set down on the glass of a backlighting table and covered with an opaque masking into which one or more slits have been carved.

- The camera (placed high on top of a vertical ramp and decentered in relation to the light slits) takes a single photograph while moving down the ramp. The result: at the top of the ramp, when it is far away, the camera takes a rather precise picture of the light slit. This image gets progressively bigger and eventually shifts itself out of the frame. This produces a light trail, which meets up with the edge of the screen.

- These steps are repeated for each image, lightly peeling back the masking, which at the same time produces variation in colors as well as variation of the position of the light stream, thus creating the animation.

Naturally, this effect is very time-consuming, and thus expensive, to create. A 10-second sequence requires a minimum of 240 adjustments.

(source: http://en.wikipedia.org/wiki/Slit-scan_photography)

The story in “Stalker” takes place in the Zone - a restricted, hazardous area rumored to contain paranormal power from the crash of a mysterious meteorite.  Three men goes on a journey to a room that holds the power to grant one wish to anyone who enters.  What we love about this movie is not only the story, but the visuals and the texture in the imagery.  It is wet, cold, dusty, glossy, oily, transparent, warm, old, organic, static, silent and protective.  All very inspirational for our next collection.

All photos from: http://hedislimane.com/

Rita Mitsouko \”Andy\”

“I’VE ALWAYS BEEN A REBEL. I NEVER DO THINGS THE WAY THEY’RE SUPPOSED TO BE DONE. EITHER I GO IN THE OPPOSITE DIRECTION OR I CREATE A NEW DIRECTION FOR MYSELF, REGARDLESS OF WHAT THE RULES ARE OR WHAT SOCIETY SAYS.”

“MEN ARE TERRIFIED OF ME. I CAN EASILY STEP INTO STEP INTO THE MAN’S SHOE, AND THAT PUTS THE MAN IN A POSITION WHERE HE HAS TO BECOME THE FEMALE. THAT’S WHAT SETS OFF THE TENSION. BUT MY IMAGE IS SUPPOSED TO FRIGHTEN MEN - SO ONLY THE GOOD ONES COME THROUGH.”

“ONCE I WAS OUT OF THE FORMULA OF SCHOOL OR A NINE TO FIVE I CREATED MY OWN HOURS. I AM NOCTURNAL. FOR ME CREATIVITY COMES AT NIGHT. THERE’S SOMETHING NEW ABOUT NIGHT. IT HAS A DIFFERENT ENERGY. NIGHT’S A VOID I CAN CREATE IN”

(quoted from: http://www.theworldofgracejones.com/)

Cornell premiered the film at the Julien Levy Gallery in December of 1936 during the first Surrealist exhibition at the Museum of Modern Artin New York. Salvador Dalí, who was in New York to attend the MoMA opening, was present at its first screening. During the screening, Dali became outraged at Cornell’s movie, claiming he had just had the same idea of applying collage techniques to film. After the screening, Dali remarked to Cornell that he should stick to making boxes and to stop making films. Traumatized by this event, the shy, retiring Cornell never showed his films publicly again.

Source: http://en.wikipedia.org/wiki/Joseph_Cornell

Images from:  http://www.ibiblio.org/wm/paint/auth/cornell/

http://www.damienhirst.com/

We found this tray in a second hand shop in Norway, fab!