Designer Bahareh Ardakani debuted a line of truly remarkable pieces inspired by string theory, specifically the Calabi-Yau manifold at Paris' fashion week last month. The results are incredible, elegantly rendering the complexities of mathematical concepts through wearable works of art. Personally, I don't understand much in the way of pure math, theoretical physics or Algebra I, but I can understand when a work of art is referencing the fields of numbers plus letters. I also don't understand a lot of high fashion, but this couture line from ArdAzAei is more clearly concept-driven and aesthetically engaging to me than much of big name brand couture.
Favorite piece timestamps, 1:09, 2:24, 2:46, 3:43, 8:35
The Swedish-Iranian designer Bahareh Ardakani applied the principles of interdimensional, impossible shapes to the material world. The results are straight out of Dune. I love it.
From the shownotes
[Bahareh Ardakani] is particularly interested in String Theory, which
Sara Arrhenius
suggests that the smallest particles of the universe are
one-dimensional vibrating strings, and in a mathematical
visualization called Calabi–Yau spaces. These spaces are
a representation of how the universe can accommodate
infinitely more dimensions than three, in that these
dimensions are imagined to be hidden in holes, coiled
or infinitely small.
String Theory can feel incredibly complex, yet tools
such as the Calabi–Yau manifolds, a sequence of
mathematically generated shapes swirling within each
other, can help visualise how these dimensions relate
to one another. In my interpretation, these shapes, when
laid flat, appear reminiscent of the petals of a Persian
rose—yet when they are folded together, form a series
of infinitely related loops.Layers, pleats, and curves are central to this collection.
Bahareh Ardakani
Mathematical folds create circular volume, while layered
organza 'petals' open to three dimensions, creating complex
patterns that morph as they travel around the body.
The repetition of details in some of the shapes is designed
to give the sense of additional dimensions existing within
the architecture of evening gowns and cocktail dresses.
Some are in a clear mathematical sequence, and some are
randomly placed to create a confused balance, a confusion
I call controlled drama.
See stills from the runway here
