Intro Text Scaife Lounge Entry & Hall of Sculpture Balcony Entry. Exhibition Credit Panel Scaife Lounge Entry & Hall of Sculpture Balcony Entry

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1 Intro Text Scaife Lounge Entry & Hall of Sculpture Balcony Entry Iris Van Herpen: Transforming Fashion Iris van Herpen (Dutch, b. 1984) works at the nexus of fashion, design, technology, and science. With a dynamic and path-breaking body of work, she is widely heralded as a pioneering new voice in fashion. She produced her first collection in 2007, shortly after graduating from the ArtEZ Institute of the Arts in the Netherlands. Based primarily in Amsterdam, away from the Parisian world of haute couture (she has been a member of the Chambre Syndicale de Haute Couture since 2012), van Herpen divides her time among the contained world of her studio, her global network of collaborators, and the international stage of fashion, where her designs regularly appear in biannual Paris runway shows. Fashion is about quick deadlines, international platforms, and a voracious need for the next new thing. It is a discipline that requires tremendous creative energy to constantly produce and perform. Van Herpen is known for her willingness to experiment exploring new fabrics, incorporating unexpected and non-traditional materials, and pushing the boundaries of technology. Van Herpen has created a body of work that continues to defy expectation, evolving and forging new ideas and inspirations based both in nature and in visions of the contemporary world. The resulting works, defined within the fashion world as couture, are typically collected and shown in museums, viewed more often as fine art than as design-forward wearables. This exhibition documents the evolution of Iris van Herpen s couture through a selection of her collections from 2008 through 2015 and illustrates the many ways she continues to seek inspiration beyond the world of traditional handwork and craftsmanship. All works are designed and made by Iris van Herpen. Individual works note collaborators when applicable, whether individuals or companies. Photography by Bart Oomes, No 6 Studios, unless otherwise noted. Exhibition Credit Panel Scaife Lounge Entry & Hall of Sculpture Balcony Entry Iris van Herpen: Transforming Fashion is co-organized by the High Museum of Art, Atlanta, and the Groninger Museum, the Netherlands The exhibition was curated by Sarah Schleuning, High Museum of Art, and Mark Wilson and Sue-an van der Zijpp, Groninger Museum. Support for this exhibition has generously been provided by Creative Industries Fund NL. Carnegie Museum of Art s presentation of Iris van Herpen: Transforming Fashion is supported by The Coby Foundation, Ltd., PNC, and UPMC and UPMC Health Plan. Runway Video Label Scaife Lounge Entry Iris van Herpen Dutch, b HIGH EDITS Page 1

2 Runway footage: Hybrid Holism (July 2012), Voltage (January 2013), Wilderness Embodied (July 2013), Biopiracy (March 2014), Magnetic Motion (September 2014), and Hacking Infinity (March 2015) Video running time 42:29 Info panel x 2 one at each entrance: A Note to the Visitor Look for these symbols [ ] to find hands-on activities in the galleries. Original artworks are very delicate, so we ask you not to touch. Share Please feel free to take photographs throughout the exhibition. Share with us on and with #outlawhero. In the Mood We ve created a Spotify playlist for you to enjoy during your time with Transforming Fashion and beyond. Just put on your headphones, open Spotify on your mobile device, and search for CMOA van Herpen to immerse yourself in the music. Qualtrics Visitor Survey Label CMOA to insert Text. Collection Group Texts Gallery A CHEMICAL CROWS January 2008 Commented [RK1]: KR to revise. Commented [DR2]: Sarah you can ignore this. This is a placeholder for our standard Note to Visitor panel that includes things like Why we ask you not to touch, instructions for Spotify playlists, and suggested hashtags Commented [DR3]: Sarah you can also ignore this. This is a short label above an ipad with simple visitor feedback survey, posted inconspicuously at the gallery entry/exit. Chemical Crows was inspired primarily by Iris van Herpen s observations of a group of crows living around her studio. Her fascination with birds began at an early age, when she kept young jackdaws (members of the crow family). Crows are known for their intelligence and predilection for glittering objects and are traditionally associated with secrecy and symbolism. Van Herpen is also intrigued by black magic and alchemy, particularly by the quest to control and transmute materials. Just as alchemists tried to turn base metals into gold, so van Herpen has transformed gold-colored umbrella ribs into whimsical fan-like shapes to represent crows. She used thousands of yards of industrial yarn to construct layered textures in the skirts that give the impression of feathers in motion. Chemical Crows is van Herpen s first major collection and was crafted entirely by hand. REFINERY SMOKE HIGH EDITS Page 2

3 July 2008 Refinery Smoke is based on the astonishing beauty, ambiguity, and elusiveness of industrial smoke. Seen from a distance, smoke provides a fascinating and dynamic spectacle: at times it seems to be alive, but it also harbors something sinister and can even be toxic. These properties, along with its soft, flowing texture, made Iris van Herpen wonder whether it might be possible to gain control of smoke to such an extent that it could be worn around the body. Van Herpen has manifested these ideas in a metal gauze that she had specially woven for the Refinery Smoke collection. The material, unusual in the fashion world, consists of innumerable fine metal threads. Van Herpen transformed this stiff material into wearable fabric that appears soft and light. The dresses started as silver gray but have oxidized over time to a reddish brown, serendipitously reflecting the dual nature of industrial smoke. MUMMIFICATION January 2009 This series reflects Iris van Herpen s interest in the macabre beauty of ancient Egyptian mummification and the intense devotion surrounding the process. The idea of swaddling, wrapping, and covering the body is clearly visible in many of the collection s pieces, along with the geometric and graphic patterns characteristic of Egyptian mummies. The way the Egyptians used these traditional practices to create form inspired van Herpen to design her own world with similar dedication. She meticulously handcrafted this collection from leather treated with different techniques, along with lace, tens of thousands of eyelets, ball chain, motorcycle chain, and thousands of metal balls. Van Herpen explains the deep connections between Egyptian beliefs and her Mummification collection: The Egyptians tried to create reality by means of their art. They considered the reality that they created for their deaths as the reality, while their daily life was an illusion. In other words, don t believe everything that looks obvious, but create your own reality. RADIATION INVASION September 2009 An intercontinental phone conversation prompted Iris van Herpen to consider the flows of digital information that surround us at every moment and in every place. We typically access this invisible data only by using specific devices. What would we do with our daily overdose of electromagnetic waves and digital information streams if we could see them with our own eyes? In Radiation Invasion, the wearer seems to be surrounded by a complex of wavy rays, flickering patterns, vibrating particles, and reflecting pleats. The collection is about the simultaneously frightening and fascinating presence of radiant energy (particularly that generated by electronics). Here van Herpen imagines how it might look if we could detect and manipulate the radiation that surrounds us. This collection is the start of a theme that pervades her work: the role of technology and its relationship to the body. SYNESTHESIA HIGH EDITS Page 3

4 February 2010 Synesthesia is a rare neurological condition that results in a combination of sensory perceptions. For instance, some people can taste colors and see sounds. Iris van Herpen interprets this phenomenon as a hallucinatory sensation. Van Herpen approaches the body as a malleable, sensitive, and fragile object. Synesthesia emerges from a vision of the future in which clothing might supplement or strengthen sensory perception. Van Herpen augments body parts through transparency, movement, and extreme repetition. She also fashions certain elements of the garments to suggest hypersensitive, vibrating instruments or receptors that would enable the wearer to experience the world in an entirely different way. Using specially treated leather coated on one side with shiny metal foil, she created a striking and bewildering visual effect that makes it difficult for the viewer to recognize exactly what he or she is seeing. Synesthesia marks van Herpen s first collaboration with the Dutch/British design and fashion brand United Nude for a collection of shoes based on the same theme, on view on the Hall of Sculpture Balcony at the exhibition exit. CRYSTALLIZATION July 2010 The new extension to Amsterdam s Stedelijk Museum, which earned the nickname the bathtub, inspired Iris van Herpen s Crystallization collection. She sought to design a dress that would cascade around the wearer like a splash of water. The properties of water in its various states such as its unbounded nature in liquid form and its mathematical beauty in frozen crystalline structures are clearly recognizable here. These associations also serve as a metaphor for her artistic process, wherein an initial idea crystallized to form a tangible collection. Van Herpen made use of unconventional materials and techniques foreign to the fashion world. The dress at center, which appears as a lifelike imitation of a splash of water, would seem to be the result of some industrial procedure, but it was painstakingly created by hand using a hot air gun, a pair of pliers, and plastic. In contrast, the top at left with the striking design that recalls the way that limestone deposits harden and form shells is the first 3-D-printed garment ever sent down the runway. Van Herpen created it in collaboration with London architect Daniel Widrig. ESCAPISM January 2011 For Iris van Herpen, escaping from everyday reality through addictive digital entertainment conjures not only feelings of emptiness but associations with the grotesque, the extreme, and the fantastic. Another important source of inspiration for this collection is the exuberant baroque sculpture of American artist Kris Kuksi, in which the bizarre and the fanciful are fused with serene and spiritual elements. Van Herpen has expressed this multilayered dystopian fantasy through various material experiments, making use of both traditional handwork techniques and new technology. For instance, at left she has shaped transparent black acrylic sheets into an eccentric piece of clothing with spherical or wing-shaped ornaments. Rapid prototyping enabled the garment in the center, which van Herpen made in collaboration with London-based architect Daniel Widrig. Together they materialized digital HIGH EDITS Page 4

5 designs with a 3-D printer to produce a lacelike structure without any need for a needle and thread. For the dress at right, which seems to be partly taken over by a coral-like structure, van Herpen handcrafted the plissé (pleated) texture. In contrast to modern, mechanically folded plissé, the handwork has a much more organic effect. Dress Collection Group Texts Gallery B CAPRIOLE July 2011 With Capriole, Iris van Herpen made her debut in Paris as a guest member of the Chambre Syndicale de la Haute Couture, the prestigious body that governs the Parisian fashion scene. A compilation of highlights from previous collections, Capriole also presented five strikingly new outfits that evoke the feeling just before and during a free-fall parachute jump. Capriole is a French word meaning leap in the air. Van Herpen explains, Just before I jump out of the plane, all my energy is in my head, and I feel as though my mind is snaking through thousands of bends. The moment of free fall is the complete opposite: all the energy is concentrated in my body; I can feel every fiber, and my mind is not working anymore. Once I m safely on the ground, I feel born again. The snake dress at left consists of serpentine forms made of acrylic sheets that writhe around the wearer. Using the same acrylic material, van Herpen created pieces with jagged spikes reminiscent of ice floes, as in the dress at center. These were inspired by the algorithmic, sculptural work of German architect Michael Hansmeyer. The 3-D-printed skeleton dress on the right evokes the moment of free fall when the body feels as though it is growing in all directions. MICRO January 2012 To create the Micro collection, Iris van Herpen zoomed in on the world of microorganisms. She was inspired by the extraordinary work of British scientific photographer Steve Gschmeissner, who uses a scanning electron microscope to bring the beauty of this parallel world into focus. Van Herpen s designs in this collection reflect her desire to make visible a hidden reality that surrounds us every day, a topic she also explored in Radiation Invasion. Van Herpen was intrigued by Gschmeissner s micrographs and with the minuscule beings they depict, so close to our skin but that we know so little about. This led her to design a collection that combines handwork and technology. The results of her inquiry are astonishing: sculptural garments whose forms refer to cell structures, plasma, and tentacles. Peculiar bulges, armored shapes, and scales not only leave the viewer guessing about what they are and where they come from but also invite reflection on the evolution of microscopic forms. HYBRID HOLISM July 2012 Canadian architect and artist Philip Beesley s work Hylozoic Ground provided the inspiration for Iris van Herpen s collection Hybrid Holism. Hylozoism is the ancient belief that all matter is in some sense alive. Beesley s seemingly living environment breathes, shifts, and moves in response to the HIGH EDITS Page 5

6 people walking through it, touching it, and sensing it. He incorporated microprocessors to give the space a primitive or insect-like intelligence such as that of a coral reef or a great swarm. These works suggest that future cities could operate as living beings. Intrigued by the possibility of constructing semi-living systems, van Herpen imagined a new form of fashion where designs can grow, evolve, and even exist independently from us. In a culture where obsolete designs are often discarded, van Herpen proposes that clothes and objects might instead evolve and transform over time. Combining diligent craftsmanship with cutting-edge technology, including 3-D printing, van Herpen translated this futuristic vision into a collection that is highly complex and diverse in terms of shape, structure, and material. VOLTAGE January 2013 Iris van Herpen explores the body s electricity in her Voltage collection. The work of New Zealand experimentalist Carlos Van Camp, who choreographs with extremely high-voltage instruments (Tesla coils) that interact through the movements of the performer, played an important part in the evolution of this collection. Van Herpen used cutting-edge technologies to create pieces that evoke both beauty and danger. Her designs seek to portray the unpredictable movement and transformative power of electricity. Described as taking an alchemist s approach to fashion, van Herpen perpetually embraces new collaborations with artists, architects, and researchers, fusing their science with her own vision. She shares Canadian architect and artist Philip Beesley s fascination with new materials and has collaborated with him to imagine designs that react to the energies of their environment. Interested in the ways that chemistry and electricity can cause structures to change form, the pair developed several 3-D fabrics that respond to the wearer s movements through dynamic vibration. Dress Collection Group Texts Gallery C WILDERNESS EMBODIED July 2013 The powerful, unbridled forces of nature were the starting point for Wilderness Embodied. This collection explores instances in which the wild forces of the natural world are manifested in, or on, the body. Van Herpen sees the ritual and transformative qualities of piercings, scarification, and surgery as examples that emphasize the wild(er)ness of the human form. Juxtaposing traditional craftsmanship with technological innovation, van Herpen s designs evoke complex natural forms that appear to emerge from and even overtake the body. Canadian artist David Altmejd s hybrid humanoid figures and environments were an important inspiration for van Herpen s fusion of nature and culture. For the dress on the right, van Herpen collaborated with Dutch artist Jólan van der Wiel, who also incorporates unorthodox materials and techniques that bring the forces of nature into his designs. The pair used magnets with their properties of attraction and repulsion to grow a material that HIGH EDITS Page 6

7 gave dresses a cratered topography. Van der Wiel pioneered this process in his own line of furniture, called Gravity Stools. BIOPIRACY March 2014 In an era in which it is possible to purchase patents on our genes, the boundaries between private and public are growing increasingly porous. Iris van Herpen s Biopiracy collection explores physical integrity, individuality, and autonomy, fundamentally asking: Are we still the sole proprietors of our bodies? Working with Belgian artist Lawrence Malstaf, who specializes in the interaction between biology and physicality, van Herpen created one of her most shocking runway shows. Models, vacuum packed between layers of transparent PVC, appeared embryonic as they floated in meditative, suspended animation. Precious elements, embedded and partially hidden, lend individuality and sumptuousness to the collection. The translucent black dress at center, made of handblown glass balls, radiates like a halo around the body. The dress on the right, made in collaboration with Austrian designer Julia Koerner, gives the impression of kinetic energy. This fusion of the artisanal with the technical resulted in a 3- D-printed work that seems to dance and amplify the wearer s movement. After it was printed, the garment was coated with silicone to create a supple finish. MAGNETIC MOTION September 2014 Early in 2014, Iris van Herpen and Canadian architect Philip Beesley visited CERN (the European Organization for Nuclear Research) to see the Large Hadron Collider, whose magnetic field is 100,000 times more powerful than Earth s. Van Herpen was fascinated by the interplay of magnetic forces, saying: I find beauty in the continual shaping of chaos, which clearly embodies the primordial power of nature s performance. Van Herpen s layered, three-dimensional structures which combine innovative techniques like 3-D printing with intricate handwork explore the dynamic forces of attraction and repulsion. Van Herpen collaborated with Beesley to create luminous textiles comprising tiny webs of laser-cut acrylic that echo the body s movements. Throughout the collection controlled structures are offset by accessories with individualized, even chaotic, forms. Van Herpen and artist Jólan van der Wiel created a series of shoes (on view on the Hall of Sculpture Balcony) that employ the same magnetic techniques they had used in their collaboration for Wilderness Embodied. HACKING INFINITY March 2015 Hacking Infinity explores the idea of terraforming: modifying the surface of another planet to resemble Earth s. This collection considers the possibility of new geographies and our place within them. Iris van Herpen used the circle the shape of planetary bodies and a symbol for infinity as the formal starting point for the silhouette and cut of her collection. HIGH EDITS Page 7

8 Throughout the collection, van Herpen extends the boundaries of the human body by producing synthetic terrains and new textures. For the work on the right, she developed a light, translucent fabric made by weaving tiny threads of stainless steel. It was hand burnished to imprint a nebulous sheen of colors. The hot steel textile was then hand pleated into a fan shape to outline and echo the body. In the dress at center, van Herpen continues her exploration of three-dimensionality by creating innovative, voluminous textiles, such as a halo-like meshwork of flexible, laser-cut acrylic combined with leather, silk, and crystals. In the dress at left translucent, 3-D-printed polymers encase the body within a crystalline mineral topography. Please Touch & Interview Video Section Wall Text Gallery B Beyond the Boundaries of Craftsmanship Iris van Herpen s cutting-edge designs are often the product of diverse partnerships that complement her fusion of innovation and craftsmanship. She frequently combines fine handwork techniques, even reviving old and forgotten methods, with contemporary materials and technological processes. Working with architects, designers, scientists, and 3-D printing companies, van Herpen pushes the limits of current digital technology and material innovation. These collaborations and experimentations continually inform, inspire, and shape her work. Some of the impressive physical results are on view in this section and available for you to touch. The video interview with van Herpen takes you behind the scenes to explore her process (running time 10:44). Chemical Crows January 2008 Located in the first gallery For Chemical Crows, van Herpen manipulated everyday materials into extraordinary works of high fashion. The concept for this collection was triggered by van Herpen s observations of a group of crows living near her studio. Using industrial yarn, she carefully hand fastened together the brass tines of hundreds of children s umbrellas. In creating these metal structures, she transforms oftenoverlooked parts into extravagant sculptural protrusions that invoke the form of birds wings. Material provided by the designer Crystallization July 2010 Located in the first gallery For this dress, van Herpen sought to capture the appearance of a splash of water. She initially wanted to 3-D print the dress, but technical limitations made it impossible to achieve the transparency and shapes she desired. She ultimately chose to create the work completely by hand, using hot air guns and metal pliers to manipulate a transparent substance. After testing nearly 30 different materials, she settled on polyethylene terephthalate (PET), a malleable resin commonly used to make plastic bottles. Van Herpen painstakingly molded the acrylic into undulating cascades that evoke the movement of water. HIGH EDITS Page 8

9 Material provided by the designer Wilderness Embodied July 2013 Located in the third gallery To create the crater-like topography of this dress, van Herpen worked with Dutch artist Jólan van der Wiel. Inspired by physics and gravity, van der Wiel developed a material comprising iron filings mixed into resin. He used magnets to attract the metal filaments and shape the material into stalagmitelike forms. Van Herpen sought a softer, more flexible version for a collection of dresses, shoes, and accessories. The pair collaborated to create this rubbery, pearlescent substance that could be applied to fabric in small sections and stretched into forms evocative of a lunar landscape. Material provided by Jólan van der Wiel Magnetic Motion #1 September 2014 Located in the third gallery Iris van Herpen conceived of a dress that represented the crystallization of water into ice. To realize this idea, she hoped to 3-D print the dress using a transparent material. Italian architect Niccolò Casas collaborated with van Herpen to draw the 3-D design for this dress, in which the front and back snap together. The company 3D Systems used stereolithography to harden a clear liquid substance layer by layer with a beam of ultraviolet light. The printer that fabricated this dress can create details as fine as the eye of a needle. Pushing the technology to new limits, this collaboration produced a dress with transparent ribbons of resin that recall the shimmering surface of ice. Material provided by 3D Systems Magnetic Motion #2 September 2014 Located in the third gallery Van Herpen created this flexible, transparent, 3-D geodesic structure in conjunction with Canadian architect and artist Philip Beesley, whose immersive environments blend the organic and digital. She prototyped several methods to create the micro-webs of lace that would comprise the design: one was 3-D printed; another used a flat, laser-cut acrylic that was painstakingly heated and hand molded into cones. Van Herpen selected the handmade version, preferring the way it reflected light. In order to create the netting s halo-like structure, she then added silicone links to knit together the hundreds of small, translucent webs. Material provided by the designer Hacking Infinity March 2015 Located in the third gallery HIGH EDITS Page 9

10 Van Herpen used metal to create a translucent fabric for Hacking Infinity. Tiny stainless steel threads are woven to form a delicate yet durable fabric. It easily holds the structure of the handcrafted fanned pleats a traditional technique called plissé (French for folded ). In order to achieve the iridescent nebula of blue, red, orange, purple, and yellow covering its surface, van Herpen hand burnished the material with a blowtorch. Material provided by the designer Dress Tombstone Labels Gallery A - C Chemical Crows, Skirt, Collar, January 2008 Ribs of children s umbrellas, industrial boat filament yarns, cow leather, and metal eyelets Groninger Museum, a b Commented [DR4]: MATERIAL SAMPLE Chemical Crows, Skirt, Collar, January 2008 Ribs of children s umbrellas and cow leather Groninger Museum, a b Chemical Crows, Skirt, Collar, January 2008 Ribs of children s umbrellas, industrial boat filament yarns, cow leather, and metal eyelets Groninger Museum, a b Refinery Smoke, Dress, July 2008 Untreated woven metal gauze and cow leather Groninger Museum, Refinery Smoke, Dress, July 2008 Untreated woven metal gauze, cow leather, and cotton Groninger Museum, Refinery Smoke, Dress, Shoulderpieces, July 2008 Untreated woven metal gauze and cow leather Groninger Museum, a b Mummification, Dress, January 2009 Goat suede, metal eyelets, cow-leather laces, busks, and cotton Groninger Museum, Mummification, Dress, January 2009 Goat suede, motor chain, ball chain, metal eyelets, elastic, and cotton Groninger Museum, HIGH EDITS Page 10

11 Mummification, Dress, January 2009 Leather with foil treatment, metal ribs, metal eyelets, elastic, and cotton Groninger Museum, Radiation Invasion, Dress, September 2009 ECCO calf leather, cow leather, cotton, and tulle Groninger Museum, Radiation Invasion, Dress, September 2009 ECCO calf leather with porcelain treatment, wool, and tulle Groninger Museum, Radiation Invasion, Dress, September 2009 Faux leather, gold foil, cotton, and tulle Groninger Museum, Synesthesia, Dress, February 2010 Goat leather with gold foil treatment, ribbon, and cotton Groninger Museum, Synesthesia, Dress, Mask, February 2010 Lacquer leather, cow leather, gold foil, metal eyelets, busks, and cotton Groninger Museum, a b Synesthesia, Dress, February 2010 Lacquer leather with metallic treatment, goat leather, foil, busks, metal eyelets, and cotton Groninger Museum, Crystallization, Skirt, Top, July 2010 In collaboration with Daniel Widrig and Materialise 3-D-printed polyamide, goat leather, and transparent lasered acrylic sheets Groninger Museum, a b Crystallization, Dress, Collar, July 2010 Transparent polyethylene terephthalate (PET), ECCO leather with oil treatment, goat leather, silver chains, and viscose Groninger Museum, a b Commented [DR5]: MATERIAL SAMPLE Crystallization, Dress, July 2010 ECCO leather and busks Groninger Museum, a Mask in collaboration with Irene Bussemaker Escapism, Dress, January 2011 Transparent acrylic sheets, cotton, and tulle Groninger Museum, HIGH EDITS Page 11

12 Escapism, Top, January 2011 In collaboration with Daniel Widrig and Materialise 3-D-printed polyamide Groninger Museum, Headpiece in collaboration with Stephen Jones, courtesy of the designer Escapism, Coat, January 2011 Metal satin and fabric Groninger Museum, Capriole, Dress, July 2011 Transparent acrylic sheets, tulle, and cotton Groninger Museum, Capriole, Dress, July 2011 Transparent acrylic sheets, tulle, and cotton Groninger Museum, Capriole, Ensemble, July 2011 In collaboration with Isaïe Bloch and Materialise 3-D-printed polyamide Groninger Museum, Photography by Ingrid Baars Micro, Dress, January 2012 Silver Magiflex, tulle, and viscose Groninger Museum, Micro, Dress, January 2012 In collaboration with Isaïe Bloch and Materialise 3-D-printed polyamide with art-copper treatment Groninger Museum, Micro, Dress, January 2012 Metallic coated stripes, tulle, and cotton Groninger Museum, Hybrid Holism, Dress, July 2012 Transparent acrylic sheets, tulle, and cotton Hybrid Holism, Dress, July 2012 In collaboration with Julia Koerner and Materialise 3-D-printed UV-curable polymer High Museum of Art, Atlanta, purchase supported by The Friends of Iris, Hybrid Holism, Dress, July 2012 Metallic coated stripes, tulle, and cotton HIGH EDITS Page 12

13 Voltage, Dress, January 2013 In collaboration with Philip Beesley Laser-cut 3-D polyester film lace and microfiber Voltage, Dress, January 2013 In collaboration with Philip Beesley Laser-cut transparent acrylic, silicone chevrons, and microfiber Voltage, Dress, January 2013 Mirror foil, transparent acrylic sheet, and viscose Wilderness Embodied, Dress, July 2013 Laser-cut Japanese changeant fabric and viscose Wilderness Embodied, Dress, July 2013 In collaboration with Cedric Laquieze Silicone laser-cut feathers, gull skulls, pearls, cotton, and busk Wilderness Embodied, Dress, July 2013 In collaboration with Jólan van der Wiel Iron filings, polyurethane resin, and cotton Commented [DR6]: MATERIAL SAMPLE Biopiracy, Dress, March 2014 Goat leather with ray fish print, black glass crystals, tulle, and cotton Biopiracy, Dress, March 2014 Handblown glass, tulle, and metal busk Biopiracy, Dress, March 2014 In collaboration with Julia Koerner and Materialise 3-D-printed thermoplastic polyurethane 92A-1 with silicone coating Collection of Phoenix Art Museum. Gift of Arizona Costume Institute Magnetic Motion, Dress, September 2014 In collaboration with Niccolò Casas and 3D Systems 3-D-printed transparent photopolymer and stereolithography resin High Museum of Art, Atlanta, purchase with funds from the Decorative Arts Commented [DR7]: MATERIAL SAMPLE HIGH EDITS Page 13

14 Acquisition Trust and through prior acquisitions, Magnetic Motion, Dress, September 2014 Goat leather, Swarovski stones, acrylic chevrons, and viscose Magnetic Motion, Dress, September 2014 In collaboration with Philip Beesley Thermoformed laser-cut acrylic, silicone chevrons, and microfiber Commented [DR8]: MATERIAL SAMPLE Hacking Infinity, Dress, March 2015 In collaboration with Niccolò Casas and 3D Systems 3-D-printed transparent photopolymer and stereolithography resin Hacking Infinity, Dress, March 2015 In collaboration with Philip Beesley Thermoformed acrylic, lacquer leather, silicone chevrons, silk, and Swarovski crystals Hacking Infinity, Dress, March 2015 Hand-burnished metal gauze and cotton Commented [DR9]: MATERIAL SAMPLE Shoe Section Text & Tombstone Labels Hall of Sculpture Balcony Iris van Herpen is fascinated by the architecture of shoes. They help to extend her creative vision around each collection, in a way offering distilled versions of larger ideas. As an additional sculptural element, the shoes increase a garment s visual impact during its introduction on the Paris runway. Since 2010, van Herpen has been creating custom shoes to accompany her collections. She created her first groups of shoes in collaboration with United Nude s Rem D. Koolhaas. Since then, she has worked with designers and 3-D printing companies, including Jólan van der Wiel, Noritaka Tatehana, Stratasys, and 3D Systems. All shoes are courtesy of the designer unless otherwise noted. Micro, Shoes, 2012 In collaboration with United Nude Haircalf leather and molded acrylic Biopiracy, Shoes, 2014 In collaboration with United Nude Goat leather and cow leather HIGH EDITS Page 14

15 Magnetic Motion, Shoes, 2014 In collaboration with Jólan van der Wiel Iron filings and polyurethane resin Wilderness Embodied, Shoes, 2013 In collaboration with United Nude and Stratasys Rigid, opaque photopolymer Voltage, Shoes, 2013 In collaboration with United Nude Lacquer leather and goat leather Hybrid Holism, Shoes, 2012 In collaboration with United Nude Molded rubber and hand-carved stones of labradorite, tiger s eye, leopard jasper, and moss agate Crystallization, Shoes, 2010 In collaboration with United Nude Metal chain and cow leather Synesthesia, Shoes, 2010 In collaboration with United Nude Goat leather with gold foil treatment and cow leather Hacking Infinity, Shoes, 2015 In collaboration with Noritaka Tatehana and 3D Systems Laser-cut cow leather, 3-D-printed photopolymer, and stereolithography resin High Museum of Art, Atlanta, purchase with funds from wish Foundation, Standard Vinyl Platform Texts HIGH EDITS Page 15