Property:Reflection
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Quicho’s girl-stack is a speculative prototype models themany dimensions of the girl’s natural online habitat. To be clear: Quicho does not speak of actual girls or the experience of lived girlhood, but a socially constructed ideation of the girl. So, the girl as a vehicle for selling product, the girl as a tool for manipulating entrenched power, the girl as living currency, and the girl as desiring machine. The model is imperative for understanding the environment that produces the ‘girl as condition’. +
Orit Gat’s essay “Scroll, Skim, Stare” in *The White Review* explores the evolving role of artists' websites in the contemporary digital landscape. Gat argues that while the internet has transformed art consumption, the design of artists' websites often remains static and uninspired. She suggests that these sites could be more dynamic, serving as online exhibition spaces that challenge the traditional gallery format. Gat emphasizes the potential for artists to leverage their websites to present and control their work uniquely and creatively, thus reshaping the visual culture of the internet. +
The essay's concept of "Endarkenment" connects to how we experience fashion online by highlighting emerging digital aesthetics and trends that embrace chaos, complexity, and non-traditional beauty. Online fashion communities reflect this through styles like "indiesleaze" and "ratgirlsummer," which celebrate raw, unpolished looks, and "technomysticism" that merges spirituality with cybernetics. Platforms like Instagram curate these trends, showcasing designs that fuse nature with technology or embrace hyper-femininity and grotesque, anti-minimalist aesthetics. These digital movements redefine fashion by rejecting conventional norms and finding beauty in unconventional, dark, and chaotic expressions. +
While lookbook offers an examination of the intersection of fashion and digital culture as it immerses the viewer in a hyper-stylised digital environment, utilising motion sensors and abstract imagery to transform familiar, lived experiences into something eerily distant when played out on screen. This dissonance challenges our perceptions of reality, suggesting that the digital mediation of fashion can distance us from the authenticity of human experience, making the familiar strangely unsettling. +
The essay's discussion of the internet's fragmentation can be linked to online fashion cultures, where digital spaces have become increasingly niche and isolated. Just as the internet splinters into distinct communities with their own languages and norms, fashion subcultures online—like streetwear, high fashion, or vintage—develop their own unique styles, terminologies, and identities. This fragmentation can both foster strong in-group connections and create barriers to broader communication and understanding between different fashion communities, mirroring the challenges of "Babelification." +
The concept of "swarms" can be connected to the online fashion landscape by considering how decentralized, collective behaviors emerge in digital spaces. In fashion, swarms can be seen in how trends develop, spread, and evolve without a centralized authority. Social media platforms, influencer culture, and digital communities act as nodes in a network where fashion trends are collectively shaped, shared, and adopted. These swarms enable rapid shifts in consumer preferences, allowing niche styles to become mainstream almost overnight, reflecting the fluid and adaptive nature of digital fashion ecosystems. +
Whole Earth published a number of singular publications throughout its run focused on topical themes, or containing content from aligned organizations. Often these volumes reprinted articles from prior Whole Earth perodical journals, supplemented with new content. And, while the entire archive is insightful and lives up to its “access to tools, ideas, and practices” byline, side projects like 'The Whole Earth <I>Software</I> Catalog' deserve special attention. Originally proposed by John Brockman as a magazine which “would do for computing what the original had done for the counterculture: identify and recommend the best tools as they emerged”, it seems to have been to ahead of its time. The first issue was released in the Fall of 1984. The Whole Earth Software Catalog was a business failure, however, and was only published twice, with only three of the Whole Earth Software Review supplements published. If we were to position this publication in the here and now, it would most likely belong to the niche digital networks that are sprouting from spaces such as are.na and the handmade web. +
GP is founded by Lejla Vala Verheus and is part of an ongoing research on open-source methodologies in textile craft and the digital realm, drawing upon her background as a critical fashion practitioner and graphic designer. By rediscovering overlooked codes and relationships, questioning traditional publishing methods, and blending fashion with printed media, Lejla aims to create new narratives in the fashion realm. +