“Unadaptable into a theatrical medium,” was James Leech’s first response after reading the book. It's easy to understand why; the novel’s lack, if not complete absence of coherent narrative — instead composed in a pastiche manner (Kathy Acker-esque, if one likes) into anxious episodes of a larger filthy fantasy — doesn't lend itself to the stage naturally, let alone sounds like a task anybody would take on voluntarily. But forbidden fruit always has the luscious juice. Thus, Foster-Soltis proposed the idea.
Skelley and Foster-Soltis met at the launch party in LA, discovered mutual obsessions, vibed, and went for it.
"When I first read the The Complete Fear of Kathy Acker, I found myself deeply resonating with Jack’s brutal self-mocking/self-victimizing hatred toward himself and toward what he terms the invasive capitalistic “CLOP” corrupting language and a potential self-fulfilling sense of sacredness," said Foster-Soltis, as opposed to the novel's dominant themes of sex and eroticism. These anxieties remain relatable, whether they play out in the 80s or mid-2020s, “especially for neurotic young artists clomping around the streets of LA,” she continued. I’d personally make that true for every metropolitan.
The adaptation from novel to play is centered around where the playwright herself fit in Skelley’s narrative as a “young female writer,” while simultaneously seeking to avoid that objectifying pigeon hole. Prior to this very play, Foster-Soltis has consciously avoided or removed her own “identity” from discussion of these characteristics. Yet, for this production, she found the answer when studying the book within her own circles, largely made up of young female artists and writers, and by turning to Jack as one of her muses.
“The gender switch of ‘me’ played by a woman actor freaks me out ... .in a good way!” said Skelley once he got the mic. Foster-Soltis takes liberties amongst FOKA’s themes and passages, thus the script is her “daring and beautiful baby,” touching upon the playwright’s own indulgent voyeurism in contemporary socio-cultural dynamics. “Hopefully, in a way that’s both investigative and comedic,” she says.
The play will hinge upon the cross-generational relevance between the novel’s significance back then and its cosmic chaos and characterization of today; its old but ever-present universal urgency. When asked about what feeling they wish to leave the audience with, James Leech comfortably brushed it off by saying how “trying to premeditated the consensus of an audience is ultimately a fool’s errand.” Skelley and Foster-Soltis hope to leave you with “an over-stimulating honesty.”
Do come prepared for an existential migraine, the very best kind.
Leanne Elliott Young 8.1 and Cattytay 8.1 avatar wearing Apple Vision Pro
Apple, in its infinite wisdom, decided that if we're going to live in a digital x physical unison, we might as well do it in style. Consumers signed up at a record breaking rate, simultaneously screaming and wailing on the day of the release.
Vision Pro isn't just a headset; it's become a fashion statement catapulting social feeds to be full of cyborg chic content. The look is bloody ridiculous as you nipple twist the air, attempting to navigate the functionalities, but it’s caught on, and there is no shame.
For the tech world, it’s a step into the dream of spatial computing. CEO of Spatial Labs, Iddris Sandu, recently whispered sweet nothings about spatial computing, promising a future where digital and physical are within a seamless embrace. "We've hit a computational bottleneck," what seems like a fever dream has now become the future where computers have been procreated into the world around us.
Spatial computing allure of 5th-generation tech promises to launch us into a future where AR isn't just a party trick or a pop up at the side of fashion week, but a way of life. Imagine a world where your digital attire adjusts to your mood, dissolving mood rings all together. Feeling sexy? Your digital threads glimmer and pulse to the same thrust as your slut drops. Cathy Hackl, the metaverse's fairy godmother, assures us that the metaverse's obituary is premature. "The metaverse isn't dead; it's just nursing a hangover from all the hype," she declares. As we rub our bleary eyes, sipping on the digital detox tea, we realize the builders are still aboard the hype train. Right now however, they are laying down the tracks for a future where the metaverse and reality will coexist without stepping on each other's digital toes.
Where does this leave our beloved fashion industry? Caught between a digital rock ( NFT ) and a hard place; fashion is having an existential crisis. Is it possible to pivot from the metaverse's virtual catwalks to a future where digital fashion isn't just a cringe-worthy attempt at relevance? We're watching with bated breath, as the industry attempts to shake off the awkwardness of digital try-ons that resemble a poorly coded twerk rather than a seamless fitting session.
The integration of technology in fashion extends beyond the realms of virtual reality and AR. The recent launch of Apple's Vision Pro underscores the potential for wearable technology to enhance our daily lives, blending the boundaries between the digital and the physical.
Moreover, the democratization of both fashion design and production through digital tools like CLO, Blender and Ai heralds a new era of creative innovation. What before would have cost a full studio team’s workload now resides at your fingertips. In true democratic form, what used to be reserved for the privileged post-graduate few who have the resources to fund a studio and team, now allows those with an informal education to build and launch brands with digital aids.
Institute of Digital Fashion [IoDF]; Leanne Elliott Young, Co-founder CEO, Cattytay Co-founder CD, teaching IRL x URL Academy Catty 8.1 avatar within Clo software Asia 3d creation
Kay Kwok's use of these technologies to create "gravity-defying sculptures" at London Fashion Week exemplifies the boundless possibilities that digital tools offer to designers. This shift towards digital creation not only fosters sustainability by reducing overproduction, but also empowers a new generation of designers to bring their visions to life without the constraints of traditional manufacturing processes.
The genius occurs when we have unison between the community, creators and tech, eventually prompting consumers to view technology as a tool, not a trend. I think this needs to be a slogan t-shirt so more creators get on board, and queue a revival from Henry Holland!
A wider glimmer of a use case for building digital x physical from a luxury house, came Shreya Tyagi (Creative Technologist at Christian Dior Couture):
“One of the biggest factors for success has been hiding the tech and making the experience as seamless and intuitive as possible. This is usually complexified at an enterprise level because of the initial fear surrounding the use of emerging tech, coupled with the lack of in-house experts who understand how to translate it in a tangible way that also aligns with the DNA of heritage fashion maisons.”
Dior, B33 SNEAKER (LIMITED AND NUMBERED EDITION)
The NFC-chipped, ‘encrypted key’ version of Kim Jones B33 trainers championed the use case of near-field communication chips, NFC chips. Sidenote, I really can't believe Balenciaga missed that, those Lays bags should have had NFC Chips! Seriously though, this screams aloud the opportunity for creative individuals to start playing. More experts are needed, so as a creative or a designer, start using and playing with tech, it's a tool to really start having within your YSL tool belt.
The post-metaverse era presents an opportunity for the fashion industry to recalibrate its teenage perspective on digital innovation. I feel it's the creators that will steal the show, the opportunity is there as they start embracing and expanding the tech toolbox, adding Ai, spatial computing, and using advanced wearable technologies like Apple's Vision Pro and jump into the design / content-creator tools with both feet first.
Fashion can redefine its relationship with technology. This new chapter is not about discarding the metaverse or mourning the hype nose dive, but about building upon its foundation to create a more integrated, sustainable, inclusive and democratized digital fashion future for the real world, one NFC chip at a time.
office— What’s your first memory of Spike at that 2008 Christmas party?
Humberto Leon— My friend had invited me to his Christmas party and he introduced me casually to Spike. I was always a huge fan, so was super excited to meet him. When he showed up, he was wearing an Opening Ceremony grey peacoat blazer. When I asked him if that was Opening Ceremony, he said he didn’t know and checked the label. It was. We talked and set up a time to meet the next day at the store. We became best friends and collaborators ever since.
What was it like to meet someone you admired so much?
Super fun because he was super nice, genuine and as inspiring as ever.
What was your first reaction to seeing the photos?
I was blown away at all the images that were never before seen. Spike is such an intentional photographer that so many images are beyond gorgeous.
What drew you to Björk’s “It’s Oh So Quiet” music video?
It was so simple and unique. That is the essence of Spike’s work — it’s super thoughtful, simple and an instant masterpiece.
The archival process can be so eye-opening. How have you changed since the start of curating the exhibition? What have you learned about yourself?
I’m a natural archivist myself, a constant collector of culture. I’m an organized hoarder. I think the past always has its time to shine, so we must always take care of it.
What made you want to make a free downloadable zine in tandem with the exhibition?
I always want to make things accessible because as a kid, I always wanted things but couldn’t find them.
Favorite piece of Björk lore?
That she’s an alien.
What’s one thing you’d like to tell Björk?
“Let’s have a Beyoncé all night dance party.”
